![]() These premises are (1) that in order for us to be moved (to tears, to anger, to horror) by what we come to learn about various people and situations, we must believe that the people and situations in question really exist or existed (2) that such “existence beliefs” are lacking when we knowingly engage with fictional texts and (3) that fictional characters and situations do in fact seem capable of moving us at times.Ī number of conflicting solutions to this paradox have been proposed by philosophers of art. ![]() The argument contains an inconsistent triad of premises, all of which seem initially plausible. ![]() How is it that we can be moved by what we know does not exist, namely the situations of people in fictional stories? The so-called “paradox of emotional response to fiction” is an argument for the conclusion that our emotional response to fiction is irrational. ![]()
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