In his well-known article “Fiction and Non-fiction”, Kendall Walton introduces his theory of fiction as a game of make believe, in which representational art can be presumed as props that impose specific imaginings. Furthermore, Walton’s 1978 paper “Fearing Fictionally” addresses the paradox of fiction i.e. how can we be moved by things that do not exist in the case of fiction? The following paper will critically assess how Walton’s position in ‘Fearing Fictionally’ is related to his argument in ‘Fiction and Non Fiction’.
In fiction and non-fiction, Walton’s fundamental notion is that of the term ‘representation’, which he often uses interchangeably with ‘fiction’. In this particular piece of writing, Walton’s thesis presents that works are …show more content…
(Walton, p. 136). He recognizes that people sometimes refer to fictional entities as if they were referring to real entities, or in which a person pretends to describe the real world, when actually they are describing a fictional world. This comparison of the two worlds is essential, as he states that looking at dolls, toys and trucks first is essential in order to understand paintings, plays, films and novels. The activities in which representational works of art are ingrained and which give them their point are best seen as continuous with children’s games of make-believe" (p. 139). For example, sitting down to read Ana Karenna can be contrasted with the event of a child sitting on the carpet, playing with toy soldiers and dolls. The function of these soldiers and dolls are to cause imaginings, of real soldiers and families. Likewise, sentences produced by the author in the novel carry the same function, producing imaginings of real soldiers and families. A key clarification that the make-believe theory offers is the idea that the term ‘fictional’ can be taken …show more content…
Walton argues that an emotion elicited from fiction cannot be taken literally, maintaining that it is impossible to experience an emotion towards a fiction. While he acknowledges that props induce emotions regularly, he concludes these are only “quasi” emotions. A central feature of this argument is that one cannot genuinely be afraid of a monster in a horror movie, or feel sympathy towards a character’s novel, as no deliberate actions are taken as a response to these emotions. Walton describes genuine fear, for example, to involve an attempt to distance oneself from the object of the fear. A homeowner may call the police suspecting an intruder, or run from a gun wielding shooter. Walton is not in this argument dismissing the presence of this emotions altogether, acknowledging that the physical symptoms inherent in these emotions can be identically experience in actual and fictional situations. Further, he recognizes that the fiction may be powerful enough to affect emotions experienced in the future, citing the movie Jaws as having “…caused a lot of people to fear sharks…” (p. 180). However, what remains indisputable for Walton is that it is impossible to fear the prop within a fiction, the shark onscreen in this example. For Walton, emotions expressed in reaction to fiction can be considered props in the game of make believe. He parallels a child’s cry of fear towards a monster to
In fiction and non-fiction, Walton’s fundamental notion is that of the term ‘representation’, which he often uses interchangeably with ‘fiction’. In this particular piece of writing, Walton’s thesis presents that works are …show more content…
(Walton, p. 136). He recognizes that people sometimes refer to fictional entities as if they were referring to real entities, or in which a person pretends to describe the real world, when actually they are describing a fictional world. This comparison of the two worlds is essential, as he states that looking at dolls, toys and trucks first is essential in order to understand paintings, plays, films and novels. The activities in which representational works of art are ingrained and which give them their point are best seen as continuous with children’s games of make-believe" (p. 139). For example, sitting down to read Ana Karenna can be contrasted with the event of a child sitting on the carpet, playing with toy soldiers and dolls. The function of these soldiers and dolls are to cause imaginings, of real soldiers and families. Likewise, sentences produced by the author in the novel carry the same function, producing imaginings of real soldiers and families. A key clarification that the make-believe theory offers is the idea that the term ‘fictional’ can be taken …show more content…
Walton argues that an emotion elicited from fiction cannot be taken literally, maintaining that it is impossible to experience an emotion towards a fiction. While he acknowledges that props induce emotions regularly, he concludes these are only “quasi” emotions. A central feature of this argument is that one cannot genuinely be afraid of a monster in a horror movie, or feel sympathy towards a character’s novel, as no deliberate actions are taken as a response to these emotions. Walton describes genuine fear, for example, to involve an attempt to distance oneself from the object of the fear. A homeowner may call the police suspecting an intruder, or run from a gun wielding shooter. Walton is not in this argument dismissing the presence of this emotions altogether, acknowledging that the physical symptoms inherent in these emotions can be identically experience in actual and fictional situations. Further, he recognizes that the fiction may be powerful enough to affect emotions experienced in the future, citing the movie Jaws as having “…caused a lot of people to fear sharks…” (p. 180). However, what remains indisputable for Walton is that it is impossible to fear the prop within a fiction, the shark onscreen in this example. For Walton, emotions expressed in reaction to fiction can be considered props in the game of make believe. He parallels a child’s cry of fear towards a monster to