Among other things, mental representations triggered by fictional simulation are not fed into real-world feedback loops. But in the case of willful deception, the production of a false belief depends at least partly on the existence of true beliefs entertained by the person engaged in deceiving others: to induce willfully false beliefs, one must hold at least some correct beliefs concerning the state of affairs about which false beliefs are to be produced, for otherwise the result of willful deception will be haphazard. that every simulation produces a fiction. The problem of the inferences we draw from the fictional world to the world in which we live is still very poorly understood, partly because these inferences are difficult to document by non-introspective methodologies. The relationship between narratology (Jan Christoph Meister → Narratology) and theory of fiction long remained inexistent, in part because classical narratology rarely addressed the question of the fact/fiction difference. Interestingly, the second sense of the Latin term fictio did not put emphasis on the playful dimension of the act of pretending. For the fact/fiction problem, only one is of interest: according to Aristotle, mimesis is a specific form of cognition. Ryan 1991; Ronen 1994). Actually, simulation is a very broad concept which encompasses much more than fiction. Fictional vs. But the fact that discourse in general, and narrative discourse in particular, are constructions does not by itself disqualify ontological realism or the distinction between fact and fiction. Hitler winning World War II). This structure consists of many smaller stories within the context of a larger story. Validating (or rejecting) a thought experiment is achieved through technical controversies between specialists who accept it or not, reformulate or modify it using criteria of logical consistency and necessity. Fact vs Fiction. Hamburger, at least in the first edition of her book (1957), contends that, contrary to pretense, fiction is narratorless, a view sharply opposed to mainstream narratology according to which the narrator (not necessarily personified) is a structural element of any narration, be it factual or fictional, first-person or third-person. As shown by Veyne ([1983] 1988), the social construction of “truthful discourse” posits an array of “truth programs” linked to various ontological domains (e.g. But the fact that discourse in general, and narrative discourse in particular, are constructions does not by itself disqualify ontological realism or the distinction between fact and fiction. On the latter, cf. the profane as distinct from the sacred). She develops a “grammatical definition” (Banfield 1982, 2002) of the genre “novel,” which in fact is a definition of internally focalized heterodiegetic fiction. In fact, the first two important discussions of mimesis, in Plato’s Republic (1974: chap. Thus discursive reference cannot be reduced to narrative reference. Among the anomalies defining the novel understood this way, Banfield puts particular emphasis on the specific use of deictics and free indirect discourse. Banfield, although her theory is formulated in a much more technical way (based on Chomskyan generative grammar), defends a position similar to that of the German critic. It was only at a later stage that narratologists explicitly investigated the relationship between narrative techniques and the fictionality/factuality distinction (Genette 1991; Cohn 1999). It is part of the definition of a cognitive fiction that it is not experienced as a fiction. ): the living handbbook of narratology. Se han propuesto tres definiciones principales que 2, 41–108). His article was the basis for the movie. Searle has been criticized for excluding the possibility of any syntactical criterion of fictionality (Cohn 1990). It This is one of the most common questions I get asked as an archaeologist and it is one for which I have yet to find a good answer. But is it the same Napoleon? Hamburger famously stated that the domain of what is usually regarded as fiction divides into two radically disjoined fields: “pretense,” which is a simulation of real utterances and defines the status of first-person non-factual narrative; and “fiction proper,” which is a simulation of imaginary universes indexed to perspectively organized mental states and which defines non-factual third-person narrative. Created: 19. The difference between this kind of writing and nonfiction is where nonfiction only gives factual accounts of events, fiction can use factual details to create non-factual, or fictional… Poststructuralist philosophers, anthropologists and literary critics have questioned the validity of the fact/fiction distinction as such, sometimes contending, in a Nietzschean vein, that fact itself is a mode of fiction (a fictio in the sense of a “making up”). The principle of “minimal departure” (Lewis 1973; Ryan 1991) suggests a positive answer, but the holism of the possible worlds approach (each possible world being complete) suggests a negative answer. They invite an analysis of fictional narrative in terms of direct simulation of imaginary universes presented perspectively and (on the side of the reader) in terms of immersion (see Ryan 2001: 89–171). Architecture and Design; Arts; Asian and Pacific Studies; Business and Economics; ... Fictional vs. As shown by Veyne (1983), the social construction of “truthful discourse” posits an array of “truth programs” linked to various ontological domains (e.g. There are doubts now on the thermonuclear one on three counts. However, there is no consensus as to the rationale of this opposition. And though it is a dramatization it has strong roots in the public record; after all, everyone watching is still living the reality. Hence the term has usually been linked to questions of existence and non-existence, true and false belief, error and lie. This is the case for example of the subgenre of counterfactual novels which, like counterfactual history (see Ferguson ed. According to her theory, the specific grammar of the novel consists in a double phenomenon: elimination of the first person except in inner direct speech coinciding with the construction of a special third-person pronoun (called “the E-level shifter” by Banfield). Save this story for later; Fiction Vs Fact On May 11 & 13, 1998, India tested five N-devices. Narration is a required element of all written stories (novels, short stories, … In this article, I examine one such disanthropic narrative, Alan Weisman’s bestselling non-fiction book The World Without Us (2007), using the theoretical framework of … To state the difference more bluntly: a thought experiment is an experimental device of a logical nature, a suppositional or counterfactual propositional universe intended to help resolve a philosophical problem; a narrative fiction, by contrast, invites mental or perceptual immersion in an invented universe, engaging the reader or the spectator on an affective level with the persons and events that are depicted or described. In 1875, on the second day after Ko Ae-shin’s birth in Japan, a plot by Korea’s Righteous Army to assassinate the pro-Japanese collaborator Lee Wan-ik fails. In science, the term is sometimes applied to theoretical entities postulated to account for observational regularities which otherwise would be unexplainable. Thought experiments are generally counterfactual deductive devices giving rise to valid conclusions which are integrated into the real-world belief system. A more important criticism is that Searle’s pragmatic definition is only negative: it tells us what fiction is not, but not what fiction is. However, the difference between these two genres is sometimes blurred, as the two often intersect. On the side of the reader, they activate an immersive dynamics: the reader “slips into” the characters, experiencing the fictional world as it is seen perspectively by the characters from within or sometimes, as Banfield suggests, from a point of view that remains “empty” (in terms of a specific “I”). Thus a narrative in which every sentence is true (referentially) and which nevertheless pretends to be a fiction would not be easily accepted as a fiction. In recent years, theories of fiction and narratology have been renewed by cognitive science (David Herman → Cognitive Narratology). The concept of mimesis developed by Aristotle in his Poetics diverges from Plato in several important regards. Here again, the situation is quite different from fictional entities in the context of artistic fiction: such entities do not operate in real-world commitments. Every narrative induces varying degrees of immersive experience. One could object to this common-sense assertion that not all societies produce fictional narratives and that often the socially most important narratives, notably myths, cannot be accounted for in terms of the dichotomy between fact and fiction. Reading in a factual mode engaged an activation pattern suggesting an action-based reconstruction of the events depicted in a story. It could be argued, however, that Searle’s theory operates at two levels: a definition of verbal narrative fiction in terms of pretended speech acts, and a general definition of fiction in terms of intended playful pretense. This means not only that, according to Aristotle, mimesis triggers cognitive powers of a different kind from those of history, but also that these powers are of a higher order than those of factual discourse. This special shifter suspends the “one text / one speaker” rule that governs discourse outside of fiction and which is grounded in the principle that deictics shift referent with each new E (each new speaker). "The Dish": Fact versus Fiction — a quick comparison (Refer to "Parkes: 30 Years of Radio Astronomy" available through Visitors Centre, $30). 3.4, 153–73). Story A story has some basic features like setting, plot, characters, and sequence of events in a logical manner, etc. The same fact was pointed out long ago by Hume: one and the same text may be read both as fiction and non-fiction. This special shifter suspends the “one text / one speaker” rule that governs discourse outside of fiction and which is grounded in the principle that deictics shift referents with each new E (each new speaker). Well, if you're a writer in this day and age, you're likely to do more than one kind of writing. Secondly, historical persons and descriptions of their real historical actions figure prominently in fictional texts, as in historical novels that often contain a fair amount of factual information. “Fiction,” used this way, does not designate something known to be non-existent, but is rather the hypothetical postulation of an operative entity whose ontological status remains indeterminate. It was defended by Frege in his famous “On Sense and Reference” ([1892] 1960) and by Russell in the no less famous “On Denoting” ([1905] 2005), two seminal papers of 20th-century philosophical theories of reference. The assumption of simulation theories is that the competence of mind reading makes it possible to put oneself imaginatively “into someone else’s shoes.” It is true that mind reading has a strong narrative component, as the “mind reader” immerses himself in scenarios and scripts. A postscript during the film's end titles - citing the Argo incident as a model of international cooperation - makes much more sense when you keep those facts in mind. by a comparison between behaviors predicted by the simulation and an actually occurring behavior). Menu. To our best knowledge, the answer to this question has to do with the processes of immersive simulation induced by narrative and maximized by fictional narrative. On the other hand, and contrary to theoretical entities, narrative fictional entities are entities which, if they existed, or if their existence were asserted, would have a canonical ontological status, part of the real stuff of reality. At the same time, they are not random, but on the contrary structurally coherent and functionally pertinent. This is especially true of free indirect discourse and grammatical anomalies of spatial and temporal deictics. Factual narrative is a species of referential representation, just as fictional narrative is a species of non-factual representation. Syntactic definitions of the distinction between factual and fictional narrative commend themselves by their promise of economy: if it were possible to distinguish factual and fictional narrative on purely syntactic grounds, there would be no need to take a position as far as semantic problems are concerned, be they epistemological or ontological. Mind reading has a strong epistemic component: (a) it simulates the mental states of a really existing person; (b) simulation must reproduce that person’s intentional states in a reliable way, i.e. Searle’s “Chinese Room” thought experiment and Putnam’s “Brain in a Vat or Twin Earth” thought experiments are fictions in this sense of the word. The fact that the evolution of third-person fiction has given rise to techniques for neutralizing the enunciative anchoring of sentences could be interpreted as a symptom of the fact that narration as such induces this type of phenomenological immersion. Plato’s theory of representation is founded on a strong opposition between imitation of ideas and imitation of appearances (the empirical world): representation of events as such, contrary to rational argument, is an imitation of appearances, which means that it is cut off from truth. Now, this type of fiction, as Hume himself explicitly stated, is quite different from fiction in the artistic field. This means that artistic fictions, contrary to cognitive fictions, should not produce real-world beliefs (even if in fact they sometimes do: fiction has its own pathologies). Hitler winning World War II). Edward Snowden is the subject of Oliver Stone's new movie, "Snowden," which premieres in theaters on Sep. 16, 2016. Not every fiction is verbal (paintings can be, and very often are, fictional), and not every fiction, or even every verbal fiction, is narrative: both a painted portrait of a unicorn and a verbal description of a unicorn are fictions without being narrations. Of course, contrary to referentially oriented representing devices, fictional devices are generally (but not always and not necessarily) constructed so as to maximize their immersion-inducing power. It is part of the definition of a cognitive fiction that it is not experienced as a fiction. These “deviations” are not the result of conscious stipulations or decisions, but rather they have arisen slowly out of the practice of writing fiction. These signals are often paratextual, but for the competent reader there also exist many textual “signposts” (Cohn 1990) signaling fictionality or factuality (see Iser 1983: 121–52). Even if it is willfully false (as is the case if it is a lie), what determines its truth or its untruth is not its (hidden) pragmatic intention, but that which is in fact the case. This does not imply that there is no distinction between fact and fiction, but that what counts as a fact may be relative to a specific “truth program.”. Contra Hamburger and Banfield, however, it is no less true that the majority of heterodiegetic fictions also contain elements that are best described as simulations of factual narrative statements (Schaeffer 1999: 61–132). Get Access to Full Text. Since fiction and false begin with the same letter, we can easily remember that fiction is false, even if it is an excellent and well-crafted story. To create an automatic citation reference for the entire article, copy and paste the reference from the text box. In other words, according to Hamburger, in the narrative realm only third-person narrative is fictional, non-factual first-person narrative belonging to another logical field, that of pretended utterances. Both theories define fictional narrative by syntactic traits which, in theory, are excluded from factual narrative. A blend of historical fact and fiction has been used in various forms since narrative began with sagas and epic poems. The article addresses the inference of fictional truth in unreli-able narrations (part 2) against the background of what it generally means to ex-plore fictional worlds and to infer fictional truth (part 1). Cognitive science also has shown that simulation and immersive processes are not limited to fictional narratives. Whatever the importance of the insights gained by syntactic definitions of the fact/fiction distinction, as definitions they have severe shortcomings: to accept them, it would be necessary either to exclude first-person narration from the realm of fiction (Hamburger) or to distinguish between a grammar of epic narration and a grammar of the novel (Banfield). The difficulty of getting a clear picture of the distinction between factual and fictional narrative results in part from a long history of shifting uses of the term “fiction.” The sense which is most current today—that of a representation portraying an imaginary/invented universe or world—is not its original nor its historically most prominent domain of reference. Cognitive science also has shown that simulation and immersive processes are not limited to fictional narratives. Long-form journalism often pays. Searle’s Chinese Room thought experiment and Putnam’s Brain in a Vat or Twin Earth thought experiments are fictions in this sense of the word. These “deviations” are not the result of conscious stipulations or decisions, but rather they have arisen slowly out of the practice of writing fiction. Factual" 101-102), but is not linked to the issue of the narrator in narratology. In fact, the real world is also a possible world. The opposition between fictional entities and theoretical entities is found in Schaeffer ("Quelles vérités" 21-22 and "Fictional vs. If semantic definitions of fiction are generally too weak (they fail to distinguish between a fiction and a lie), syntactic definitions are generally too strong (many texts must be excluded which common sense considers to be fictional). Theories of mental simulation were originally developed in order to account for “mind reading,” i.e. Three major competing definitions have been proposed: (a) semantic definition: factual narrative is referential whereas fictional narrative has no reference (at least not in “our” world); (b) syntactic definition: factual narrative and fictional narrative can be distinguished by their logico- linguistic syntax; (c) pragmatic definition: factual narrative advances claims of referential truthfulness whereas fictional narrative advances no such claims. Admittedly, narrative fictions can be evaluated in terms of the consistency of the fictional universe or in those of their plausibility in relation to supposed real-world situations or in terms of the desirable character or not of their explicit or implicit standards. Unfortunately, mimesis, like fictio, is far from being a unified notion. According to modal fictionalism, it differs from other possible worlds because it is the only one which is also actual, whereas according to the modal realism defended by Lewis, it differs from other possible worlds (which are as real as “our” world) only by the contingent fact that we happen to live in it. Non è in Italiano, ma è ambientato in Italia, che è sempre bene per me, nel primo Rinascimento. A pragmatic theory of narrative fiction was implicitly defended by Hume. Historically (at least in Western culture), the key concept for analyzing and describing fiction in the sense of artistic and, more specifically, narrative fiction has not been the Latin concept of fictio, but the Greek concept of mimesis. Hence the term has usually been linked to questions of existence and non-existence, true and false belief, error and lie. For example, the sentence “Napoleon lost the battle of Waterloo” seems to express a plain simple truth. Syntactic definitions of the distinction between factual and fictional narrative commend themselves by their promise of economy: if it were possible to distinguish factual and fictional narrative on purely syntactic grounds, there would be no need to take a position as far as semantic problems are concerned, be they epistemological or ontological. One could add a fourth definition, narratological in nature: in factual narrative author and narrator are the same person whereas in fictional narrative the narrator (who is part of the fictional world) differs from the author (who is part of the world we are living in) (Genette [ Genette, Gérard (1993). ... ing use of dialect features in factual versus personal narra- (b) Comparative work on various fictional “devices”—mental, verbal, visual, “actantial”—is necessary, because fiction is still too often identified with verbal fiction, and verbal fiction with fiction incarnated in a narrative act (oral or written). But in the case of willful deception, the production of a false belief depends at least partly on the existence of true beliefs entertained by the person engaged in deceiving others: to induce willfully false beliefs, one must hold at least some correct beliefs concerning the state of affairs about which false beliefs are to be produced, for otherwise the result of willful deception will be haphazard. So if it is true that fictional intention cannot define fiction as a pragmatic stance, it is nevertheless the existence of a shared intention which explains the fact that the emergence of fictional devices has the cultural and technical history it has. In fact, the first two important discussions of mimesis, in Plato’s Republic (1974: chap. It would then be possible to arrive at a purely “formal” definition of the two domains. In fact, he only claims that syntactical markers of fictionality are neither necessary (a fictional text can be textually indistinguishable from a factual counterpart) nor sufficient (a factual text may use fictional techniques). The Aristotelian conception must be distinguished from “possible worlds” theories of fiction (Pavel 1986; Ryan 1991; Ronen 1994; Doležel 1998, 1999), inspired by the possible worlds logics of Kripke (1963, 1980) or Lewis (1973, 1978). Fact came from the Latin word “factum” meaning “event or occurrence or something done”. Applied to the domain of narrative, this approach insists on the “fictionalizing” nature of narrative because every narrative constructs a world. Hühn, Peter et al. Basically it can be said that if every fiction results from a process of mental simulation, the opposite is not the case, i.e. An embedded narrative by Victoria now on the “fictionalizing” nature of narrative because every narrative is the classical. 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