This chapter examines some of the philosophical literature on idealizations in science and the epistemic challenges idealizations potentially pose for astrophysical methodology, particularly its use of computer simulations. We begin by surveying philosophical literature on idealization connected to (1) kinds of idealizations deployed in science, (2) the aims of idealization in science, and (3) various strategies for de-idealization. Using collisional ring galaxy simulations as a case study, we examine how these three themes play out in the context of astrophysical computer (...) simulations. Ultimately, we argue that deploying deidealization strategies is central to bolstering epistemic confidence in simulations in astrophysics. We conclude with some remarks on the role of idealization in the context of astrophysical computer simulations more generally. (shrink)

Introduction : reinterpreting landscapes in an evolving world -- The pastoral tradition as inherited motives -- From classical pastorals to pastoral landscapes : rebirth of the landscape idea through analytical narration -- Instances of pastoral motivation in contemporary landscape analytical practice -- Articulating analytical narratives of contemporary pastoral landscapes -- The landscape analyst's pastoral action.

Through the use of some purposeful anachronisms, Tom Stoppard uses his 1993 play Arcadia to explore the effects on man's psyche of the transition from Newton's Laws to the laws of thermodynamics and from thermodynamics to chaos theory. However, remarkably similar reactions to these changes are also reflected in works from the actual time periods following these shifts in scientific understanding. Modernist literature is believed by many to reflect a sense of depression about the implications of the second law (...) of thermodynamics, which is exemplified in T. S. Eliot's 1922 poem The Waste Land. Likewise, the comfort provided by the revisions to thermodynamics made by chaos theory are reflected frequently in contemporary popular culture, such as in the current television series Numb3rs. Through the invocation of science, all three works suggest that man is uncomfortable with too much predictability and that comfort can instead be found in chaos and unpredictability. (shrink)

Preceding his Arcadia with a non-existing quotation, Jim Crace proves to be no Arcadian innocent: challenging the shrewdness of his readers, the contemporary novelist seems to take pleasure in inviting them to an intellectual game which begins before the novel unfolds. The highly evocative title and the bogus quotation are bound to evoke associations which become the subject of minute examination in the novel. Its result turns out to be as astounding as the uncommon aphoristic trap laid for the (...) readers. This article examines the significance of the bogus quotation as a part of the novel’s message and a key to its interpretation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Gildersleeve Prize for the Best Article Published in the American Journal of Philology in 2014 Has Been Presented toWilliam Josiah Edwards Davis, University of Toronto Faculty of LawWilliam M. Breichnerfor his contribution to scholarship in “Terence Interrupted: Literary Biography and the Reception of the Terentian Canon,” AJP 135.3:387–409.Building on the serious and sophisticated attention that has been devoted to literary biography in recent years, Davis shows what can (...) be elicited from the conflicting ancient accounts of Terence’s death. As others have argued, ancient scholarship found biography to be a useful receptacle for literary history and criticism. In Davis’ reading, the mutually incompatible accounts of Terence’s death yield insights into critical debates about the role of literature in republican Rome and the scholarly practices that underpinned it.Terence’s prologues give us a lively sense of the literary debates of his own day, but his biographers, writing in the period when scripts became texts, asked a different set of questions. Did Terence die at sea, or in Arcadia, far from the sea? Was the destination of his final journey Greece, or Asia? Did he die in poverty and neglect, or was he returning to Rome with a literary treasure, a hundred and eight newly adapted Menandrian plays? And who wrote his plays, anyway? Davis analyses ancient responses to these and other questions, teasing out traces of the scholarly argument and cultural polemic surrounding Roman literature in the late second and first centuries BCE and thereby making sense of the questions themselves. Reading Terence’s biography against other literary biographies, for example, he shows how Terence’s fatal journey was exploited to establish a Terentian canon free of the authenticity problems that dogged the Plautine tradition. The story that Terence died in Ambracia, by contrast, pits him against another poet associated with Ambracia, Ennius, and stages their rivalry. Finally, Davis shows, in writing the death(s) of Terence, scholar-poets such as Porcius Licinus and Volcacius Sedigitus and others less well known now but cited by Suetonius or ancient scholiasts inscribed a role for the literary historian, too, as caretaker of the playwright’s literary legacy. By reading the contradictions in the biographical tradition against one another instead of trying to produce a historically plausible version by selection, Davis gives us access to the script, fragmentary but fascinating, of Terence’s earliest reception.Judges for The Johns Hopkins University PressCynthia Damon (Chair) Andrew Ford Sara MyersThe Twenty-seventh Annual Gildersleeve Prize of $1,000 will be awarded for the best article to appear in the Journal in 2015. The Press would like to thank the members of the committee for their time and effort.William M. Breichner Journals Publisher Johns Hopkins University Press [End Page 1]William M. BreichnerJournals Publisher Johns Hopkins University PressCopyright © 2015 Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Sexual Symmetry: Love in the Ancient Novel and Related GenresAndrew WalkerDavid Konstan. Sexual Symmetry: Love in the Ancient Novel and Related Genres. Princeton: Princeton University Press, 1994. xiii + 270 pp. Cloth, $35.“Thus there begins to develop an erotics different from the one that had taken its starting point in the love of boys.... This new erotics organizes itself around the symmetrical and reciprocal relationship of a man (...) and a woman, around the high value attributed to virginity, and around the complete union in which it finds perfection.” So Michel Foucault asserts in a concluding chapter of his three-volume History of Sexuality (III, The Care of the Self [1984, trans. 1986] 232), a history that began as an effort to describe the emergence of sexuality as the subject of a distinct science in the late nineteenth century (I, An Introduction [1976, trans. 1978]) and that later broadened into “a genealogy of desiring man, from classical antiquity through the first centuries of Christianity” (II, The Use of Pleasure [1984, trans. 1985] 12). Here Foucault is commenting on the transition from pederasty to heterosexual love as the subjects of philosophical reflection on the nature of desire and its proper management. It is to this “new erotics” of heterosexual reciprocity that David Konstan’s title Sexual Symmetry refers: the notion that a new construction of sexuality emerged in the Common Era, a sexuality structured, not hierarchically as in the relationship between the erasts and the ermenos (with its predatory dynamic of subject and object, active and passive partners), but symmetrically, with an emphasis on the subjectivity of both partners who, although of opposite sex, are alike in age, social standing, and measure of amatory attachment, culminating in the Christian ideal of conjugal love and heterosexual fidelity. Konstan’s subtitle, Love in the Ancient Novel and Related Genres, provides an index to the book’s focus on literary genres and to Konstan’s generic approach to his subject matter, first locating the ideal of erotic reciprocity in the five Greek romances that survive (chaps. 1 and 2) and then showing how this type of relationship differs markedly from the representation of desire in the (roughly contemporaneous) Latin novels of Petronius and Apuleius (chap. 3), as well as in a wide variety of related literary genres that antedate the novel and contributed to its emergence as a literary form (chap. 4). In none of these, Konstan argues, do we find the type of erotic reciprocity enjoyed by the hero and heroine of the standard Greek romance. In later chapters, Konstan contrasts further still this idea of erotic reciprocity, as represented in the ancient texts, with the representation of desire in modern fiction (from Sidney’s Arcadia and Richardson’s Pamela to the contemporary Harlequin Romance, chap. 5), and he attempts (however briefly) to identify those aspects of the social milieu that might account for the emergence and appeal of “sexual symmetry” in Greek fiction (chap. 6).Konstan’s argument is summarized in his introduction, and the progression of each chapter is aided by subheadings which are listed in the table of contents. All Greek is transliterated, and all foreign-language texts, including modern [End Page 165] scholarship, are translated to make the work accessible for the nonspecialist. A single index collects words, themes, topics, and authors—both ancient and modern—discussed. The list of works cited runs for nearly thirty pages and contains more than seven hundred items. The book is suitable for comparativists curious about the antecedents of modern romance, and especially useful for classicists who desire a synoptic view of gender studies in the context of classical literature and culture. Few scholars, I suspect, will complete this book without encountering something new in the way of ancient text or modern scholarship—a fact which in itself is testimony to the impressive breadth of Konstan’s own reading and depth of his erudition.This is not to say that the work is without problems of its own, both of a technical nature and of a theoretical sort. For one thing, Konstan’s argument by its very nature demands a large measure of plot summary of the detailed... (shrink)

_Meaning and Mystery_ offers a challenge to the way Philosophy has traditionally approached the issue of belief in God as a theoretical problem, proposing instead a form of reflection more appropriate to the practical nature of the issue. Makes use of abundant illustrative material, from both literature, such as _Les Misérables_, Edwin Abott’s _Flatland_, Yann Martel’s _Life of Pi_ and Leo Tolstoy’s _A Confession_, and popular culture, such as advertisements, the television series _Joan of Arcadia_ and the film _Stranger Than (...) Fiction_ Uses imaginative scenarios to offer explanations of central concepts Incorporates theories on human thought and behavior in exploring the formation of religious belief Written in a style that is accessible to readers with little background knowledge of philosophy. (shrink)

La novela griega, género polifacético de ficción en prosa, que floreció del siglo I al IV d.C., tuvo su continuación en la literatura bizantina. La trascendencia de la novela llegó al Renacimiento con Longo y su Dafnis y Cloe, que influenció obras como la Arcadia de Sanazzaro, en Italia, o la Diana, de Jorge de Montemayor, en España; y tuvo cierto influjo en la Galatea de Cervantes e incluso en El Quijote. También la Arcadia de Sidney es tributaria (...) del tema y la Astrea de Honoré d' Urfé, en Francia, refleja también este efecto. En esta comunicación quiero destacar la influencia de la novela griega en La Tempestad, comedia en cinco actos de Shakespeare, que revela gran afinidad con la novela de amor y aventuras, así como con la novela utópica. The Greek novel, a multifaceted fiction genre in prose, flourished between the first and the fourth Century A.D., had its continuation into the Byzantine literature. The significance of the Greek novels reached the Renaissance with Longus and his Daphnis and Chloe, that influenced Sanazzaro's Arcadia in Italy, or Jorge de Montemayor's Diana, in Spain. It also had a certain influence in Cervantes' Galatea and even in his Quijote. Sidney's Arcadia is also tributary to the theme, such as Honoré d' Urfé's Astrea, in France. In this paper I want to point out the influence of the Greek novel in Shakespeare I will focus in The Tempest, comedy in five acts, that reveals great affinity with the Greek novel of love and adventures of Longus, Xenophon of Ephesus and Achilles Tatius, as well as in the utopian novel. (shrink)

Medieval literature inherited from the Latin pastoral tradition exemplified by Virgil and others the motif of an ideal landscape, a paradise of shepherds. The Arcadia of classical tradition, inhabited by nymphs, satyrs and the heathen gods, became for the medieval mind a garden of love, where Amor held council (as developed by the French allegorists, for example), or a philosophical paradise, where man was recreated and restored. At the same time, medieval historians and theologians found themselves confronted by a (...) different kind of pagan paradise, namely the famous fairy hill of Romano-Celtic origin, which was inhabited not by fictional, but by real creatures such as elves and fairies. The Church Fathers condemned the fairy hill as a demonic illusion and the fairies as diabolical phantasms. This article will demonstrate that the literary description of the fairy hill in Latin tradition was strongly influenced by the idea of bucolic landscape, although it changed its character significantly: what once had been a literary model, now became a metaphysical reality and a concrete alternative to the contemporary world. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, Alfred (...) Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

The semiotic model that disregards the normative context represented by the protagonist examines how we can distinguish the three conceptions of heroism, namely hero, semi-hero, and anti-hero. What are the methodological criteria whereby we can follow the protagonist in the text from beginning to end? To answer them, this article tries to present a model made up of five stages/criteria which constitute a semiotic model by means of which the connection to heroism can be determined. These are: (1) motivation, (2) (...) will, (3) ability, (4) execution, and (5) outcome. These stages can be logically classified into three categories: 1) Pre-action (the first three stages), 2) Action (the fourth stage), 3) Post-action (the fifth stage). The model proposed here suits all types of narrative and drama and all performance and film production arts. (shrink)

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed on (...) a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

This paper responds to a piece of dialogue from Flora Nwapa’s novel Women are Different, in which Comfort mockingly says, “They took up the job voluntarily. Now you will soon tell us that they are celibate because of us.” There are two different interpretations of the use of “because,” and the claim is obviously false on only one of these.

An exploration of the relationship between quantum theory and concepts of individuality and identity from ancient Greece to the present.

Looking at representations of the Irish landscape in contemporary literature and the arts,this volume discusses the economic, political and environmental issues associated with it, questioning the myths behind Ireland's landscape, from the first Greek descriptions to present day post Celtic-Tiger architecture.

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) (...) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies. (shrink)

A brief scholion allusion to a “Selenite” community in Arcadia raises a question concerning this epithet and its meaning on the background of similar expressions denoting extreme antiquity. The better known term associated with the Arcadians is Proselēnoi, namely, pre-lunar, people who preceded the moon. This term is examined through several options of understanding. At the core of this analysis stands the Classical tendency to highly appreciate early periods of time and early peoples. This opens up a discussion of (...) autochthony and the concept of extreme antiquity, particularly associated with Arcadia. The result is an etymologically based mythographic study centred on the Arcadians’ existence in relation to the first appearance of the moon. The conclusion offers a new interpretation of a neglected term. (shrink)

The article explores the possibilities of literary studies as a hermeneutics of the social by focusing on intermediations of literary and social studies in the present and in the early days of the DVjs, i.e. in the 1920s. It first investigates, how sociology interrogates itself by reading detective stories (Kracauer, Boltanski). As a testing ground for the productivity of the proposed orientation the article then takes a closer look at German crime fiction of the interwar years (Perutz, Jacques) and demonstrates (...) how these novels problematize the workings of a social imaginary in the »time of monsters«. (shrink)

An abrupt break in the prevailing modes of artistic expression, for many, marks the advent of modernism in the early twentieth century, but revisionary attempts to pin down a precise moment of its emergence remain disputed. History of a Shiver proffers a different approach, tracing the first inkling of modernism instead to the nineteenth century's fascination with music.As Jed Rasula deftly shows, melomania--the passion for music--gave rise to concepts like Richard Wagner's "endless melody" and the Gesamtkunstwerk, or total work of (...) art, which in turn infused the arts of the fin de siècle with an aura of expectancy, challenging them to induce musical effects by their own means. With each art aspiring to produce the effects of another artistic medium, a synesthetic yearning ran like a shiver through the body of art that would emerge over the next half century. Rasula traces this pan-arts polyphony from German Romantic theory to early experiments in "visual music," encompassing such diverse phenomena as American fixation on Arcadia, early film theory, and the lure of the fourth dimension. All the while, he keeps focus on the paramount historical consequence in elevating music to a new universal aesthetic standard, arguing that Wagnerism was first among modern "isms."In surveying this momentous interplay among arts, History of a Shiver ranges from literature, music and painting to theatre, cinema, dance, photography, and civic pageantry. It retells the story of modernism by recovering not an idea, but a feeling--the hair-raising potential for each painting, literary text, or musical composition to herald an unprecedented domain of human enterprise. (shrink)

The year 1492 is only the last in a series of “ends” that inform the representation of medieval Spain in modern Jewish historical and literary discourses. These ends simultaneously mirror the traumas of history and shed light on the discursive process by which hermetic boundaries are set between periods, communities, and texts. This book addresses the representation of the twelfth and thirteenth centuries as the end of al-Andalus (Islamic Spain). Here, the end works to locate and separate Muslim from Christian (...) Spain, Jews from Arabs, philosophy from Kabbalah, Kabbalah from literature, and texts from contexts. The book offers a reading of texts that emerge from its Andalusi, Jewish, and Arabic cultural sphere: Maimonides’ Guide of the Perplexed; the major text of Kabbalah, the Zohar; and the Arabic rhymed prose narrative of Ibn al-Astarkuwi. The author argues that these texts are written in a language that disrupts the possibility of locating it in a pre-existing cultural situation, a recognizable literary tradition, or a particular genre. At stake are issues – texts and contexts – that have gained particular urgency in the writings of such recent thinkers as Walter Benjamin, Jacques Derrida, Giorgio Agamben, Jean-Luc Nancy, and Avital Ronell. The book reads the place and taking place of language, interrogating the notion of disappearing contexts and the view that language is derivative of its true place, the context that, having ended, is mourned as silent and lost. (shrink)

Aestheticism is broader in scope than the philosophy of art. It is also broader than the philosophy of beauty, in that it applies to any of the responses we might expect works of art or entertainment to elicit, whether positive or negative. That is why the articles in this collective volume aim to highlight the various reverberations of aestheticism on literature and education over the centuries.

Animal welfare scientific literature has accumulated rapidly in recent years, but bias may exist which influences understanding of progress in the field. We conducted a survey of articles related to animal welfare or well being from an electronic database. From 8,541 articles on this topic, we randomly selected 115 articles for detailed review in four funding categories: government; charity and/or scientific association; industry; and educational organization. Ninety articles were evaluated after unsuitable articles were rejected. The welfare states of animals in (...) new treatments, conventional treatments or control groups with no treatment were classified as high, medium or low according to one or more. More articles were published in which the welfare of animals in new treatments was better than that of animals in the conventional or no treatment groups, demonstrating a positive result bias. Failure to publish studies with negative or inconclusive results may lead to other scientists unnecessarily repeating the research. The authors’ assessments of the welfare state of the groups were similarly rated high, medium or low, and it was found that new treatments were rated lower if the research was funded by industry, and higher when funded by charities, with government funding agencies intermediate. These differences were not evident in the Five Freedoms assessment, demonstrating an authors’ assessment bias that appeared to support the funding agencies’ interests. North American funded publications rated the welfare of animals in New treatments higher and those in a Conventional or No Treatment lower, compared with European-funded publications. It is concluded that preliminary evidence was provided of several forms of publication bias in animal welfare science. (shrink)

Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature. Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose of certain thinking (...) activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art. (shrink)

Bringing allegory into the light from the neglect into which it fell means focusing on the wondrous heights of the human spirit in its significance for culture. Contemporary philosophies and literary theories, which give pre-eminence to primary linguistics forms (symbol and metaphor), seem to favor just that which makes intelligible communication possible. But they fall short in accounting for the deepest subliminal founts that prompt the mind to exalt in beauty, virtue, transcending aspiration. The present, rich collection shows how allegory, (...) incorporating the soaring of the spirit, offers highlights for culture, with its fluctuations and transformation. This collective effort, rich in ideas and intuitions and covering a vast range of cultural manifestations, is a pioneering work, retrieving the vision of the exalted human spirit, bringing together literature, theatre, music and painting in a variety of revealing perspectives. The authors include: M. Kronegger, Ch. Raffini, J. Smith, J.B. Williamson, H. Ross, M.F. Wagner, F. Divorne, L. Oppenheim, D.K. Heckerl, N. Campi de Castro, P. Saurez Pascual, M. Alfaro Amieiro, H. Fletcher Thompson, R.J. Wilson III, and A. Stensaas. For specialists, students and workers in philosophy, comparative literature, aesthetic phenomenologists and historians of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pleasure and Pain in LiteratureOliver ConollyWhy do we enjoy the depiction, in imaginative literature, of situations that typically arouse negative emotions such as pity, sadness, and horror? One view, which aims to dissolve rather than solve the problem, is that we do not enjoy them at all. According to this theory—the pure pain theory—the problem does not arise in the first place. But the theory must explain why we (...) chose to undergo such painful experiences. Are we simply aesthetic masochists? The pure pleasure theory, by contrast, denies that there are any painful aspects to our experience of such literature. This theory must explain how we can take pure delight in the literary depiction of suffering. Are we simply aesthetic sadists? Lying between both extremes is the hybrid theory, which asserts that there are both painful and pleasant aspects of such experiences. The hybrid theory must specify which aspects of the experience are painful and which pleasant. In this paper a version of the hybrid theory is advanced and defended.IThe pure pleasure theory denies that we feel painful emotional identification with fictional characters. Why take this view? One reason is that it is a way of resolving the paradox of fiction, as formulated by Colin Radford.1 The paradox asserts that there is an inconsistency between the propositions that: (1) we have emotions for fictional characters, (2) we know that they do not exist, (3) it is irrational to have emotions for non-existent objects. Each proposition seems plausible, yet one must be false. Whilst most of the participants in the debate have attacked the notion that feelings for fictions are irrational, some have [End Page 305] denied that we have such feelings in the first place. One intuition guiding this denial is that the depiction of a fictional horrible event is likely to be less painful than the depiction of an identical but real event. In other words, the mere fictionality of an event is liable, by itself, to diminish the pain we are liable to feel at its depiction in comparison with a real event: I label this the fictionality gap. If the fictionality gap exists, it applies across the board, to the sufferings of Pip in Great Expectations as well as those of King Lear. The characters in those works are fictional, and so the lessening of the pain we feel at their fates must, if the fictionality gap holds, hold merely in virtue of the fact that they are fictional.It has often been noted—rather than argued, but this is question of impression rather than logic—that one would feel more affected were the stories real rather than fictional. The kinds of events depicted in King Lear—ugly struggles for power, the manipulation of the naïve, the impotence of the good, inconsolable grief—are not in themselves other-worldly, and can be imagined taking place in reality. However it is much more difficult to imagine King Lear in its full particularity taking place in the real world, given the theatricality of its form and language. In order to imagine King Lear as real, one would have to rob it of Shakespeare's poetry, which is other-worldly in its eloquence. French proponents of the Three Unities thought that theatre should aim at, among other things, verisimilitude, but never overcame the problem that the fact that characters in French theatre speak in rhyming couplets might detract from that verisimilitude, which it clearly does. This worry about the transplantability of King Lear into the real world appears to be less of a problem in relation to realist novels, which, as their appellation suggests, are easier to imagine taking place in the real world. Not only is the language used in realist novels less exalted than that used in tragedies, the situations such novels depict tend to be more likely to occur. Clearly, the realist novel is capable of depicting horrible or unpleasant events. About such novels, say, Madame Bovary, it seems to make sense to ask ourselves how we would feel about them if we read them as true stories.I would like however to question the very intelligibility of the... (shrink)