A post make-believe definition of fiction
The question of what exactly constitutes a work of fiction has been contested for decades, with no clear conclusion. While there are several factions of philosophers, each with their preferred definitions, none are widely accepted definitions. Most, when used, often include some works of nonfiction as works of fiction, or exclude some works that are clearly works of fiction. In this thesis, I will use an interdisciplinary methodology to provide a new definition of fiction that avoids these pitfalls. In Chapters 1 and 2, I show that it is implausible to take propositional imagination as a necessary component of a definition of fiction without any further clarification of the role of make-believe imagination in fiction and that a plausible definition of fiction should not include the role of the audience. In Chapter 3, I evaluate Stacie Friendâs genre approach, as probably the most popu-lar non-make-believe approach. In Chapter 4, I cover Harry Deutschâs often-ignored approach, discuss its problems, and outline its contributions. In Chapter 5, I reject Matraversâs scepticism by showing that there is a meaningful difference between fiction and nonfiction using the findings from social science experiments.
Chan, Ka Shun
A post make-believe definition of fiction. The question of what exactly constitutes a work of fiction has been contested for decades, with no clear conclusion. While there are several factions of philosophers, each with their preferred definitions, none are widely accepted definitions. Most, when used, often include some works of nonfiction as works of fiction, or exclude some works that are clearly works of fiction. In this thesis, I will use an interdisciplinary methodology to provide a new definition of fiction that avoids these pitfalls. In Chapters 1 and 2, I show that it is implausible to take propositional imagination as a necessary component of a definition of fiction without any further clarification of the role of make-believe imagination in fiction and that a plausible definition of fiction should not include the role of the audience. In Chapter 3, I evaluate Stacie Friendâs genre approach, as probably the most popu-lar non-make-believe approach. In Chapter 4, I cover Harry Deutschâs often-ignored approach, discuss its problems, and outline its contributions. In Chapter 5, I reject Matraversâs scepticism by showing that there is a meaningful difference between fiction and nonfiction using the findings from social science experiments.
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