Impossible fiction and the reader
I ask how audiences engage with impossible fiction, defined here as any fiction of any media which represents an absolute impossibility (excepting cases of empty reference). In particular, I am interested in how impossible fiction is absorbed, understood and enjoyed by its readers. I focus on the practices of readers, and in particular their beliefs and imaginings concerning the content of impossible fiction. I consider three significant issues in this area. First, the concept of normalisation, which I adapt from literary theory. Normalisation explains observations from Daniel Nolan and Derek Matravers about the tendency for readers to view impossible fictions as examples of unreliable narration. Second, the puzzlement readers experience when a work of impossible fiction proves to be beyond conventional understanding. Considering work by Umberto Eco, as well as philosophical treatments of the sublime, I suggest that this puzzlement may have unique effects on the reader's aesthetic judgements of a fiction. Third, I consider when and why impossibilities are and are not part of what the reader imagines while engaged with an impossible fiction. This follows work by Tamar Gendler and Kathleen Stock on how readers
Cawthra, Jamie
Impossible fiction and the reader. I ask how audiences engage with impossible fiction, defined here as any fiction of any media which represents an absolute impossibility (excepting cases of empty reference). In particular, I am interested in how impossible fiction is absorbed, understood and enjoyed by its readers. I focus on the practices of readers, and in particular their beliefs and imaginings concerning the content of impossible fiction. I consider three significant issues in this area. First, the concept of normalisation, which I adapt from literary theory. Normalisation explains observations from Daniel Nolan and Derek Matravers about the tendency for readers to view impossible fictions as examples of unreliable narration. Second, the puzzlement readers experience when a work of impossible fiction proves to be beyond conventional understanding. Considering work by Umberto Eco, as well as philosophical treatments of the sublime, I suggest that this puzzlement may have unique effects on the reader's aesthetic judgements of a fiction. Third, I consider when and why impossibilities are and are not part of what the reader imagines while engaged with an impossible fiction. This follows work by Tamar Gendler and Kathleen Stock on how readers
impossible fiction reader ask audience engage impossible fiction define fiction medium represent absolute impossibility except case empty reference particular interested impossible fiction absorb understood enjoy reader focus practice reader particular belief imaginings concern content impossible fiction consider significant issue area first concept normalisation adapt literary theory normalisation explain observation tendency reader view impossible fiction examples unreliable narration second reader experience work impossible fiction prove beyond conventional understanding considering work eco well philosophical treatment sublime suggest may unique effect reader aesthetic judgement fiction third consider impossibility part reader engage impossible fiction follow work stock reader