By Peter Lamarque
What is narrative? what's detailed in regards to the nice literary narratives? In advantage of what's a story fictional or non-fictional? during this very important new publication Peter Lamarque, one of many major philosophers of literature at paintings this present day, explores those and comparable inquiries to deliver new readability and perception to debates approximately narrative in philosophy, serious idea, and narratology.
He highlights 'opacity' as a function of literary narratives and examines the results for our realizing of fictional worlds and fictional characters. all through he demanding situations acquired perspectives approximately narrative, wondering the indispensability of narrative in an individual's self-conception and the significance of either fact and emotion as measures of literary greatness. He displays at the 'non-fiction' novel arguing that it doesn't weaken the excellence among fiction and no-fiction.
The e-book deals a compelling and unique account of those and different concerns, creating a severe contribution to topical and wide-ranging debates.
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Extra info for The Opacity of Narrative
1994, 45–46) 14. Kathleen Stock (2011a) tackles this issue but still seems to regard fictive utterances atomistically in a narrative, which at least gives sense to the question of whether any individual sentence in a narrative is fictive (rather than asking, as I think is better, whether the whole work is presented in the fictive mode). She also thinks that fictive utterance involves an audience imagining that p, rather than imagining that it is being told that p. 15. For example, Peter Goldie rather casually endorses the practice-based conception (2012, 152–53).
A kind of transparency is important in history even if it is not of the photographic kind. For one thing, historical narrative should aspire to extensionality in its references, or, put in another way, readers of these narratives should read for extensionality. Additionally, it cannot be the case that there is just one way of characterising historical events. There will be different ways of capturing the “same content” even when that content is quite finely delineated, which is to say that the content is suitably independent of any particular mode of its presentation.
So a 14 Chapter 1 reader who is indifferent to the fine-grained linguistic presentation and attends to the content only as broadly specified plot and character, who is open to alternative forms of expression, including summaries or character sketches, is not a reader who is showing an interest in the work as literature. A major strand of argument in the chapters that follow is that a special kind of attention to literary works, rooted in a familiar and ancient practice of reading, gives priority to opacity as earlier outlined.
The Opacity of Narrative by Peter Lamarque