Eva Dadlez

The problem of fiction and emotion is the problem of how we can be moved by the contemplation of fi ctional events and the plight of fictional characters when we know that the former have not occurred and the latter do not exist. I will give a general sketch of the philosophical treatment of the issue in the present day, and then turn to the eighteenth century for a solution as effective as the best that are presently on offer. The solution is to be found in the account of ideal presence given by Henry Home, Lord Kames.

The goal of this dissertation is to demonstrate that construals of our emotional responses to fictions as irrational or merely pseudo-emotional are not the only explanations available to us, and that necessary and sufficient conditions for an emotional response to a fiction can be established without abandoning either its intentionality or the assignment of a causal role to our beliefs. ;Colin Radford's claim that our emotional responses to fictions are irrational and inconsistent is challenged in two ways. First, distinctions can be drawn between our reactions to fiction and indisputably irrational emotional reactions which preclude arriving at Radford's conclusion via an argument from analogy. Further, the conditions for rationality put forward in several analyses of emotion, ranging from that of David Hume to that of Ronald de Sousa, are not violated by our emotional responses to fictions. ;Kendall Walton's contention that such affective reactions are merely quasi-emotions is contested on the ground that the absence of the existentially committed beliefs which Walton allies with all genuine emotional responses does not demonstrate an absence of cognitive content. Existentially uncommitted evaluative beliefs, thoughts, and even beliefs about the world can be linked to our emotional experience of fictions, and can serve a function necessary to the identification of the emotion, a function which Walton assigns to the existentially committed belief. ;In our experience of fictions, the objects of our emotion are various. However, a direct response to a fictional entity or event is characterized in terms of Peter Lamarque's account: as a response to the content of a thought, a response to what has been thought or imagined rather than to the thought itself. The roles played both by evaluative beliefs and beliefs about what can occur in the world are investigated and found to constitute necessary conditions for an emotional response to a fiction. An account of the role of the imagination, which borrows from Boruah, David Novitz, and Susan Feagin, provides another condition which, together with the two preceding, appears sufficient for such a response.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 143-156 [Access article in PDF] The Vicious Habits of Entirely Fictitious People: Hume on the Moral Evaluation of Art Eva M. Dadlez DAVID HUME'S ESSAY, "Of the Standard of Taste," identifies aesthetic merits and defects of narrative works of art. 1 There is a passage toward the end of this essay that has aroused considerable interest among philosophers. In it, Hume writes of cases in which "vicious manners are described, without being marked with the proper characters of blame and disapprobation" ("ST," p. 246). He maintains that works which include such descriptions are aesthetically flawed, adding that we neither can nor should enter into their writers' sentiments or "bear an affection to characters, which we plainly discover to be blameable" ("ST," p. 246).There is no reason to ascribe to Hume a Platonic moralism that condemns art's disinhibition of emotion. Neither does Hume advocate some extravagant form of political correctness that evaluates art by looking to the propriety of its subject matter. As later examples in the quoted essay make clear, Hume is speaking of cases in which fiction not only depicts vicious manners, but endorses them. I will argue that such endorsements are stigmatized neither because a low estimation of depicted behavior infects the estimation of a work's merit nor because we take the endorsement to be mistaken or unwarranted. Fictional endorsements of conduct otherwise regarded as vicious constitute defects because they curtail the aesthetic experience. Hume's claim, then, is as much about human psychology as it is about morality. We cannot divorce morality from narrative art because, for Hume, morality finds its basis in the very sentiments such art is intended to arouse. The content of the works under fire is objectionable because it prompts the [End Page 143] imaginative disengagement of the reader or viewer just when engagement and emotional participation are necessary for full appreciation. As Noël Carroll maintains in his objection to autonomism, a moral defect "will count as an aesthetic defect when it actually deters a response to which a work aspires." 2 This is a view for which I will endeavor to offer an explanation based on Hume's philosophy, and that I will attempt to defend against typical objections. I It would be a mistake to associate the position ventured above with some of those appearing in the recent critical literature. There, a work is sometimes taken to endorse any character's behavior which is not explicitly condemned or which is accompanied by some depiction of positive traits. Thus Nabokov's Lolita is suspected of subtle endorsement of Humbert's behavior mainly because Humbert is described as urbane and intelligent. There is a clear mistake here about what it is that can be taken to constitute an endorsement on the part of a work of fiction. To suggest that Lolita endorses child molesting because we are occasionally allowed to glimpse a sympathetic side of the molester is on a par with claiming that Shakespeare's Macbeth endorses killing for personal gain because we are allowed to glimpse a sympathetic side of the title character. Our reactions to complex characters can be, and usually are, correspondingly complex. We can admire one trait and deplore another without being forced into the kind of all-or-nothing evaluation that writers of serious fiction seldom want to elicit. In any case, it seems clear that the endorsement of a character in toto would probably involve a good deal more than the depiction of a few attractive traits. The grim undoing of the two characters under consideration, coupled with their misery and hopelessness, hardly suggests endorsement. Similarly, an aesthetically pleasing depiction of an event we consider tragic should not be taken as an endorsement of that event. Aesthetic and distressed responses are not mutually exclusive. They can constitute distinct responses to distinct aspects of the same state of affairs. The graceful arrangement of the bodies of Romeo and Juliet is surely not an endorsement of their tragic death or their suicide...

The problem of fiction and emotion is the problem of how we can be moved by the contemplation of fictional events and the plight of fictional characters when we know that the former have not occurred and the latter do not exist. I will give a general sketch of the philosophical treatment of the issue in the present day, and then turn to the eighteenth century for a solution as effective as the best that are presently on offer. The solution is to be found in the account of ideal presence given by Henry Home, Lord Kames.