Jérôme Pelletier

According to many realist philosophers of fiction, one needs to posit an ontology of existing fictional characters in order to give a correct account of discourse about fiction. The realists' claim is opposed by pretense theorists for whom discourse about fiction involves, as discourse in fiction, pretense. On that basis, pretense theorists claim that one does not need to embrace an ontology of fictional characters to give an account of discourse about fiction. The ontolog-ical dispute between realists and pretense theorists is mainly a dispute in the realm of the phi-losophy of language concerning the status relative to pretense of discourse about fiction. Realists are persuaded that there is a sharp line between discourse in fiction and discourse about fiction while pretense theorists deny there exists such a line. I suggest that realists may have a wrong picture of discourse in fiction since, in many cases, discourse in fiction already contains many occurrences of discourse about fiction. Consequently, discourse about fiction, instead of ending fiction, should be regarded, following pretense theorists, as adding extra lay-ers of fiction.

The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book's first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays discuss the notion of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics.