Through “Fiction vs History,” the Korea JoongAng Daily attempts to distinguish fiction from fact in popular period dramas and films for clarification and to dispel any misunderstandings. Well, if you're a writer in this day and age, you're likely to do more than one kind of writing. In this sense, deceptive fiction resembles cognitive fiction. It is merely saying the information that is verified to be true or had actually occurred. In the case of fictional simulation, however, the agents and actions are invented in and through the process of simulation. But, of course, not every narrative is fictional. But is it the same Napoleon? La serie televisiva segue l’ascesa della famiglia Borgia ai vertici della chiesa cattolica romana e le loro lotte per mantenere il … To state the difference more bluntly: a thought experiment is an experimental device of a logical nature, a suppositional or counterfactual propositional universe intended to help resolve a philosophical problem; a narrative fiction, by contrast, invites mental or perceptual immersion in an invented universe, engaging the reader or the spectator on an affective level with the persons and events that are depicted or described. For the fact/fiction problem, only one is of interest: according to Aristotle, mimesis is a specific form of cognition. However, there is no consensus as to the rationale of this opposition. This process seems to be past-oriented and leads to shorter reaction times at the behavioral level. Plato’s preference goes to pure narration, for he disapproves of representation by mimesis (in Book X of The Republic, he goes so far as to exclude mimetic artists from the “ideal city”). It must include an introduction, a climax and a conclusion. “Fiction,” used this way, does not designate something known to be non-existent, but is rather the hypothetical postulation of an operative entity whose ontological status remains indeterminate. The concept of mimesis developed by Aristotle in his Poetics diverges from Plato in several important regards. The notion of simulation and its cognate immersion seem especially fruitful and may well lead to a better understanding of both the distinction between fact and fiction in narrative and their interplay. La narration littéraire ne sert pas seulement à configurer le temps mais aussi à éprouver mentalement et à réfléchir la référence croisée entre l’historiographie et le récit de fiction aussi bien que celle entre le monde de l’action et les structures narratives. Genette ([1991] 1993: chap. The principal reason why this assimilation is impossible is that the mental experience induced by a narrative fiction and its validation are very different from those of a thought experiment, for the attitude adopted when creating or reading a thought experiment is an attitude of logical discrimination: we have to verify its formal validity, determine whether or not it is conclusive, think about how its relevance could be increased or refuted, etc. Factual narrative is a species of referential representation, just as fictional narrative is a species of non-factual representation. Applied to the domain of narrative, this approach insists on the ‘fictionalizing’ nature of narrative because every narrative constructs a world. These signals are often paratextual, but for the competent reader there also exist many textual “signposts” (Cohn 1990) signaling fictionality or factuality (see Iser 1983: 121–52). The semantic definition of the distinction between factual and fictional narrative is the most classical one. Based On A True Story: How Hollywood Mixes Fact And Fiction To Reimagine History Ben Affleck, Russell Crowe, and Mel Gibson should not be your main sources of historical instruction. But the fact that discourse in general, and narrative discourse in particular, are constructions does not by itself disqualify ontological realism or the distinction between fact and fiction. The fact that the evolution of third-person fiction has given rise to techniques for neutralizing the enunciative anchoring of sentences could be interpreted as a symptom of the fact that narration as such induces this type of phenomenological immersion. Citation Information. This question is for testing whether you are a human visitor and to prevent automated spam submissions. Basically it can be said that if every fiction results from a process of mental simulation, the opposite is not the case, i.e. On the side of the reader, they activate an immersive dynamics: the reader “slips into” the characters, experiencing the fictional world as it is seen perspectively by the characters from within or sometimes, as Banfield suggests, from a point of view that remains empty (in terms of a specific “I”). Review the definition of fact (something that is always true; facts can be proven) and opinion (what you think or feel; opinions cannot be proven) and write each definition on the board for student reference. Factual Narration was published in Handbook of Narratology on page 98. Hence the term has usually been linked to questions of existence and non-existence, true and false belief, error and lie. It could be argued, however, that Searle’s theory operates at two levels: a definition of verbal narrative fiction in terms of pretended speech acts, and a general definition of fiction in terms of intended playful pretense. Show students an introductory video about facts and opinions, like the videoo "Fact or Opinion for Kids" (see related media). Edward Snowden is the subject of Oliver Stone's new movie, "Snowden," which premieres in theaters on Sep. 16, 2016. It could be argued, more generally, that wherever and whenever public representations function as fictions, people link them to their pragmatic specificity because it is only by treating representations in this particular way that they become fictional representations (instead of false statements or lies). The poststructuralist criticism of the fact/fiction dichotomy has pointed out that every (narrative) representation is a human construction, and more precisely that it is a model projected onto reality. Types of fiction include plays, stories and poems. In this article, I examine one such disanthropic narrative, Alan Weisman’s bestselling non-fiction book The World Without Us (2007), using the theoretical framework of … Fact came from the Latin word “factum” meaning “event or occurrence or something done”. treated as serious and referring to some reality), even if believing in its truth enters into conflict with what in another ontological domain is accepted as truthful. One could add a fourth definition, narratological in nature: in factual narrative author and narrator are the same person whereas in fictional narrative the narrator (who is part of the fictional world) differs from the author (who is part of the world we are living in) (Genette [1991] 1993: 78–88). 30,00 € / $42.00 / £23.00. Here again, the situation is quite different from fictional entities in the context of artistic fiction: such entities do not operate in real-world commitments. It was defended by Frege in his famous “On Sense and Reference” ([1892] 1960) and by Russell in the no less famous “On Denoting” ([1905] 2005), two seminal papers of 20th-century philosophical theories of reference. Positive ending. But it is important to bear in mind, firstly, that some types of fiction assign “fictive” properties and actions to proper names that refer to existing entities. The movie (based on a book by Michael Lewis) tells the story of Michael Oher, a black NFL lineman who was adopted by a white Southern family when he was a homeless teenager. Walton, whose contribution to a pragmatics of fiction is as important as Searle’s, objected to the latter’s definition that the notion of a pretended speech act cannot yield a general definition of fiction because it has no application in, among other things, the domain of pictorial depiction: paintings cannot be described in terms of pretended speech acts because pictorial depiction is not a speech act (1990: Part I, 2.6). Sin embargo, no hay consenso acerca de las razones de esta oposición. Fiction is generally fabricated entirely by the author, while nonfiction is a factual account. Invented entities and actions are the common stuff of fiction, and for this reason the idea of the non-referential status of the universe portrayed is part of our standard understanding of fictional narrative. So Searle’s thesis is compatible with the fact that fictional texts and factual texts generally differ syntactically. Fact vs Fiction. David Hammer. These signals are often paratextual, but for the competent reader there also exist many textual “signposts” (Cohn 1990) signaling fictionality or factuality (see Iser 1983: 121–52). tory of the factual or fictional status of a narrative and, theref point of narratological divergence between the two types. the profane as distinct from the sacred). What distinguishes them is the fact that in the case of fictional narrative the question of referentiality is irrelevant, whereas in non-fictional narrative contexts it is important to know whether the narrative propositions are referentially void or not. In classical philosophy, “fiction” was often used to designate what we today would call a cognitive illusion (Werner Wolf → Illusion (Aesthetic)). So if it is true that fictional intention cannot define fiction as a pragmatic stance, it is nevertheless the existence of a shared intention which explains the fact that the emergence of fictional devices has the cultural and technical history it has. Now, let’s go over a trick to remember nonfiction vs. fiction. Factual and fictional narrative are generally defined as a pair of opposites. According to modal fictionalism, it differs from other possible worlds because it is the only one which is also actual, whereas according to the modal realism defended by Lewis, it differs from other possible worlds (which are as real as “our” world) only by the contingent fact that we happen to live in it. For instance, historical fiction is a genre which sets fictional accounts of events within a historically accurate setting. Factual Narration", The Validity of the Fact/Fiction Opposition, Fact and Fiction, Narrative and Non-narrative, The Semantic Definition of the Fact/Fiction Difference, The Pragmatic Status of Narrative Fiction: Imagination and Playful Pretense, Simulation, Immersion and the Fact/Fiction Divide. This structure consists of many smaller stories within the context of a larger story. What's the difference between journalism and fiction, and why should you care? Since fiction and false begin with the same letter, we can easily remember that fiction is false, even if it is an excellent and well-crafted story. The concept of mimesis developed by Aristotle in his Poetics diverges from Plato in several important regards. Mimesis is a simulacrum, an “as if,” and as such it is opposed to truth: mimesis can never be more than a “make-believe” (for the concept of “make-believe,” see Walton 1990). Hamburger and Banfield have clearly identified linguistic processes which are typical of internally focalized heterodiegetic fiction (Burkhard Niederhoff → Focalization) and which cannot be easily accounted for in terms of pretense in third-person factual narrative. The notion of simulation and its cognate immersion seem especially fruitful and may well lead to a better understanding of both the distinction between fact and fiction in narrative and their interplay. Among other things, mental representations triggered by fictional simulation are not fed into real-world feedback loops. All fictional texts are narrative while nonfiction texts can be either narrative or informational. As far as validating it is concerned, this is also quite different from validating a thought experiment, since one would not say of an narrative fiction that it is conclusive or faulty, but rather that it is successful or unsuccessful in terms of its “effectiveness” as a vector of immersion, its richness as a universe, etc. Not every fiction is verbal (paintings can be, and very often are, fictional), and not every fiction, or even every verbal fiction, is narrative: both a painted portrait of a unicorn and a verbal description of a unicorn are fictions without being narrations. Mind reading has a strong epistemic component: (a) it simulates the mental states of a really existing person; (b) simulation must reproduce that person’s intentional states in a reliable way, i.e. In 1875, on the second day after Ko Ae-shin’s birth in Japan, a plot by Korea’s Righteous Army to assassinate the pro-Japanese collaborator Lee Wan-ik fails. It would then be possible to arrive at a purely “formal” definition of the two domains. Of course, contrary to referentially oriented representing devices, fictional devices are generally (but not always and not necessarily) constructed so as to maximize their immersion-inducing power. It could be argued, however, that Searle’s theory operates at two levels: a definition of verbal narrative fiction in terms of pretended speech acts, and a general definition of fiction in terms of intended playful pretense. The term fiction has also often been used to designate willful acts of deception intended to be misleading or to produce false beliefs. Madam C.J. In terms of possible worlds theories, a fictional world is a counterfactual world, but this counterfactual world is as individual as the world we live in: the counterfactual world is not of a superior kind to our actual world (whereas in Aristotle mimetic reference attains a higher order of truth than factual reference), but simply an alternative world. : Comparison of Personal and Fictional Narratives 195 (Bamberg, 1994, pp. Learn more. As shown by Veyne ([1983] 1988), the social construction of “truthful discourse” posits an array of “truth programs” linked to various ontological domains (e.g. All of these phenomena are tied to what Banfield aptly calls a “special” third- person pronoun which is able to shift freely between different Egos. Mimesis is a simulacrum, an “as if,” and as such it is opposed to truth: mimesis can never be more than a “make-believe” (for the concept of “make-believe,” see Walton 1990). Or, at least, it can take time for … The text (in its syntactic and semantic dimensions) remains the same whatever the type of pragmatic attitude, but the use to which it is put will differ according to the pragmatic attitude (see Hume [1739] 1992: Bk I, Pt III, Sec VII). The poststructuralist criticism of the fact/fiction dichotomy has pointed out that every (narrative) representation is a human construction, and more precisely that it is a model projected onto reality. Walker’s story is about resilience, innovation, and entrepreneurship. Abstract Using Elena Ferrante’s Neapolitan novels as case study, this article presents a cognitive approach to fictionality and authorial intention using Text World Theory and Mind-Modelling. The principle of “minimal departure” (Lewis 1973; Ryan 1991) suggests a positive answer, but the holism of the possible worlds approach (each possible world being complete) suggests a negative answer. In conclusion, the pragmatic definition claims that the syntactic status of fiction depends on its formal make-up, its semantic status on its relationship to reality, but that its status as fiction (or not) depends on the way the representations implemented by the text are processed or used. The stories lead the readers from one storyto the other and establish the context for an embedded narrative. This means that, contrary to the results of mind reading, the results of a fictional narrative simulation are not directly fed into ongoing real-world interactions. Even if it is willfully false (as is the case if it is a lie), what determines its truth or its untruth is not its (hidden) pragmatic intention, but that which is in fact the case. Fictitious tends to carry a negative connotation and is used to denote fiction associated with dishonesty: 'Deepwater Horizon' movie: fact vs. fiction. Factual narrative is a species of referential representation, just as fictional narrative is a species of non-factual representation. In general, fiction refers to plot, settings, and characters created from the imagination, while nonfiction refers to factual stories focused on actual events and people. Other mixed situations are even more difficult to handle. Fact or fiction explained CHERNOBYL has become a worldwide hit with HBO and Sky viewers as it tells the story of the 1986 nuclear disaster. What distinguishes them is the fact that in the case of fictional narrative the question of referentiality is irrelevant, whereas in non-fictional narrative contexts it is important to know whether the narrative propositions are referentially void or not. Invented entities and actions are the common stuff of fiction, and for this reason the idea of the non-referential status of the universe portrayed is part of our standard understanding of fictional narrative. The problem of the inferences we draw from the fictional world to the world in which we live is still very poorly understood, partly because these inferences are difficult to document by non-introspective methodologies. Does it lose its truth value when it is integrated into a novel? Walton is surely right, but Searle’s interest lies primarily in the canonical public status of narrative fiction, and most of the time narrative texts which publicly function as props in a game of make-believe or as playful pretenses are intended to function in this way and, more importantly, have been specifically designed to do so. To our best knowledge, the answer to this question has to do with the processes of immersive simulation induced by narrative and maximized by fictional narrative. What is at stake here is in fact the question of the target domain of narrative immersion: does the reader or spectator immerge into a (fictional) world, or into a narrative act depicting a world? At the same time, they are not random, but on the contrary structurally coherent and functionally pertinent. Thought experiments are generally counterfactual deductive devices giving rise to valid conclusions which are integrated into the real-world belief system. Fact vs Fiction. The ontological status of entities and the truth value status of propositions are related, since an assertion which states something about an entity that is non-existent is ipso facto referentially void. The genre of narrative nonfiction requires heavy research, thorough exploration, and an aim to entertain while also sharing a true, compelling story. It These “deviations” are not the result of conscious stipulations or decisions, but rather they have arisen slowly out of the practice of writing fiction. As Ryan has convincingly shown, both fictional and non-fictional narrative texts invite readers to imagine a world (2001: 93): this “recreative” imagination (Currie & Ravenscroft 2002) is a process of immersive simulation. A pragmatic theory of narrative fiction was implicitly defended by Hume. To create an automatic citation reference for the entire article, copy and paste the reference from the text box. This question is for testing whether you are a human visitor and to prevent automated spam submissions. the probable or necessary relations between events), while history only expresses the particular (that which has happened): history relates the life of the individual Alcibiades, while poetry is a mimetic rendering of the typical actions that an Alcibiades-like individual would probably or by necessity carry out (1996: chap. It has also been objected to Searle that his definition of fiction as intended playful pretense is unable to explain the fact that many texts intended to be factual end up being read as fictions. Autofiction can be seen as a special case of such counterfactual fictions. Ask Question Asked 5 years, 5 months ago. Hitler winning World War II). Another point where simulation theories could be illuminating concerns the ongoing debate in narrative studies as to whether, as is the case in factual narrative, narrative (heterodiegetic) fiction implies the existence of a narrator or not (Uri Margolin → Narrator). In other words, according to Hamburger, in the narrative realm only third-person narrative is fictional, non-factual first-person narrative belonging to another logical field, that of pretended utterances. Text Structure: Narrative vs. Informational texts world, the overall story or ideas are not Overview: 1. the profane as distinct from the sacred). Simulation and playful pretense are basic human capacities whose roots are situated in mental simulation, a partly sub-personal process (Dokic & Proust 2002: intro., vii). ... Schaeffer, J.-M. (2009). Get Access to Full Text. If we take a broad historical and intercultural outlook, it appears that heterodiegetic fictions without any element of formal mimesis of third-person factual narrative are relatively rare except in some 19th-century fiction and, more frequently, in the 20th-century fiction. Thus discursive reference cannot be reduced to narrative reference. Searle’s “Chinese Room” thought experiment and Putnam’s “Brain in a Vat or Twin Earth” thought experiments are fictions in this sense of the word. A more important criticism is that Searle’s pragmatic definition is only negative: it tells us what fiction is not, but not what fiction is. Movies What’s Fact and What’s Fiction in Ford v.Ferrari The new racing movie plays fast and loose with the facts, but some of its most unbelievable details are straight from the record books. Zipfel 2001), since semantic definitions (with the exception of possible worlds semantic definitions: see Doležel 1999) are by necessity “segregationist” (Pavel 1986: 11–7). To state the difference more bluntly: a thought experiment is an experimental device of a logical nature, a suppositional or counterfactual propositional universe intended to help resolve a philosophical problem; an artistic fiction, by contrast, invites mental or perceptual immersion in an invented universe, engaging the reader or the spectator on an affective level with the persons and events that are depicted or described. Narration is conveyed by a narrator: a specific person or unspecified literary voice, developed by the creator of the story, to deliver information to the audience, particularly about the plot (the series of events). Whereas, fictitious has more of a negative connotation. On the side of the reader, they activate an immersive dynamics: the reader “slips into” the characters, experiencing the fictional world as it is seen perspectively by the characters from within or sometimes, as Banfield suggests, from a point of view that remains “empty” (in terms of a specific “I”). Three major competing definitions have been proposed: (a) semantic definition: factual narrative is referential whereas fictional narrative has no reference (at least not in “our” world); (b) syntactic definition: factual narrative and fictional narrative can be distinguished by their logico-linguistic syntax; (c) pragmatic definition: factual narrative advances claims of referential truthfulness whereas fictional narrative advances no such claims. Fact: Believe it or not, this is true! This is especially true of free indirect discourse and grammatical anomalies of spatial and temporal deictics. Autofiction can be seen as a special case of such counterfactual fictions. This process is not referentially constrained and cannot be validated or invalidated in a direct way (e.g. The theory was intended to be valid for all narratives, although in reality the classical narratologists drew only on fictional texts. It investigates two forms of ontological distortion: readers’ (mis)classification of the novels’ genre (as autofiction or autobiography) and the problem posed by the author’s pseudonymic identity. This would imply that the pair fact/fiction is logically heterogeneous. The story of Lucas’ supposed connection first flourished on the streets, and was widely spread in a 2000 New York magazine article by Mark Jacobson. Chernobyl true story: How much of Chernobyl is true? Indeed, fiction, and its species narrative fiction, are best understood as a specific way of producing and using mental representations and semiotic devices, be they verbal or not. Basically it can be said that if every fiction results from a process of mental simulation, the opposite is not the case, i.e. Among the anomalies defining the novel understood this way, Banfield puts particular emphasis on the specific use of deictics and free indirect discourse. the verisimilar or necessary relations between events), while history only expresses the particular (that which has happened): history relates the life of the individual Alcibiades, while poetry is a mimetic rendering of the typical actions that an Alcibiades-like individual would probably or by necessity carry out (1996: chap. (shelved 1 time as factual-fiction) avg rating 4.09 — 17,347 ratings — published 2017 Whatever the answer, it is difficult to distinguish counterfactual fiction from counterfactual history on these grounds. 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