Abstract

I argue that knowledge about the human condition can be derived from appreciating works of fictional literature. I support this claim in two major ways. ;First, I present a theory of "fictive modeling," which holds that: Fictive works may embody the structure of some subject matter ; and Such an embodiment allows the subject matter's structure to become more perspicuous to suitable appreciators and, thereby, susceptible to a wide range of epistemic operations . I contend this theory accommodates more segments of the knowledge acquisition process than standard propositional theories, which limit what we learn from fiction to propositions contained either implicitly or explicitly in a fictive text. I hold that fictive knowledge includes shifts in pattern recognition, conceptual classification and analogical projection--each of which is an important epistemic result in science and practical affairs, yet which is inadequately articulated by the notion of a determinate proposition. ;Second, I analyze several kinds of knowledge fiction typically generates about the human condition. These include both descriptive and normative knowledge concerning human emotions, subjective "ways of seeing," and self-deceptions, as well as imaginative knowledge of other people's views and circumstances. ;In my discussion, I challenge Plato's conception that fictive art leads appreciators to have hedonic and emotive experiences which discourage the attainment of knowledge. I contend Plato underestimates the capacity of appreciators to subject fictive models to critical testing and, in this way, to control such experience. Critical testing may be accomplished by employing the claims and procedures of experts or the appreciator's own experiences. ;I also discuss the beneficial role served by literacy critics, who guide appreciators in identifying and assessing epistemic models contained in fictive works. Concerning the problem of multiple, yet contrary, interpretations of a work , I claim there is no logical difficulty here, since there are good reasons to accept the premise that fictive works are structurally ambiguous objects