Precis of Mimesis as Make-Believe: On the Foundations of the Representational Arts
Precis of Mimesis as Make-Believe: On the Foundations of the Representational Arts
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作为虚构的模仿概要：论再现艺术的基础
DOI：
10.2307/2108134
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发表时间：
1991
影响因子：
1.5
通讯作者：
K. Walton
中科院分区：
文献类型：
--
作者：
K. Walton
作为虚构的模仿主要是对具象艺术运作的探索，其中我将小说、故事、具象绘画和雕塑、戏剧和电影视为范例。我对文学和描绘形式的表现形式给予大致同等的重视，尽管我的评论者稍微关注后者。我进行这种探索的工具类似于儿童的过家家游戏。没有人会觉得这个类比令人惊讶或牵强，但它显然是非常规的。我的方法与更常见的强调与语言类比的强调形成鲜明对比，特别是在最近关于再现艺术的讨论中。虚构的实践远远超出了儿童游戏和表现艺术的范围。我阐述了一种虚构的一般理论，也可能有许多其他应用。但除了处理有关虚构实体和存在主张的问题外，我还专注于虚构概念可以为理解小说、绘画、电影等提供的洞察力——作品具有代表性的是什么，再现之间差异的本质和意义，以及各种再现在我们的生活中发挥重要作用的方式。儿童游戏和具象艺术都涉及虚构的世界。有警察与强盗游戏的世界，也有故事和绘画的世界。在这两种情况下，理解和欣赏这样的世界都需要发挥想象力。然而，这些明显的相似点并没有让我们走得太远。进行类比的主要优势在于其他地方。孩子们是虚构的积极参与者，他们属于游戏的世界。这是“在警察与抢劫的游戏世界中是真实的——
Mimesis as Make-Believe is primarily an exploration of the workings of the representational arts, among which I count novels, stories, figurative painting and sculpture, theater, and film as paradigmatic instances. I give approximately equal billing to literary and depictive forms of representation, although my commentators concentrate somewhat on the latter. The vehicle by which I conduct this exploration is an analogy with children's games of make-believe. No one will find this analogy surprising or far fetched, but it is distinctly unconventional. My approach contrasts sharply with the more common emphasis, especially in recent discussions of the representational arts, on analogies with language. The practice of make-believe extends far beyond children's games and the representational arts. I articulate a general theory of make-believe likely to have many other applications as well. But except for treating problems concerning fictitious entities and existence claims, I concentrate on the insight that the notion of make-believe can provide in understanding novels, paintings, films, and the like-what it is for a work to be representational, the nature and significance of differences among representations, and the ways in which representations of various kinds are important in our lives. Children's games and representational art both involve fictional worlds. There is the world of a game of cops and robbers, and there are worlds of stories and paintings. Understanding and appreciating such worlds, in both cases, involves exercising the imagination. These evident points of similarity do not get us very far, however. The main advantage of pursuing the analogy lies elsewhere. Children are active participants in make-believe, and they belong to the worlds of their games. It is "true in the world of a game of cops and rob-