Abstract
A primary dimension of our engagement with fictional works of art – paradigmatically literary, dramatic, and cinematic narratives – is figuring out what is true in such representations, what the facts are in the fictional world. These facts (or states of affairs) include not only those that ground any genuine understanding of a story – say, that it was his own father whom Oedipus killed – but also those that may be missed in even a largely competent reading, say, that Emma Bovary's desires and dissatisfactions are fed by reading romance novels.
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