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Stacie Friend

familiar topics of debate subsumed under the rubric of the “Paradox of Fiction.” One is descriptive: how should we classify affective responses to fiction? The other is normative: are our affective responses to fiction (however classified) irrational or

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

: Hollywood in the Age of the Blockbuster . London : I. B. Tauris . Mason , David . 2014 . “ Video Games, Theater, and the Paradox of Fiction .” Journal of Popular Culture 47 ( 6 ): 1109 – 1121 . 10.1111/jpcu.12200 Mukamel , Roy , Arne D. Ekstrom

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Jeffrey M. Zacks, Trevor Ponech, Jane Stadler, and Malcolm Turvey

emote and feel by running simulations in a controlled setting. Mendonça's exposition of how this thesis evades if not solves the paradox of fiction is densely packed with potentially fruitful ideas, some of which are not cogently articulated. It leaves

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Jonathan Frome

. Carroll has used this approach to suggest many popular middle-level aesthetic theories, including “thought theory” as a solution to the paradox of fiction, skepticism about medium specificity, “criterial prefocusing” as an explanation of how films