196:' notion that the author should obscure the fiction or art of the novel to avoid destroying illusion: the made up attributes of the text. The novel before was perceived as a work of distinct parts. Now the novel was not thought of in terms of separate parts, but rather as a work as a whole. The novel was a total illusion of life within itself. It was a closed fictional world that could establish its own rules and laws. Verisimilitude then became deeply rooted in structure. The focus of credibility did not rest solely on the external world of the reader; the novel's credibility then could be seen in terms of the novel's own
164:. During this time more attention was invested in pinning down fiction with theory. This shift manifested itself in increased focus on unity in heroic poetry. No matter how fictionalized the language of a poem might be, through verisimilitude, poets had the ability to present their works in a way that could still be believed in the real world. Verisimilitude at this time also became connected to another Aristotelian dramatic principle,
180:. Verisimilitude became the means to accomplish this mindset. To promote the willing suspension of disbelief, a fictional text needed to have credibility. Anything physically possible in the worldview of the reader or humanity's experience was defined as credible. Through verisimilitude then, the reader was able to glean truth even in fiction because it would reflect realistic aspects of human life.
216:
novel, some critics suggested that truth or significance lies beyond verisimilitude and that only by complete non-discursive freedom to encounter a novel could meaning truly be discovered. Verisimilitude, they argued, was not the first aspect of the text a reader experiences. The reader instead first
203:
The focus of verisimilitude was no longer concerned with the reader. The focus shifted to the novel itself. Verisimilitude was a technical problem to resolve within the context of the novel's fictional world. Detail centered on the creation of a logical cause web in the text that then could reinforce
220:
The reader can understand the novel as art but not necessarily as a cultural construction. The novel should challenge the construction of reality. In this sense, it was possible for art to precede reality. Reality had to catch up to the text rather than text staying present to reality. A boundary
188:
The idea that credibility, and in turn verisimilitude, rested on the reader's sense of the world encountered opposition because of the dilemma it created: every reader and every person does not have the same knowledge of the world. This kind of theory suggests that the novel consisted of distinct
171:
This classical notion of verisimilitude focused on the role of the reader in his/her engagement in the fictional work of art. The goal of the novel therefore, as it became a more popular form of verisimilitude, was to instruct and offer a pleasurable experience to the reader. The novel had to
251:
in a way true to the source material that would make it feel intuitively real to the audience within the context of the story's world. The result was a highly acclaimed film that would set the standard for a film genre that would become dominant decades later.
189:
parts. The way novelists avoided this dilemma initially was by adding a preface to the work of fiction stating its credibility or by including more references to known history within the text of the fiction.
221:
existed establishing that text does not belong to a current time or situation. In the postmodern context, verisimilitude was less of a concern for the novelist according to some critics.
168:: the realistic union of style and subject. Poetic language of characters in a work of fiction as a result had to be appropriate in terms of the age, gender or race of the character.
247:
holding a sash with the word "verisimilitude" on it in his office during the project. That display was to remind Donner that he intended to approach the story of the fantasy
217:
tries to observe if the novel works as an intelligible narrative. The lens of verisimilitude is applied only after the reader establishes if the novel makes sense or not.
192:
As more criticism on the novel surfaced, the inclusion of a preface or a scattering of some historical references was not enough to engage the reader. French theorist
117:, meaning plausibility of the fictional work within the cultural and/or historical context of the real world, outside of the work; and
479:
311:
145:, the imitation or representation of nature. For a piece of art to hold significance or persuasion for an audience, according to
31:
511:
122:
193:
177:
173:
125:(so that, for example, characters regularly singing about their feelings is a believable action within the
443:
Zavarzadeh, Mas'Ud (1985). "The
Semiotics of the Foreseen: Modes of Narrative in (Contemporary) Fiction".
213:
521:
235:
516:
460:
425:
398:
363:
126:
307:
416:
Sterling, Ewlyn F. (1967). "The Theory of
Verisimilitude in the French Novel prior to 1830".
526:
452:
390:
355:
43:
17:
271:
130:
266:
240:
230:
197:
98:
156:
This idea laid the foundation for the evolution of mimesis into verisimilitude in the
141:
Verisimilitude has its roots in both the
Platonic and Aristotelian dramatic theory of
505:
161:
110:
317:
301:
261:
157:
248:
150:
244:
121:, meaning plausibility of a fictional work within the bounds of its own
464:
165:
142:
94:
429:
402:
367:
306:. London: Sage in association with the Open University. p. 360.
456:
394:
359:
146:
303:
478:
The
Academy of Motion Picture Arts and Sciences (27 June 2017).
52:
82:
331:
Teskey, Gordon (2005). "Renaissance Theory and
Criticism".
79:
76:
70:
61:
55:
333:
The Johns
Hopkins Guide to Literary Theory and Criticism
480:"Lessons Every Filmmaker Can Learn From Richard Donner"
290:
Oxford
English Dictionary Online, Second Edition 1989.
346:
Ashley, Robert P. (1971). "What Makes a Good Novel".
58:
46:
85:
73:
49:
67:
64:
27:Appearance of reality in literature and theater
204:the overarching structural logic of the plot.
93:) is the "lifelikeness" or believability of a
381:Sparshott, F. E. (1967). "Truth in Fiction".
8:
383:Journal of Aesthetics and Art Criticism
283:
225:Application of the concept in the arts
109:meaning similar. Language philosopher
153:, it must have grounding in reality.
7:
172:facilitate the reader's willingness
25:
229:In the production of the classic
113:distinguishes between two types:
42:
32:Verisimilitude (disambiguation)
176:, a phrase used originally by
1:
174:to suspend his/her disbelief
18:Verisimilitude (literature)
543:
29:
194:Pierre Nicolas Desmolets
160:particularly in Italian
212:During the rise of the
178:Samuel Taylor Coleridge
115:cultural verisimilitude
208:Postmodern perspective
119:generic verisimilitude
102:
97:. The word comes from
512:Descriptive technique
300:Hall, Stuart (1997).
243:had a picture of the
30:For other uses, see
348:The English Journal
184:Continued evolution
335:(Second ed.).
127:fictional universe
105:meaning truth and
418:The French Review
16:(Redirected from
534:
496:
495:
493:
491:
475:
469:
468:
440:
434:
433:
413:
407:
406:
378:
372:
371:
343:
337:
336:
328:
322:
321:
297:
291:
288:
92:
91:
88:
87:
84:
81:
78:
75:
72:
69:
66:
63:
60:
57:
54:
51:
48:
21:
542:
541:
537:
536:
535:
533:
532:
531:
502:
501:
500:
499:
489:
487:
477:
476:
472:
457:10.2307/1771956
442:
441:
437:
415:
414:
410:
380:
379:
375:
345:
344:
340:
330:
329:
325:
314:
299:
298:
294:
289:
285:
280:
272:Tiffany Problem
258:
245:title character
227:
210:
186:
139:
95:work of fiction
45:
41:
35:
28:
23:
22:
15:
12:
11:
5:
540:
538:
530:
529:
524:
519:
514:
504:
503:
498:
497:
470:
451:(4): 432–433.
435:
424:(5): 613–619.
408:
395:10.2307/429239
373:
360:10.2307/813069
354:(5): 596–598.
338:
323:
312:
292:
282:
281:
279:
276:
275:
274:
269:
267:False document
264:
257:
254:
241:Richard Donner
231:superhero film
226:
223:
209:
206:
198:internal logic
185:
182:
138:
137:Original roots
135:
38:Verisimilitude
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
539:
528:
525:
523:
520:
518:
515:
513:
510:
509:
507:
485:
481:
474:
471:
466:
462:
458:
454:
450:
446:
445:Poetics Today
439:
436:
431:
427:
423:
419:
412:
409:
404:
400:
396:
392:
388:
384:
377:
374:
369:
365:
361:
357:
353:
349:
342:
339:
334:
327:
324:
319:
315:
313:9780761954323
309:
305:
304:
296:
293:
287:
284:
277:
273:
270:
268:
265:
263:
260:
259:
255:
253:
250:
246:
242:
238:
237:
232:
224:
222:
218:
215:
207:
205:
201:
199:
195:
190:
183:
181:
179:
175:
169:
167:
163:
162:heroic poetry
159:
154:
152:
148:
144:
136:
134:
132:
128:
124:
120:
116:
112:
108:
104:
100:
96:
90:
39:
33:
19:
488:. Retrieved
483:
473:
448:
444:
438:
421:
417:
411:
386:
382:
376:
351:
347:
341:
332:
326:
318:Google Books
316:– via
302:
295:
286:
234:
228:
219:
211:
202:
191:
187:
170:
155:
140:
118:
114:
106:
37:
36:
522:Narratology
490:28 December
262:Description
239:, director
158:Middle Ages
111:Steve Neale
517:Literature
506:Categories
484:Medium.com
389:(1): 3–7.
278:References
214:postmodern
249:superhero
151:Aristotle
486:. Medium
256:See also
236:Superman
527:Fiction
465:1771956
166:decorum
143:mimesis
131:musical
107:similis
463:
430:384665
428:
403:429239
401:
368:813069
366:
310:
461:JSTOR
426:JSTOR
399:JSTOR
364:JSTOR
147:Plato
129:of a
123:genre
103:verum
99:Latin
492:2018
308:ISBN
149:and
453:doi
391:doi
356:doi
200:.
133:).
508::
482:.
459:.
447:.
422:40
420:.
397:.
387:26
385:.
362:.
352:60
350:.
233:,
101::
83:uː
80:tj
53:ɛr
494:.
467:.
455::
449:6
432:.
405:.
393::
370:.
358::
320:.
89:/
86:d
77:ɪ
74:l
71:ɪ
68:m
65:ˈ
62:ɪ
59:s
56:ɪ
50:v
47:ˌ
44:/
40:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.