Abstract
The anti-realist case thrives on myths about realism. One such myth is that those who write, or attempt to write, realistic fiction imagine they can do so only because they believe that language is a reflecting mirror or a transparent window — at any rate, a passive surface that effaces itself before an extra-linguistic reality which it undistortingly reflects or reveals.1
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Notes
‘Philosophy and the Form of Fiction’, in R. Scholes (ed.), Fiction and the Figures of Life (New York: Alfred A. Knopf, 1970) p. 12.
Quoted — without protest — by Jonathan Culler in Structuralist Poetics (London: Routledge & Kegan Paul, 1975) p. 109.
Ludwig Wittgenstein, Philosophical Investigations, trans. G. E. M. Anscombe (Oxford: Basil Blackwell, 1953) p. 32.
See John Lyons, Semantics (Cambridge University Press, 1977) vol. I, ch. 4.
Edmund Gosse, quoted in Damien Grant, Realism (London: Methuen, 1970) p. 15.
Robert Scholes, The Fabulators (New York: Oxford University Press, 1967).
Raymond Tallis, ‘The Realistic Novel versus the Cinema’, Critical Quarterly, vol. 27, no. 2 (1985) pp. 57–65.
P. F. Strawson, Individuals: An Essay in Descriptive Metaphysics (London: Methuen, 1959).
Roland Barthes, The Death of the Author, in Image — Music — Text, selected and trans. Stephen Heath (London: Fontana, 1977) p. 142.
Terence Hawkes, Structuralism and Semiotics (London: Methuen, 1977) p. 156.
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© 1995 Raymond Tallis
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Tallis, R. (1995). Reference Restored. In: Not Saussure. Language, Discourse, Society. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-23963-4_5
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