 Another point of contention within imaginative resistance research concerns the object of resistance. What is involved in our resisting to engage with a fictional work? So far we have seen various accounts that attempt to give explanations of imaginative resistance while assuming that what is resisted is propositional content. There are other options. According to Moran (1994), our engagement with works of fiction cannot be reduced merely to imagining propositional contents but also includes interpretive and emotional responses to fiction. In point of fact, the content of our engagement is largely non-propositional. He rejects the clear-cut distinction between the actual and the fictional and claims that our interpretative and emotional responses to fiction are actual rather than imagined. Moran distinguishes between hypothetical and dramatic imagination (1994: 104–5). Hypothetical imagining involves seeing what would follow from a propositional content you are given, entertaining the assumption of its truth. Dramatic imagining or imagining with respect to emotional attitudes involves trying on a perspective, a dramatic rehearsal so to speak. The phenomenon of imaginative resistance involves both kinds of imagining. A resistance triggering scenario would do so because (1) we have difficulties entertaining the assumption of its truth because the storyline does not add up and (2) we have difficulties inhabiting the perspective because it is alien to us. 