Fictional Characters

Статтю присвячено феномену Інтернет-фольклору, який розглядається на прикладі візуального образу персонажа «бітард». Наведено деякі аргументи для обґрунтування доцільності вживання поняття «Інтернет-фольклор», описано особливості комунікації через специфічний тип анонімних форумів – іміджборд, а також процес формування фольклору іміджборд. Проаналізовано один із елементів цього фольклору – персонаж «бітард», як відображення досвіду користувачів форумів. Описано його визначальні риси та головні характеристики.

This article briefly addresses the following questions: Why should we study narrative? Does narrative have a basic overarching form or forms? How does framing drive narrative? How do concepts drive narrative? What can we do when we lack the necessary concepts for the narrative we need to tell? Are there basic storylines that repeat? Are there basic character types that we reuse? Can narrative drive the results of a Supreme Court case? Can narrative drive transactional practice? How does narrative's importance (...) underscore the importance of an education in the humanities? (shrink)

We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

‘Ahab is a whaler’ and ‘Holmes is a whaler’ express different propositions, even though neither ‘Ahab’ nor ‘Holmes’ has a referent. This seems to constitute a theoretical puzzle for the Russellian view of propositions. In this paper, I develop a variant of the Russellian view, Plenitudinous Russellianism. I claim that ‘Ahab is a whaler’ and ‘Holmes is a whaler’ express distinct gappy propositions. I discuss key metaphysical and semantic differences between Plenitudinous Russellianism and Traditional Russellianism and respond to objections that (...) stem from those differences. (shrink)

“It was a peculiarly beautiful book. its smooth creamy paper, a little yellowed by age, was of a kind that had not been manufactured for at least forty years past. . . . Even with nothing written in it, it was a compromising possession. The thing that he was about to do was to open a diary. This was not illegal (nothing was illegal, since there were no longer any laws), but if detected it was reasonably certain that it would (...) be punished by death, or at least by twenty-five years in a forced-labour camp.” The Party fears blank paper. On every street corner, you can find newspapers printed With propaganda but blank paper, now that’s nearly impossible to find. For nearly half a century no more notebooks were produced, no blank papers allowed to touch the hands of the masses. This restriction seems odd. Why is blank paper dangerous? What is treacherous about a nice leather-bound book With creamy pages? The very act of Writing on a blank paper is thoughtcrime and Winston knows it. The intriguing question for us is: What’s at stake in the potential of a blank page? There is political potential in a blank page, it could contain a subversive message that could be passed on to others, yet blank paper to Write on is much Weaker than owning a manual printing press hidden in a basement. If Winston Wanted to instigate rebellion against the Party, he Would not handwrite manifestos, he should print them somehow. There’s something else going on with Writing your thoughts in a notebook, and that is related to Newspeak. (shrink)

Hegel was ambivalent about Dutch genre painting’s uncanny ability to find beauty in daily life. The philosopher regarded the Dutch painterly aesthetic as Romanticism avant la lettre, and classifies it as such in his Lectures on Aesthetics, under the section entitled “Die romantischen Künste [The Romantic arts].”1 Dutch art, in Hegel’s reading, is marred by many shortcomings. The most prominent among these are the “subjective stubbornness [subjective Beschlossenheit]” that prevents this art from attaining to the “free and ideal forms of (...) expression” that marked the productions of Italian artists such as Raphael. In contradistinction to their Italian counterparts, Dutch artists in Hegel’s view are apt to. (shrink)

The paper examines two possible analyses of fictional names within Pavel Tichý’s Transparent Intensional Logic. The first of them is the analysis actually proposed by Tichý in his (1988) book The Foundations of Frege’s Logic. He analysed fictional names in terms of free variables. I will introduce, explain, and assess this analysis. Subsequently, I will explain Tichý’s notion of individual role (office, thing-to-be). On the basis of this notion, I will outline and defend the second analysis of fictional names. This (...) analysis is close to the approach known in the literature as role realism (the most prominent advocates of this position are Nicholas Wolterstorff, Gregory Currie, and Peter Lamarque). (shrink)

Conversational exculpature is a pragmatic process whereby information is subtracted from, rather than added to, what the speaker literally says. This pragmatic content subtraction explains why we can say “Rob is six feet tall” without implying that Rob is between 5'0.99" and 6'0.01" tall, and why we can say “Ellen has a hat like the one Sherlock Holmes always wears” without implying Holmes exists or has a hat. This article presents a simple formalism for understanding this pragmatic mechanism, specifying how, (...) in context, the result of such subtractions is determined. And it shows how the resulting theory of conversational exculpature accounts for a varied range of linguistic phenomena. A distinctive feature of the approach is the crucial role played by the question under discussion in determining the result of a given exculpature. (shrink)

The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...) or plays, performances of which are naturally regarded as involving, or evoking, a “fictional world” whose fictional characters and events are what the work in question is about. Another reason for initially focusing on such narrative plays is because performances of them provide a rich source of epistemic issues about evidence for artistic authenticity or correctness of artworks, which will turn out to be of integral importance to my fictionalist account of plays. (shrink)

We outline a neo-Meinongian framework labeled as Modal Meinongian Metaphysics (MMM) to account for the ontology and semantics of fictional discourse. Several competing accounts of fictional objects are originated by the fact that our talking of them mirrors incoherent intuitions: mainstream theories of fiction privilege some such intuitions, but are forced to account for others via complicated paraphrases of the relevant sentences. An ideal theory should resort to as few paraphrases as possible. In Sect. 1, we make this explicit via (...) two methodological principles, called the Minimal Revision and the Acceptability Constraint. In Sect. 2, we introduce the standard distinction between internal and external fictional discourse. In Sects. 3–5, we discuss the approaches of (traditional) Meinongianism, Fictionalism, and Realism—and their main troubles. In Sect. 6 we propose our MMM approach. This is based upon (1) a modal semantics including impossible worlds (Subsect. 6.1); (2) a qualified Comprehension Principle for objects (Subsect. 6.2); (3) a notion of existence-entailment for properties (Subsect. 6.3). In Sect. 7 we present a formal semantics for MMM based upon a representation operator. And in Sect. 8 we have a look at how MMM solves the problems of the three aforementioned theories. (shrink)

In this paper, I will claim that fictional works apparently about utterly immigrant objects, i.e., real individuals imported in fiction from reality, are instead about fictional individuals that intentionally resemble those real individuals in a significant manner: fictional surrogates of such individuals. Since I also share the realists’ conviction that the remaining fictional works concern native characters, i.e., full-fledged fictional individuals that originate in fiction itself, I will here defend a hyperrealist position according to which fictional works only concern fictional (...) individuals. (shrink)

Recently, a number of authors have suggested that we understand scientific models in the same way as fictional characters, like Sherlock Holmes. The biggest challenge for this approach concerns the ontology of fictional characters. I consider two responses to this challenge, given by Roman Frigg, Ronald Giere and Peter Godfrey-Smith, and argue that neither is successful. I then suggest an alternative approach. While parallels with fiction are useful, I argue that models of real systems are more aptly compared to works (...) that portray real people, like the Emperor Claudius. This approach will allow us to avoid problems with fictional characters. (shrink)

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of view by (...) philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

Th ere is much controversy surrounding the nature of the relation between fictional individuals and possible individuals. Some have argued that no fictional individual is a possible individual; others have argued that (some) fictional individuals just are (merely) possible individuals. In this paper, I off er further grounds for believing the theory of fictional individuals defended by Amie Thomasson,viz., Artifactualism, by arguing that her view best allows one to make sense of this puzzling relation. More specifically, when we realize that (...) the view allows for an identification of merely possible individuals with fictional individuals, we seethat the utility, and hence the level of credence lent to Artifactualism, is increased. After arguing for this thesis, I respond to three of the most pressing worries. (shrink)

Abstract In this paper I criticise a recent account of fictional discourse proposed by Nathan Salmon. Salmon invokes abstract artifacts as the referents of fictional names in both object- and meta-fictional discourse alike. He then invokes a theory of pretence to forge the requisite connection between object-fictional sentences and meta-fictional sentences, in virtue of which the latter can be assigned appropriate truth-values. I argue that Salmon's account of pretence renders his appeal to abstract artifacts as the referents of fictional names (...) in object-fictional discourse explanatorily redundant. I further argue that his account is therefore no improvement over those he criticises, thus leaving his own account unmotivated. (shrink)

Abstract creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.

Fictional realists hold that fictional characters are real entities. However, Anthony Everett [“Against Fictional Realism”, Journal of Philosophy (2005)] notes that some fictions leave it indeterminate whether character A is identical to character B, while other fictions depict A as simultaneously identical and distinct from B. Everett argues that these fictions commit the realist to indeterminate and impossible identity relations among actual entities, and that as such realism is untenable. This paper defends fictional realism: for fictions depicting non-classical identity between (...) A and B, the realist should hold that there are two salient fragments, one with a single character (named both ‘A’ and ‘B’) and the other with two (named ‘A’ and ‘B’, respectively). Truth according to the fiction depicting indeterminate identity is determined by supervaluating over truth according to those salient fragments. For fictions depicting impossible identity, truth is determined by subvaluating over truth according to those two salient fragments. (shrink)

As the subtitle “A Syncretistic Account of Fictional Entities” makes clear, Alberto Voltolini intends in this book to argue for a syncretic view of the ontology and the semantics of fiction. In the process, he offers sympathetic and clear presentations of the main contenders in the field, discussing first ontological matters (chapters 1–4) and then semantic questions (chapters 5–6), and concluding with an ‘ontological’ argument for the allegedly syncretic brand of realism about fictional entities he has by then endorsed. The (...) book will therefore be very useful for all those who want to have a guided overview of the state of the art in the field, and very helpful if used as a main text for an introductory graduate course. (shrink)

There is a list of desiderata that any good metaphysics of fictional entities should be able to fulfill. These desiderata are: 1) the nonexistence of fictional entities; 2) the causal inefficacy of suchentities;3)the incompleteness of such entities;4)the created character of such entities; 5) the actual possession by ficta of the narrated properties; 6) the unrevisable ascription to ficta of such properties; and 7) the necessary possession by ficta of such properties. (Im)possibilist metaphysics uncontroversially satisfy 1) and 2); Neo-Meinongian metaphysics satisfy (...) 1), 2), 3), 5), 6), and 7); artefactualist or creationist metaphysics uncontroversially satisfy 1), 2), 3), and 4). Another metaphysics is needed in order to satisfy all such desiderata. In this chapter Idevelop such a metaphysics, claiming that a Syncretistic metaphysics that combines Neo-Meinongianism with Artefactualism achieves this purpose. According to Syncretism, ficta are hybrid entities individuated in terms of both a certain makebelieve narrative process and the set of properties that one such narration mobilizes. Toward the end of the chapter I consider some possible criticisms to this approach: its non-intuitiveness; ficta’s unnecessary proliferation; and troubles with creationism of any sort. (shrink)

In this paper I confront what I take to be the crucial challenge for fictional realism, i.e. the view that fictional characters exist. This is the problem of accounting for the intuition that corresponding negative existentials such as ‘Sherlock Holmes does not exist’ are true (when, given fictional realism, taken literally they seem false). I advance a novel and detailed form of the response according to which we take them to mean variants of such claims as: there is no concrete (...) x such that x is Sherlock Holmes. (shrink)

Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while plain assertions (...) are updates on a belief component. Proper names – regular, empty, or fictional – are uniformly analyzed as presupposition triggers. The possibility of different attitude components referentially depending on each other is what ultimately allows us to account for the central paradox mentioned above. (shrink)

Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be exploring (...) Kripke’s fleeting remarks in his “Naming and Necessity” lectures (1972, 156–7) about expressions like ‘unicorn’ and ‘Harry Potter’. Elsewhere, Kripke motivates artifactualism by suggesting that incorporating authorial creation (as artifactualism does) is a move that is intuitive and natural; but beyond this, he doesn’t provide any arguments in favor of such a move. My purpose in this paper is to construct such an argument based on considerations about Kripke’s general view about proper names, in particular, his seminal causal-historical chain account of reference determination. (shrink)

An imaginary dialogue between Andrea Bonomi and Gonzalo Pirobutirro (the main character of Gadda’s novel La cognizione del dolore) aiming to challenge Bonomi’s tenet that a work of fiction defines a domain of objects which is closed with respect to the actual world.

Book Information: Thomasson, Amie L., Fiction and Metaphysics (Cambridge: Cambridge University Press, 1999), pp. xii, 175, $49.95.

A short dialogue around the question of whether the thoughts expressed by the characters of an historical novel belong to the characters or to the author.

Creationism about fictional entities requires a principle connecting what fictions say exist with which fictional entities really exist. The most natural way of spelling out such a principle yields inconsistent verdicts about how many fictional entities are generated by certain inconsistent fictions. Avoiding inconsistency without compromising the attractions of creationism will not be easy.

Les médecins qui écrivent sont nombreux à travers le monde, mais les relations entre expérience professionnelle des soignants et écriture de fiction sont plus largement étudiés et reconnus dans le monde littéraire et médical anglophone que dans l'espace francophone. À travers l'examen de quatre romans d'un médecin-écrivain français publiant depuis 1989 et à la faveur d'un entretien inédit, cet article s'interroge sur la manière dont l'expérience professionnelle d'un praticien peut nourrir ses fictions et y transmettre les conceptions de l'auteur sur (...) l'éthique du soin. (shrink)

In this paper I want to show that the idea supporters of traditional creationism (TC) defend, that success of a fictional character across different works has to be accounted for in terms of the persistence of (numerically) one and the same fictional entity, is incorrect. For the supposedly commonsensical data on which those supporters claim their ideas rely are rather controversial. Once they are properly interpreted, they can rather be accommodated by moderate creationism (MC), according to which fictional characters arise (...) out of a reflexive stance on a certain make-believe process. For MC, success of a fictional character across different works amounts to the fact that, first, different work-bound ficta are related with each other by means of a relation weaker than numerical identity, transfictional sameness, and second, that all those ficta are related by transfictional inclusion to a fictum that in some sense gather them all, the so-called general character. Since a general character is an abstract constructed entity, moreover, the more those particular ficta are generated, the more general fictional characters including all of them arise. (shrink)

In this paper, I want to show that a reasonable thesis on truth in fiction, Fictional Vichianism (FV)—according to which fictional truths are true because they are stipulated to be true—can be positively endorsed if one grounds Kripke’s justification for (FV), that traces back to the idea that names used in fiction never refer to concrete real individuals, into a creationist position on fictional entities that allows for a distinction between the pretending and the characterizing use of fiction-involving sentences. Thus, (...) sticking to (FV) provides a reason for a metaphysically moderate ontological realism on fictional entities. (shrink)

Creationism is the conjunction of the following theses: (i) fictional individuals (e.g. Sherlock Holmes) actually exist; (ii) fictional names (e.g., 'Holmes') are at least sometimes genuinely referential; (iii) fictional individuals are the creations of the authors who first wrote (or spoke, etc.) about them. CA Creationism is the conjunction of (i) - (iii) and the following thesis: (iv) fictional individuals are contingently existing abstracta; they are non-concrete artifacts of our world and various other possible worlds. TakashiYagisawa has recently provided a (...) number of arguments designed to show that Creationism is unjustified. I here critically examine three of his challenges to CA Creationism. I argue that each fails to undermine this version of Creationism. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...) provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

Words, languages, symphonies, fictional characters, games, and recipes are plausibly abstract artifacts— entities that have no spatial location and that are deliberately brought into existence as a result of creative acts. Many accept that composition is unrestricted: for every plurality of material objects, there is a material object that is the sum of those objects. These two views may seem entirely unrelated. I will argue that the most influential argument against restricted composition—the vagueness argument—doubles as an argument that there can (...) be no abstract artifacts. There is no way to resist the vagueness argument against abstract artifacts that does not also undermine the vagueness argument against restricted composition. (shrink)

In this paper, I explore a line of argument against one form of realism about fictional characters : abstract artifact theory, the view according to which fictional characters like Harry Potter are part of our reality, but, they are abstract objects created by humans, akin to the institution of marriage and the game of soccer. I will defend artifactualism against an objection that Mark Sainsbury considers decisive against it: the category-mistake objection. The objection has it that artifactualism attributes to people (...) who produce and process sentences and thoughts about Harry Potter massive error, indeed, a category mistake about what kind of thing Harry Potter is; for an abstract object isn’t the sort of thing that can wear glasses, ride a double-decker bus, attend school. Given problems with this objection, artifactualism, I shall conclude, remains a tenable contender. (shrink)

In this entry I present one of the most hotly debated issues in contemporary analytic philosophy regarding the nature of fictional entities and the motivations that might be adduced for and against positing them into our ontology. The entry is divided in two parts. In the first part I offer an overview of the main accounts of the metaphysics of fictional entities according to three standard realist views, fictional Meinongianism, fictional possibilism and fictional creationism. In the second part I describe (...) two main kinds of arguments for or against positing fictional entities into our ontology. The first kind is traditionally inspired by the linguistic data coming from our talk about fictional characters. The second kind is more recent and it builds on genuine ontological considerations. (shrink)

In this paper I seek defend the view that fictional characters are author-created abstract entities against objections offered by Stuart Brock in his paper “The Creationist Fiction: The Case against Creationism about Fictional Characters.” I argue that his objections fall far short of his goal of showing that if philosophers want to believe in fictional characters as abstract objects, they should not view them as author-created. My defense of creationism in fiction in part rests on tying the act of creating (...) a fictional character more closely to the act of story-telling. Ultimately I aim to show that the creation of abstract entities is not as problem-laden as some may think, and that such a view is coherent. (shrink)

Fiction is often characterized by way of a contrast with truth, as, for example, in the familiar couplet “Truth is always strange/ Stranger than fiction" (Byron 1824). And yet, those who would maintain that “we will always learn more about human life and human personality from novels than from scientific psychology” (Chomsky 1988: 159) hold that some truth is best encountered via fiction. The scrupulous novelist points out that her work depicts no actual person, either living or dead; nonetheless, we (...) use names from fiction in ways that suggest that we take these names to refer. Philosophers who investigate fiction aim to reconcile such apparently incompatible phenomena, and, in general, to account for the myriad ways that we talk, think, and feel about fiction. (shrink)

Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...) to imagine. Most other theories of thought and discourse about fictional characters either fail to capture the intentionality of our imaginings, or else obscure the differences between imaginings directed toward fictional characters and those directed toward real individuals. I argue that once we have an account of prescriptions to imagine about real individuals, we can adapt the same framework to specify the contents of prescriptions to imagine about fictional characters, and thereby to account for the truth (or falsity) of statements about fictional characters. (shrink)