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  1. Gusto. Pensare la frattura. [REVIEW]Fabio Vergine - 2015 - Doppiozero 1.
    Recensione del testo di Giorgio Agamben, "Gusto".
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  2. Melville and Nietzsche: Living the Death of God.Mark Anderson - 2016 - Philosophy and Literature 40:59-75.
    Herman Melville was so estranged from the religious beliefs of his time and place that his faith was doubted during his own lifetime. In the middle of the twentieth century some scholars even associated him with nihilism. To date, however, no one has offered a detailed account of Melville in relation to Nietzsche, who first made nihilism a topic of serious concern to the Western philosophical tradition. In this essay, I discuss some of the hitherto unexplored similarities between Melville’s ideas (...)
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  3. The Value of Fidelity in Adaptation.James Harold - 2018 - British Journal of Aesthetics 58 (1):89-100.
    © British Society of Aesthetics 2018. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comThe adaptation of literary works into films has been almost completely neglected as a philosophical topic. I discuss two questions about this phenomenon:What do we mean when we say that a film is faithful to its source?Is being faithful to its source a merit in a film adaptation?In response to, I set out two distinct (...)
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  4. Wittgenstein's Enigmatic Remarks on Shakespeare.Wolfgang Andreas Huemer - forthcoming - In Craig Bourne & Emily Caddick Bourne (eds.), The Routledge Companion to Shakespeare and Philosophy. London, New York: Routledge.
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  5. Experience, Poetry and Truth: On the Phenomenology of Ernst Jünger’s The Adventurous Heart.Rasmus Gahrn-Andersen - 2017 - Phainomena (100-101):61-74.
    Ernst Jünger is known for his war writings, but is largely ignored by contemporary phenomenologists. In this essay, I explore his e Adventurous Heart which has recently been made available in English. is work consists of a set of fragments which, when related, disclose a coherent ow of philosophical thinking. Speci cally, I show that, beneath a highly poetic and obscure prose, Jünger posits how subjective experience and poetry allow individuals to realize truth. I relate parts of Jünger’s insights to (...)
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  6. 导论:维特根斯坦.语言与文学哲学.Wolfgang Andreas Huemer - 2008 - In John Gibson & Wolfgang Andreas Huemer (eds.), 文人维特根斯坦. Shanghai: Sanhui. pp. 1-18.
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  7. Literature, Genre Fiction, and Standards of Criticism.James Harold - 2011 - Nonsite.Org 1 (4).
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  8. Ksenologia i ksenotopografia Bernharda Waldenfelsa wobec podstawowych założeń światotwórczych literatury fantastycznej (Orson Scott Card, Neil Gaiman, George R. R. Martin).Krzysztof M. Maj - 2014 - Hybris. Revista de Filosofía (27):072-095.
    XENOLOGY AND XENOTOPOGRAPHY OF BERNHARD WALDENFELS The paper strives to adapt Bernhard Waldenfels’ xenology and so called ‘xenotopography’ for the philosophico-literary studies in fantastic world-building with a special concern of the ‘portal-quest’ model of fantasy and SF. Following Waldenfel’s remarks on the nature of post- Husserlian diastasis of our world [Heimwelt] and otherworld [Fremdwelt] and acknowledging the consequences of allocating one’s attitude towards the otherness in the symbolical borderland [‘sphere of intermonde’] in between, it is examined whether such a model (...)
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  9. Lamarque, Peter. The Opacity of Narrative. Lanham, Maryland: Rowman & Littlefield, 2014, Xv + 213 Pp., £19.95 Paper. [REVIEW]Jonathan Gilmore - 2015 - Journal of Aesthetics and Art Criticism 73 (3):349-351.
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  10. The Strains of Involvement.Neal A. Tognazzini - 2015 - In Randolph Clarke, Michael McKenna & Angela M. Smith (eds.), The Nature of Moral Responsibility. Oxford University Press. pp. 19-44.
    Analytic philosophers have a tendency to forget that they are human beings, and one of the reasons that P. F. Strawson’s 1962 essay, “Freedom and Resentment”, has been so influential is that it promises to bring discussions of moral responsibility back down to earth. Strawson encouraged us to “keep before our minds...what it is actually like to be involved in ordinary interpersonal relationships”, which is, after all, the context in which questions about responsibility arise in the first place. In this (...)
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  11. The Puzzle of Multiple Endings.Florian Cova & Amanda Garcia - 2015 - Journal of Aesthetics and Art Criticism 73 (2):105-114.
    Why is it that most fictions present one and only one ending, rather than multiple ones? Fictions presenting multiple endings are possible, because a few exist; but they are very rare, and this calls for an explanation. We argue that such an explanation is likely to shed light on our engagement with fictions, for fictions having one and only one ending seem to be ubiquitous. After dismissing the most obvious explanations for this phenomenon, we compare the scarcity of multiple endings (...)
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  12. The Broom Closet Secret Meanings of Domesticity in Postfeminist Novels by Louise Erdrich, Mary Gordon, Toni Morrison, Marge Piercy, Jane Smiley, and Amy Tan.Jeannette Batz Cooperman - 1999
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  13. O Neo-Realismo Literário Portugués.Alexandre Pinheiro Torres - 1977 - Moraes Editores.
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  14. Christian Rite and Christian Drama in the Middle Ages: Essays in the Origin and Early History of Modern Drama.O. B. Hardison - unknown
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  15. 'Shakespeare': Um Nome Para Textos.Alexander Martins Vianna - 2008 - Topoi. Revista de História 9 (16):191-232.
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  16. Beyond Theodicy: The Divine in Heidegger and Tragedy.Robert S. Gall - 1985 - Philosophy Today 29 (2):110-120.
    The paper attempts to make sense of the way in which Martin Heidegger talks about the god and gods by turning to tragic literature and tragic theology. The argument is that both Heidegger and tragic literature acknowledge divinity as duplicitous, as present and absent, in keeping with the uncertainty and questionableness of being, which leads us back to our own selves and our questioning existence.
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  17. Adam Bede’s Dutch Realism and the Novelist’s Point of View.Rebecca Gould - 2012 - Philosophy and Literature 36 (2):404-423.
    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 (...)
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  18. Reason and Value in Plato.Tushar Irani - 2012 - Philosophy and Literature 36 (2):378-390.
    I begin with a puzzle. According to some scholars, Plato’s view that the forms possess value as objects of desire gives rise to a problem in his metaphysics: how can forms of injustice and ugliness be considered desirable? To resolve this puzzle, I focus on Plato’s views on eros and argue that the philosopher’s love of forms is best understood as a kind of rational compulsion. Approaching the puzzle from this direction gives us an idea of how Plato’s forms might (...)
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  19. 'Von der Armut Am Geiste': A Dialogue by the Young Lukács.Jane M. Smith & John T. Sanders - 2009 - In Katie Terezakis (ed.), Engaging Agnes Heller: A Critical Companion. Lexington Books.
    Translation of "Von der Armut am Geiste; ein Dialog des jungen Lukács," by Ágnes Heller. This translation originally appeared in The Philosophical Forum, Spring-Summer 1972.
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  20. Locke and the Scriblerians: Identity and Consciousness in Eighteenth-Century Britain (Review).Charles R. Pigden - 1990 - Philosophy and Literature 14 (1):161-162.
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  21. The Philosophy of Tragedy : The Tragedy of Philosophy : The Mimetic Interrelationship of Tragedy and Philosophy in the Theoretical Writings of Friedrich Hölderlin.Helen Christine Chapman - unknown
    This study investigates Phillipe Lacoue-Labarthe's claim in "The Caesura of the Speculative" that Hölderlin is a "modern" writer. Its aim is to establish what is at stake in this claim and to evaluate whether it can be substantiated. In Chapter One I discuss the relationship between tragedy and philosophy. I show that the uneasy relationship between philosophy and the arts is premised upon Plato's understanding and judgement of mimesis. I contrast Plato and Aristotle's treatment of poetry by examining how they (...)
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  22. Constructive Thoughts on Pierre Menard.Simon Fokt - 2011 - Philosophy and Literature 35 (2):338-347.
    Interpretational monists and pluralists most often accept contextualism. At the same time, most of them resist constructivism, which takes all interpretations of artworks to be separate artworks. However, one of the central arguments to establish contextualism, based on Borges’ story of Pierre Menard, is so formulated that using it can force all contextualists into accepting constructivism. This paper points out the under-specification present in the philosophical use of the Pierre Menard example to then combine it with arguments presented by contextualists (...)
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  23. Resistance is Not Futile: Frederick Douglass on Panoptic Plantations and the Un-Making of Docile Bodies and Enslaved Souls.Cynthia R. Nielsen - 2011 - Philosophy and Literature 35 (2):251-268.
    Frederick Douglass, in his first autobiography, Narrative of the Life of Frederick Douglass, describes how his sociopolitical identity was scripted by the white other and how his spatiotemporal existence was likewise constrained through constant surveillance and disciplinary dispositifs. Even so, Douglass was able to assert his humanity through creative acts of resistance. In this essay, I highlight the ways in which Douglass refused to accept the other-imposed narrative, demonstrating with his life the truth of his being—a human being unwilling to (...)
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  24. Heidegger and the Romantics: The Literary Invention of Meaning.Pol Vandevelde - 2011 - Routledge.
    <P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...)
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  25. Literary Form, Philosophical Content.Rick Anthony Furtak - 2011 - Teaching Philosophy 34 (2):182-184.
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  26. Art or Porn: Clear Division or False Dilemma?Hans Maes - 2011 - Philosophy and Literature 35 (1):51-64.
    Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...)
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  27. A History of English Literature.Fee-Alexandra Haase - manuscript
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  28. Thinking in Circles: An Essay in Ring Composition by Douglas, Mary.Sister Lucia Treanor - 2009 - Journal of Aesthetics and Art Criticism 67 (2):254-256.
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  29. Why Pornography Can't Be Art.Christy Mag Uidhir - 2009 - Philosophy and Literature 33 (1):193-203.
    Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...)
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  30. Poetics of Sentimentality.Rick Anthony Furtak - 2002 - Philosophy and Literature 26 (1):207-215.
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  31. Kierkegaard on Indirect Communication, the Crowd, and a Monstrous Illusion.Antony Aumann - 2010 - In Robert L. Perkins (ed.), International Kierkegaard Commentary: Point of View. Mercer University Press.
    Following the pattern set by the early German Romantics, Kierkegaard conveys many of his insights through literature rather than academic prose. What makes him a valuable member of this tradition is the theory he develops to support it, his so-called “theory of indirect communication.” The most exciting aspect of this theory concerns the alleged importance of indirect communication: Kierkegaard claims that there are some projects only it can accomplish. This paper provides a critical account of two arguments Kierkegaard offers in (...)
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  32. Kierkegaard on the Need for Indirect Communication.Antony Aumann - 2008 - Dissertation, Indiana University
    This dissertation concerns Kierkegaard’s theory of indirect communication. A central aspect of this theory is what I call the “indispensability thesis”: there are some projects only indirect communication can accomplish. The purpose of the dissertation is to disclose and assess the rationale behind the indispensability thesis. -/- A pair of questions guides the project. First, to what does ‘indirect communication’ refer? Two acceptable responses exist: (1) Kierkegaard’s version of Socrates’ midwifery method and (2) Kierkegaard’s use of artful literary devices. Second, (...)
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  33. Moonstruck, or How to Ruin Everything.William Day - 1995 - Philosophy and Literature 19 (2):292-307.
    A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.
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  34. The Ethics of Non-Realist Fiction: Morality's Catch-22.James Harold - 2007 - Philosophia 35 (2):145-159.
    The topic of this essay is how non-realistic novels challenge our philosophical understanding of the moral significance of literature. I consider just one case: Joseph Heller’s Catch-22. I argue that standard philosophical views, based as they are on realistic models of literature, fail to capture the moral significance of this work. I show that Catch-22 succeeds morally because of the ways it resists using standard realistic techniques, and suggest that philosophical discussion of ethics and literature must be pluralistic if it (...)
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  35. Literary Theory: A Practical Introduction: Readings of William Shakespeare, King Lear, Henry James, "the Aspern Papers," Elizabeth Bishop, the Complete Poems 1927-1979, Toni Morrison, the Bluest Eye.Michael Ryan - 1999 - Blackwell.
    Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for use in introductory (...)
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Fiction
  1. Power and Limits of a Picture: On the Notion of Thought Experiments in the Philosophy of Literature.Wolfgang Huemer - forthcoming - In Falk Bornmüller, Mathis Lessau & Johannes Franzen (eds.), Literature as Thought Experiment? Paderborn: Fink.
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  2. Mental Imagery and Fiction.Dustin Stokes - forthcoming - Canadian Journal of Philosophy:1-24.
    Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section I identifies relevant philosophical background. II offers a working definition of imagery. III identifies empirical work on visual imagery. IV and V criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to "put the image back into the imagination." The weakened conclusion is (...)
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  3. On Making Sense of Ingarden.Barry Smith - 1979 - In Crisis of Aesthetics. Cracow: Jagiellonian University Press. pp. 283-289.
    An account of Roman Ingarden's ontology of literature.
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  4. Imaginative Resistance, Narrative Engagement, Genre.Shen-yi Liao - 2016 - Res Philosophica 93 (2):461-482.
    Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.
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  5. Fictional and Aesthetic Objects: Meinong’s Point of View.Venanzio Raspa - 2006 - In A. Bottani & R. Davies (eds.), Modes of Existence. Papers in Ontology and Philosophical Logic. Ontos Verlag. pp. 47-80.
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  6. Storie, ipotesi, gradi di verità.Venanzio Raspa - 2014 - Metodo. International Studies in Phenomenology and Philosophy 2 (2):141-163.
    Stories express hypotheses, interpretations of the world that have a certain degree of probability. To demonstrate this thesis I have adopted the notion of hypothesis, in a sense very close to the Meinongian concept of assumption, and a ‘metric’ conception of the values of the truth or falsity of a proposition – as that has been proposed in several ways by Peirce, Vasil’ev and Meinong. To show the the cognitive value of literary texts, and therefore their truth value, I take (...)
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  7. Lamarque, Peter. The Opacity of Narrative. Lanham, Maryland: Rowman & Littlefield, 2014, Xv + 213 Pp., £19.95 Paper. [REVIEW]Jonathan Gilmore - 2015 - Journal of Aesthetics and Art Criticism 73 (3):349-351.
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  8. The Puzzle of Multiple Endings.Florian Cova & Amanda Garcia - 2015 - Journal of Aesthetics and Art Criticism 73 (2):105-114.
    Why is it that most fictions present one and only one ending, rather than multiple ones? Fictions presenting multiple endings are possible, because a few exist; but they are very rare, and this calls for an explanation. We argue that such an explanation is likely to shed light on our engagement with fictions, for fictions having one and only one ending seem to be ubiquitous. After dismissing the most obvious explanations for this phenomenon, we compare the scarcity of multiple endings (...)
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  9. The Epistemology of Fiction and the Question of Invariant Norms.Jonathan Gilmore - 2014 - Royal Institute of Philosophy Supplement 75:105-126.
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  10. Discipline and the Docile Body: Regulating Hungers in the Capitol.Christina Van Dyke - 2012 - In G. Dunn & N. Michaud (eds.), The Hunger Games and Philosophy. Wiley-Blackwell. pp. 250-264.
    When Katniss first arrives in the Capitol, she is both amazed and repulsed by the dramatic body- modifications and frivolous lives of its citizens. “What do they do all day, these people in the Capitol,” she wonders, “besides decorating their bodies and waiting around for a new shipment of tributes to roll in and die for their entertainment?” In this paper, I argue that the more time and energy the Capitol citizens focus on body-modification and their social lives, the more (...)
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  11. Probably the Charterhouse of Parma Does Not Exist, Possibly Not Even That Parma.Alberto Voltolini - 2013 - Humana Mente 6 (25):235-261.
    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 (...)
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  12. The Reality of Lies.Venanzio Raspa - 2013 - Filozofija I Društvo 24 (2):105-131.
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  13. The Problem of Imaginative Resistance.Tamar Szabó Gendler & Shen-yi Liao - 2016 - In John Gibson & Noël Carroll (eds.), The Routledge Companion to Philosophy of Literature. Routledge. pp. 405-418.
    The problem of imaginative resistance holds interest for aestheticians, literary theorists, ethicists, philosophers of mind, and epistemologists. We present a somewhat opinionated overview of the philosophical discussion to date. We begin by introducing the phenomenon of imaginative resistance. We then review existing responses to the problem, giving special attention to recent research directions. Finally, we consider the philosophical significance that imaginative resistance has—or, at least, is alleged to have—for issues in moral psychology, theories of cognitive architecture, and modal epistemology.
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  14. Attending Emotionally to Fiction.Cain Todd - 2012 - Journal of Value Inquiry 46 (4):449-465.
    This paper addresses the so-called paradox of fiction, the problem of explaining how we can have emotional responses towards fiction. I claim that no account has yet provided an adequate explanation of how we can respond with genuine emotions when we know that the objects of our responses are fictional. I argue that we should understand the role played by the imagination in our engagement with fiction as functionally equivalent to that which it plays under the guise of acceptance in (...)
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  15. Models, Sherlock Holmes and the Emperor Claudius.Adam Toon - manuscript
    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 (...)
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