In this paper I defend the claim that the act of writing a work of fiction consists in the performance of a sui generis speech act, and propose a dynamic treatment for acts of fiction-making. Recently, speech act theories of fiction have become targets of the uniformity argument. According to it, in order to account for the myriad of speech acts present in works of fiction, speech act theories of fiction need to propose a similar amount of fiction-related illocutionary forces. (...) When uttered in the same context, these illocutionary forces give rise to the same relations raised by their non-fictional counterparts. While not a knock-down argument, this warrants an explanation. In order to defend speech act theories of fiction, I argue that the claim that speech act theories of fiction need more than one fiction-related sui generis illocutionary force is misguided and rests on an erroneous account of the content of an act of fiction-making. I take that the content of an act of fiction-making is more akin to a speech report than to a regular assertion. Following, I propose a dynamic treatment to the speech act of fiction-making. Concluding, I explore some related topics in order to distinguish my proposal from pretenseapproaches to fictional discourse. (shrink)

The common view has it that there are two families of approaches towards the logical structure of impossible worlds – Australasian and North American. According to the first, impossible worlds are closed under the relation of logical consequence of one of the non-classical logics. The North American approach is more liberal, allowing for impossible worlds where no logic holds. After pointing out the questionable consequences of each view, I propose a third one. While this new perspective allows for worlds where (...) no logical consequence holds, it also imposes some constraints on what worlds are built upon. This renders the proposed view not as restrictive as the Australasian approach and not as liberal as the North American approach. Due to its intermediary nature, I have named this perspective ‘the Pacific’ approach. (shrink)

This paper defends a theory of fictional truth. According to this theory, there is a fact of the matter concerning the number of hairs on Sherlock Holmes' head, and likewise for any other meaningful question one could ask about what's true in a work of fiction. We argue that a theory of this form is needed to account for the patterns in our judgments about attitude reports that embed fictional claims. We contrast our view with one of the dominant approaches (...) to fictional truth, which originates with David Lewis. Along the way we explore the relationship between fiction, counterfactuals, and vagueness. (shrink)

This paper provides an account of co-identification with fictional names, the way in which a fictional name can be used to talk about the same fictional character on disparate occasions. I develop a version of the view that fictional characters are roles constituted by sets of properties that is couched within a dynamic understanding of fictional discourse. I argue that this view captures what is right about both so-called name-centric and information-centric approaches to co-identification with fictional names. I show how (...) the dynamic view in addition accounts for a number of uses of fictional names, including fictional uses, assertoric uses, metafictional uses. (shrink)

Williamson proposes that a "suppositional procedure" is a central heuristic we use to evaluate the truth of conditionals, though he also argues that this method often leads us astray. An alternative approach to the link between supposition and conditionals is to claim that we are guided by our antecedent conditional judgements in our supposing, and in particular in our determining which things follow from an initial supposition. This alternative explanation of the close link between conditionals and supposition is developed and (...) compared to Williamson's proposal. (shrink)

This paper investigates the truth values of modal sentences within fictional discourse. I investigate the consequences of (im)possible worlds–based theories of truth in fiction for the truth, in fiction, of (explicit) modal sentences. I elaborate on the consequences of explicit reliable (modal) sentences within the truth-in-fiction operators if we embed the normal modal logics. I prove that the current main possible worlds theories of truth-in-fiction make explicit reliable sentences within fiction truth-value equivalent to their possibility. This has non-intuitive consequences if (...) we employ normal modal logics. These consequences are shown to be contradictory. The main argument of the paper thus concerns the inconsistency of embedding the systems of normal modal logics within the truth-in-fiction operators provided in the discussion. (shrink)

Importation in fictional discourse is the phenomenon by which audiences include information in the story over and above what is explicitly stated by the narrator. This paper argues that importation is distinct from generation, the phenomenon by which truth in fiction may outstrip what is made explicit, and draws a distinction between fictional truth and fictional records. The latter comprises the audience’s picture of what is true according to the narrator. The paper argues that importation into fictional records operates according (...) to principles that also govern ordinary conversation. An account of fictional records as a species of common ground information is proposed. Two sources of importation are described in detail, presupposition accommodation and conversational implicatures. It is shown that presuppositions are both mandatorily imported and mandatorily generated. By contrast, conversational implicatures are neither mandatorily imported nor mandatorily generated. The paper distinguishes conversational implicatures from contextual inferences. Both rely on background assumptions, yet conversational implicatures moreover depend on assumptions concerning Gricean cooperation. (shrink)

It seems true to say that Sherlock Holmes is a detective, despite there being no Sherlock Holmes. When asked to explain this fact, philosophers of language often opt for some version of Lewis’s view that sentences like ‘Sherlock Holmes is a detective’ may be taken as abbreviations for sentences prefixed with ‘In the Sherlock Holmes stories …’. I present two problems for this view. First, I provide reason to deny that these sentences are abbreviations. In short, these sentences have aesthetic (...) properties that we should not expect of abbreviations. Second, I argue that the apparent truth of these sentences would not be explained even if they were abbreviations. An alternative is presented that avoids these problems. Following Walton, talk about fiction is viewed as a game of make-believe; following Lewis, interpretations of fiction are modelled using possible worlds. (shrink)

An overview of hyperintensionality is provided. Hyperintensional languages have expressions with meanings that are more fine-grained than necessary equivalence. That is, the expressions may necessarily co-apply and yet be distinct in meaning. Adequately accounting for theories cast in hyperintensional languages is important in the philosophy of language; the philosophy of mind; metaphysics; and elsewhere. This entry presents a number of areas in which hyperintensionality is important; a range of approaches to theorising about hyperintensional matters; and a range of debates that (...) attention to hyperintensional constructions has generated. (shrink)

Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our understanding of unreliable narrators and unreliable narration (...) in fiction needs to accommodate stories that, on the face of it, cannot possibly be true. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we are (...) inclined to resist imagining (or even accepting as true in the fiction) what’s explicitly stated in the text. But if we can’t take the text’s word for it, how do we determine what’s true in a fiction? We propose an account of fiction interpretation in a dynamic setting (a version of DRT with a mechanism for opening, updating, and closing temporary ‘workspaces’) and combine this framework with belief revision logic. With these tools in hand we turn to modelling imaginative resistance and unreliable narrators. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 101-105, Winter 2020.

We argue that some fictional truths are fictionally true by default. We also argue that these fictional truths are subject to being undermined. We propose that the context within which we are to evaluate what is fictionally true changes when a possibility which was previously ignorable is brought to attention. We argue that these cases support a model of fictional truth which makes the conversational dynamics of determining truth in fiction structurally akin to the conversational dynamics of knowledge-ascription, as this (...) is understood by David Lewis’s contextualist approach to knowledge. We show how a number of the rules which Lewis proposes for the case of knowledge-ascription can be employed to develop a novel and powerful framework for the case of truth in fiction. (shrink)

Do the dynamics of a physical system determine what function the system computes? Except in special cases, the answer is no: it is often indeterminate what function a given physical system computes. Accordingly, care should be taken when the question ‘What does a particular neuronal system do?’ is answered by hypothesising that the system computes a particular function. The phenomenon of the indeterminacy of computation has important implications for the development of computational explanations of biological systems. Additionally, the phenomenon lends (...) some support to the idea that a single neuronal structure may perform multiple cognitive functions, each subserved by a different computation. We provide an overarching conceptual framework in order to further the philosophical debate on the nature of computational indeterminacy and computational explanation. (shrink)

Francesco Berto proposed a logic for imaginative episodes. The logic establishes certain (in)validities concerning episodic imagination. They are not all equally plausible as principles of episodic imagination. The logic also does not model that the initial input of an imaginative episode is deliberately chosen.Stit-imagination logic models the imagining agent’s deliberate choice of the content of their imagining. However, the logic does not model the episodic nature of imagination. The present paper combines the two logics, thereby modelling imaginative episodes with deliberately (...) chosen initial input. We use a combination ofstit-imagination logic and a content-sensitive variably strict conditional à la Berto, for which we give a Chellas–Segerberg semantics. The proposed semantics has the following advantages over Berto’s: (i) we model thedeliberate choiceof initial input of imaginative episodes (in a multi-agent setting), (ii) we showframe correspondencesfor axiomatic analogues of Berto’s validities, which (iii) allows thepossibility to disregard axiomsthat might be considered not plausible as principles concerning imaginative episodes. We do not take a definite stance on whether theseshouldbe disregarded but give reasons for why one might want to disregard them. Finally, we compare our semantics briefly with recent work, which aims to model voluntary imagination, and argue that our semantics models different aspects. (shrink)

This paper uses cases involving empty singular terms (on the one hand, cases of what I call “accidental aboutness-failure”; on the other, cases involving proper names occurring in fictions) to argue for a claim about the goal of ordinary belief-forming activity, and shows how this claim generates new foundations for the theory of reference.

The paper surveys recent appraisals of David Lewis’s seminal paper on truth in fiction. It examines variations on standard criticisms of Lewis’s account, aiming to show that, if developed as Lewis suggests in his 1983 Postscript A, his proposals on the topic are—as Hanley puts it—‘as good as it gets’. Thus elaborated, Lewis’s account can resist the objections, and it offers a better picture of fictional discourse than recent resurrections of other classic works of the 1970s by Kripke, van Inwagen (...) and Searle. The turn that Lewis suggests and the paper recommends draws on the remaining outstanding contribution from that time: Walton’s. (shrink)

In view of the limitations of classical, free, and modal logics to deal with fictional names, we develop in this paper a four-valued logical framework that we see as a promising strategy for modeling contexts of reasoning in which those names occur. Specifically, we propose to evaluate statements in terms of factual and fictional truth values in such a way that, say, declaring ‘Socrates is a man’ to be true does not come down to the same thing as declaring ‘Sherlock (...) Holmes is a man’ to be so. As a result, our framework is capable of representing reasoning involving fictional characters that avoids evaluating statements according to the same semantic standards. The framework encompasses two logics that differ according to alternative ways one may interpret the relationships among the factual and fictional truth values. (shrink)

In this paper, I investigate how far we can use stories to learn about logic. How can we engage with fiction in order to come to find out what logical principles are actually valid? Is that possible at all? I claim that it is, and I propose two case studies to make the point.