Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a “great”character,theauthor cannot (...) just endowher with certain attributes; she must actively work to overcome her audience’s tendency to import structures of oppression into the story, and she must wrestle against the conventions of the genre. In doing so, however, authors risk setting their stories in a wholly different genre. (shrink)

Authors have a lot of leeway with regard to what they can make true in their story. In general, if the author says that p is true in the fiction we’re reading, we believe that p is true in that fiction. And if we’re playing along with the fictional game, we imagine that, along with everything else in the story, p is true. But there are exceptions to these general principles. Many authors, most notably Kendall Walton and Tamar Szabó Gendler, (...) have discussed apparent counterexamples when p is “morally deviant”. Many other statements that are conceptually impossible also seem to be counterexamples. In this paper I do four things. I survey the range of counterexamples, or at least putative counterexamples, to the principles. Then I look to explanations of the counterexamples. I argue, following Gendler, that the explanation cannot simply be that morally deviant claims are impossible. I argue that the distinctive attitudes we have towards moral propositions cannot explain the counterexamples, since some of the examples don’t involve moral concepts. And I put forward a proposed explanation that turns on the role of ‘higher-level concepts’, concepts that if they are satisfied are satisfied in virtue of more fundamental facts about the world, in fiction, and in imagination. (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)

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)

Some things that we take to be the case in a fictional work are never made explicit by the work itself. For instance, we assume that Sherlock Holmes does not have a third nostril, that he wears underpants and that he has never solved a case with a purple gnome, even though neither of these things is ever mentioned in the narration. This article argues that examples like these can be accounted for through the same content-enriching reasoning that we employ (...) when confronted with non-fictional discourse, with the important difference that fictional discourse essentially involves pretence. Fictional discourse works in much the same way as non-fictional discourse, and what is conveyed without being stated can accordingly be explained through familiar pragmatic mechanisms. It is argued that this account carries some distinct advantages over competing views. (shrink)

Thinking of models in science as fictions is said to be helpful, not merely because models are known or assumed to be false, but because work on the nature of fiction helps us understand what models are and how they work. I am unpersuaded. For example, instead of trying to assimilate truth-in-a model to truth-in-fiction we do better to see both as special and separate cases of the more general notion truth-according-to-a-corpus. Does enlightenment go the other way? Do we better (...) understand fiction's capacity to generate knowledge by thinking of it as a kind of modelling? If we see, as we should, fictions and models are parts of larger patterns of cognitive activity that include institutional frameworks, the best answer is no. (shrink)

These two excellent books ask what it is for an audience to engage appropriately with a work of fiction. Catharine Abell argues a radical rethink of foundationa.

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)

In this paper we propose a semantic analysis of sentences of the form "In fiction x, p" based on this picture of context. We argue that the derived contexts for sentences in the scope of "In fiction X" are determined by three factors: what the beliefs of the author are taken to be, the conventions established for the fiction, and a defeasible presumption of reliability of the narrator. We develop a formal implementation based on the notion of a system of (...) spheres centered on a set of worlds. (edited). (shrink)

Consider the opening sentence of Tolkien’s The Hobbit: In a hole in the ground there lived a hobbit. By writing this sentence, Tolkien is making a fictional statement. There are two influential views of the nature of such statements. On the pretense view, fictional discourse amounts to pretend assertions. Since the author is not really asserting, but merely pretending, a statement such as Tolkien’s is devoid of illocutionary force altogether. By contrast, on the alternative make-believe view, fictional discourse prescribes that (...) the reader make-believe the content of the statement. In this paper, we argue that neither of these views is satisfactory. They both fail to distinguish the linguistic act of creating the fiction, for instance Tolkien writing the sentence above, from the linguistic act of reciting it, such as reading The Hobbit out loud for your children. As an alternative to these views, we propose that the essential feature of the author’s speech act is its productive character, that it makes some state of affairs obtain in the fiction. Tolkien’s statement, we argue, has the illocutionary force of a declaration. (shrink)

This paper outlines a bicontextual account of fictional reports. A fictional report is a report on something that happens in a fiction, and a bicontextual account is an account that relativizes truth to two contexts. The proposal is motivated by two considerations. First, it explains the intuitive truth conditions of fictional reports without postulating hidden fiction operators. Second, it handles the problem of indexicals in fictional reports better than the standard accounts.

This paper outlines a bicontextual account of fictional reports. A fictional report is a report on something that happens in a fiction, and a bicontextual account is an account that relativizes truth to two contexts. The proposal is motivated by two considerations. First, it explains the intuitive truth conditions of fictional reports without postulating hidden fiction operators. Second, it handles the problem of indexicals in fictional reports better than the standard accounts.

According to R. Stalnaker, context plays a role in determining the proposition expressed by a sentence by providing the domain of possible worlds that propositions distinguish between: a sentence expresses a proposition by selecting a subset of the set of possible situations given by the context. This is also true for embedded sentences, but these sentences express propositions by selecting subsets out of contexts derived from the basic one. In this paper we propose a semantic analysis of sentences of the (...) form “In fiction x, p” based on this picture of context. We argue that the derived contexts for sentences in the scope of “In fiction x” are determined by three factors: what the beliefs of the author are taken to be, the conventions established for the fiction, and a defeasible presumption of reliability of the narrator. We develop a formal implementation based on the notion of a system of spheres centered on a set of worlds. (shrink)

Fictional truth is commonly analyzed in terms of the speech acts or propositional attitudes of a teller. In this paper, I investigate Lewis’s counterfactual analysis in terms of felicitous narrator assertion, Currie’s analysis in terms of fictional author belief, and Byrne’s analysis in terms of ideal author invitations to make-believe—and find them all lacking. I propose instead an analysis in terms of the revelations of an infelicitous narrator.

Science and fiction seem to lie at opposite ends of the cognitive-epistemic spectrum. The former is typically seen as the study of hard, real-world facts in a rigorous manner. The latter is treated as an instrument of play and recreation, dealing in figments of the imagination. Initial appearances notwithstanding, several central features of scientific modeling in fact suggest a close connection with the imagination and recent philosophers have developed detailed accounts of models that treat them, in one way or another, (...) as akin to fictions. This chapter will critically discuss the fictions approach as an epistemology of scientific modeling. (shrink)

Abstract Some fictions, it seems, represent the future as closed, in the sense that some future-tensed propositions are true in those fictions. Yet it is surprisingly difficult to accommodate this plausible thesis within an account of truth in fiction. A number of putative examples of closed fictional futures are discussed (Macbeth, Oedipus, Time and the Conways, The Time Machine) and the problems encountered in reconciling them with various accounts of truth in fiction (David Lewis', Gregory Currie's, Alex Byrne's) elaborated. Connections (...) are drawn between metaphysical views on time and theories of fiction, and an attempt is made to show how the tenseless theory of time (roughly, the denial that time flows) can illuminate accounts of fictional truth, and in particular the issue of how there can be true beliefs about what will happen in a fiction. (shrink)

I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (shrink)

We propose to analyze well-known cases of "imaginative resistance" from the philosophical literature (Gendler, Walton, Weatherson) as involving the inference that particular content should be attributed to either: (i) a character rather than the narrator or, (ii) an unreliable, irrational, opinionated, and/or morally deviant "first person" narrator who was originally perceived to be a typical impersonal, omniscient, "effaced" narrator. We model the latter type of attribution in terms of two independently motivated linguistic mechanisms: accommodation of a discourse referent (Lewis, Stalnaker, (...) Kamp) and 'cautious' updating as a model of non-cooperative information exchange (Eckardt). (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...) how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (shrink)

Thanks to the Inlaks Foundation in India, I was able to do my doctoral research on Our Talk About Nonexistents at Oxford in the early eighties. The two greatest philosophers of that heaven of analytical philosophy - Peter Strawson and Michael Dummett - supervised my work, reading and criticising all the fledgling philosophy that I wrote during those three years. At Sir Peter's request, Gareth Evans, shortly before his death, lent me an unpublished transcript of Kripke's John Locke Lectures. Work (...) on the Appendix about Indian Philosophy was supervised by the late Professor Bimal Krishna Matilal with whom informal but intense philosophical conversations used to spill over into dinner at his place almost every other day. It was Professor Matilal who sent me, over a summer, to study a tough Navya-Nyaya text under his own Nyaya teacher Pandit Visvabandhu Tarkatirtha at Calcutta. All four of these teachers were as kind to me as my life-long mentor in philosophy Professor Pranab Kumar Sen, whose clarity and depth remain the unreachable regu lative ideal of my intellect. When I came back to India, my life became blissfully free of the agonising anxiety to publish, until, after a conference at Jadavpur University where I gave an impromptu paper, ironically enough, on Non-doings, I met Derek Parfit. He had a six-hour conversation with me, explicitly planning my life. Five years had already elapsed since I had finished my D. Phil, but Derek read my thesis and liked it. (shrink)

​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...) its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states—judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach. (shrink)

Fictional realists claim that fictional characters like Spiderman exist in reality. Against this view, Anthony Everett (2005; 2013) argues that fictional realists cannot determine whether characters α and β are identical if the relevant fiction states that α and β are identical and distinct at the same time. Some fictional re-alists, such as Ross Cameron (2013) and Richard Woodward (2017), respond to this objection by saying that the sense in which α and β are identical differs from the sense in (...) which they are distinct. In this paper, I argue that Cameron and Woodward cannot handle all cases without undermining the theoretical foundation of their approach, namely, the thesis that the identity of fictional characters must be determined by the content of the relevant fiction. (shrink)

It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...) entails a radical revision of otherwise ordinary commitments about truth in fiction. (shrink)

When we engage with a work of fiction we gain knowledge about what is fictionally true in that work. Our grasp of what is true in a fiction is central to our engagement with representational works of art, and to our assessments of their merits. Of course, it is sometimes difficult to determine what is fictional – it is a good question whether the main character of American Psycho is genuinely psychotic or merely delusional, for instance. (And even in this (...) case, our ignorance itself is crucial to how we engage with the story and assess its qualities.) But in the vast majority of cases, we have no difficulty distinguishing what is fictionally true from what is not. Every attentive reader of Bleak House knows that it is fictional that Esther is Lady Dedlock’s daughter, but not fictional that Ada is the daughter of John Jarndyce. Moreover, we do not think that our judgements about what is fictional are based on guesswork. We have a folk theory of fictional truth, in the sense that we have a relatively stable framework upon which we rely when we engage with fiction, and we face the challenge of characterizing that theory systematically. (shrink)

We offer an original argument for the existence of universal fictions—that is, fictions within which every possible proposition is true. Specifically, we detail a trio of such fictions, along with an easy-to-follow recipe for generating more. After exploring several consequences and dismissing some objections, we conclude that fiction, unlike reality, is unlimited when it comes to truth.

Call a bit of scientific discourse a description of a missing system when (i) it has the surface appearance of an accurate description of an actual, concrete system (or kind of system) from the domain of inquiry, but (ii) there are no actual, concrete systems in the world around us fitting the description it contains, and (iii) that fact is recognised from the outset by competent practitioners of the scientific discipline in question. Scientific textbooks, classroom lectures, and journal articles abound (...) with such passages; and there is a widespread practice of talking and thinking as though there are systems which fit the descriptions they contain perfectly, despite the recognition that no actual, concrete systems do so—call this the face value practice. There are, furthermore, many instances in which philosophers engage in the face value practice whilst offering answers to epistemological and methodological questions about the sciences. Three questions, then: (1) How should we interpret descriptions of missing systems? (2) How should we make sense of the face value practice? (3) Is there a set of plausible answers to (1) and (2) which legitimates reliance on the face value practice in our philosophical work, and can support the weight of the accounts which are entangled with that practice? In this paper I address these questions by considering three answers to the first: that descriptions of missing systems are straightforward descriptions of abstract objects, that they are indirect descriptions of “property-containing” abstracta, and that they are (in a different way) indirect descriptions of mathematical structures. All three proposals are present in the literature, but I find them wanting. The result is to highlight the importance of developing a satisfactory understanding of descriptions of missing systems and the face value practice, to put pressure on philosophical accounts which rely on the practice, and to help us assess the viability of certain approaches to thinking about models, theory structure, and scientific representation. (shrink)

Sometimes, a proposition is fictional in a story in virtue of the fact that other fictional truths are good evidence for it. Cases are presented in which this evidential rule, and not some rule that invokes counterfactuals or intentions, is what explains what is fictional. Applications are made to the question of interpretive pluralism and the problem of imaginative resistance. In the background is pluralism about fictionality: the evidential rule is one of a variety of rules that are needed to (...) account for what is fictional in a story. (shrink)

The canonical version of possible worlds semantics for story prefixes is due to David Lewis. This paper reassesses Lewis's theory and draws attention to some novel problems for his account.

It is commonly held that our intuitive judgements about imaginary problem cases are justified a priori, if and when they are justified at all. In this paper I defend this view — ‘rationalism’ — against a recent objection by Timothy Williamson. I argue that his objection fails on multiple grounds, but the reasons why it fails are instructive. Williamson argues from a claim about the semantics of intuitive judgements, to a claim about their psychological underpinnings, to the denial of rationalism. (...) I argue that the psychological claim — that a capacity for mental simulation explains our intuitive judgements — does not, even if true, provide reasons to reject rationalism. (More generally, a simulation hypothesis, about any category of judgements, is very limited in its epistemological implications: it is pitched at a level of explanation that is insensitive to central epistemic distinctions.) I also argue that Williamson’s semantic claim — that intuitive judgements are judgements of counterfactuals — is mistaken; rather, I propose, they are a certain kind of metaphysical possibility judgement. Several other competing proposals are also examined and criticized. (shrink)

A number of philosophers draw a close analogy between scientific modeling and fiction, often appealing to Kendall Walton’s make-believe view. I assess the models-fictions analogy from a cognitive a...

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)

We present an analysis of counterfactuals in terms of stories and combine it with an account similar to Walton’s account of truth in fiction to yield truth conditions for counterfactuals. We discuss unusual features of this account, and compare it to other main approaches. In particular, we argue that our analysis succeeds in accounting for counterpossibles and counterfactuals with true antecedents while the other two main approaches fail, and we give reasons for thinking that it is important to have an (...) adequate account of these two areas. (shrink)

Kendall Walton’s pretense theory, like its rivals, says that what’s true in a fiction F depends in part on the importation of background propositions into F. The aim of this paper is to present, explain, and defend a brief yet straightforward argument–one which exploits the specific mechanism by which the pretense theory says propositions are imported into fictions–for the falsity of the pretense theory.

The statement “Mr. Darcy proposes to Elizabeth” seems true in Jane Austin’s Pride and Prejudice (even though it may not actually appear in the text) while the statement “Mr. Darcy is a detective” seems false. One explanation for this intuition is that when we read or talk about fictional stories, we implicitly employ the fictional operator “It is fictional that” or “It is part of the story that.” “It is fictional that Mr. Darcy proposes to Elizabeth” expresses a true proposition (...) while “It is fictional that Mr. Darcy is a detective” does not. Fictive statements can be abbreviated as “In F, P”. Determining what statements are fictionally true in a story requires providing truth conditions for statements of the form “In F, P.” This paper proposes an analysis of truth in fiction and examines the notion of make-believe. (shrink)

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 recent work, Walton has abandoned his very influential account of the fictionality of p in a fictional work in terms of prescriptions to imagine emanating from it. He offers examples allegedly showing that a prescription to imagine p in a given work of fiction is not sufficient for the fictionality of p in that work. In this paper, both in support and further elaboration of a constitutive-norms speech-act variation on Walton’s account that I have defended previously, I critically discuss (...) his objections. In addition to answering his concerns and developing the account further, I provide additional abductive support for its explanatory virtues vis-à- institutional accounts like Walton’s, and Gricean speech-act proposals. (shrink)

I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability to (...) understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (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)

The logic of fiction has been a stand-alone research programme only since the early 1970s.1 It is a fair question as to why in the first place fictional discourse would have drawn the interest of professional logicians. It is a question admitting of different answers. One is that, since fictional names are “empty”, fiction is a primary datum for any logician seeking a suitably comprehensive logic of denotation. Another answer arises from the so-called incompleteness problem, exemplified by the fact (or (...) apparent fact) that some fictional sentences – think of “Sherlock Holmes’ mother was nick-named ‘Polly’” − are neither true nor false. These are sentences to command the attention of logicians who work on non-bivalent logics. A further spur to logical engagement is the supposed fictionality of certain kinds of ideal models in science and certain classes of mathematical objects. No doubt, there are other features of fictional discourse that provide the logician with a natural entré, but perhaps it would also be correct to say that the fiction’s biggest draw for logicians is that our quite common beliefs about the fictional constitute what Nicholas Rescher calls “aporetic clusters”, so named after the Latinized Greek aporos for “impassable”.2 An aporetic cluster is a set of claims such that.. (shrink)

The practice of thought experimentation plays a central role in contemporary philosophical methodology. Many philosophers rely on thought experimentation as their primary and even sole procedure for testing theories about the natures of properties and relations. This test procedure involves entertaining hypothetical cases in imaginative thought and then undergoing intuitions about the distribution of properties and relations in them. A theory’s comporting with an intuition is treated as evidence in favour of it; but a clash is treated as evidence against (...) the theory and may even be regarded as falsifying it. -/- The epistemic power of thought experimentation is mysterious. How can experiments carried out within the mind enable us to discover truths about the natures of properties and relations like knowledge, causation, personal identity, reference, meaning, consciousness, beauty, justice, morality, and free will? This epistemological challenge is urgent, but a model of philosophical thought experimentation would seem to be a necessary propaedeutic to any serious discussion of it. An adequate model would make the relevant test procedure explicit, thereby assisting in the identification of points of potential epistemic vulnerability. -/- In this monograph I advance the propaedeutical model-building work already done by Timothy Williamson, Anna-Sara Malmgren, and Jonathan Ichikawa and Benjamin Jarvis. Following the lead of these philosophers, I focus on a single Gettier-style thought experiment and the problem of identifying the real content of the Gettier intuition. My first contribution is to establish the inadequacy of all of the existing models. Each of them, I argue, fails to solve the content problem. It emerges from my discussion, however, that Ichikawa and Jarvis’s truth in fiction approach holds out the prospect of a solution. -/- My second contribution is to develop and defend a new way of implementing the general idea behind the truth in fiction approach. The model I put forward does a better overall job of modelling Gettier-style thought experiments than any of the existing models. It has none of the defects which render those models inadequate and Iam unable to find any major defects peculiar to it. This should make us feel confident that my model is adequate. Moreover, since the Gettier-style thought experiment I focus on is paradigmatic, we should also feel confident that my model will generalise naturally to other philosophical thought experiments. (shrink)

In (1959), Carnap famously attacked Heidegger for having constructed an insane metaphysics based on a misconception of both the logical form and the semantics of ordinary language. In what follows, it will be argued that, once one appropriately (i.e., in a Russellian fashion) reads Heidegger’s famous sentence that should paradigmatically exemplify such a misconception, i.e., “the nothing nothings”, there is nothing either logically or semantically wrong with it. The real controversy as to how that sentence has to be evaluated—not as (...) to its meaning but as to its truth—lies at the metaphysico- ontological level. For in order for the sentence to be true one has to endorse an ontology of impossibilia and Leibniz’s principle of the identity of indiscernibles. (shrink)