Fictionalism is the view that the claims of a target discourse are best seen as being fictional in some way, as being expressed in some pretense manner, or as not being about the traditional posits of the discourse. The contemporary taxonomy of fictionalist views is quite elaborate. Yet, there is a version of fictionalism that has failed to develop and which corresponds to the earliest form of the view found in the history of philosophy, East and West. I call this (...) view “reactionary fictionalism.” I argue that traces of reactionary fictionalism can be found in Classical Daoism, Madhyamaka Buddhism, and Pyrrhonian Skepticism. Reactionary fictionalism is a kind of fictionalism that differs from both the hermeneutic and revolutionary kinds discussed today. Hermeneutic fictionalism says we already treat the claims of a target discourse in a fictional manner. Revolutionary fictionalism recommends we all start treating the claims of a target discourse in a fictional manner for reasons mostly of social utility. Reactionary fictionalism recommends, by contrast, that only those concerned with obtaining maximal therapeutic release from the pathology of literally asserting genuine beliefs in the claims of a target discourse should react in a pretense manner to inescapable contexts demanding the use of the claims of that discourse. I aim to show that reactionary fictionalism was a technique utilized in premodern skeptical traditions as a means for enduring one's condemnation to near‐permanent sociality. I recommend slotting reactionary fictionalism into our present taxonomy once we note that employing fictionalism can have a primarily therapeutic motivation and not merely a semantic, epistemic, or metaphysical one. (shrink)

This article explores how aspects of traditional Chinese thought regarding creativity can influence and enrich contemporary thought about related topics: specifically, how creativity can be construed as an epistemic or intellectual virtue, and the benefits of considering it as such. It proceeds in three parts. First, I review a conception of creativity suggested by aspects of the Zhuangzi that centrally involves forms of spontaneity and adaptivity engendered by embracing you 遊, or “wandering”, contrasting it with more conventional conceptions of creativity (...) that emphasize novelty or originality. Second, I explain how this conception of creativity illuminates how creativity can be an epistemic virtue of a surprising sort: one that concerns a disposition to—borrowing an expression from Chris Fraser—“ride along with things”. This “riding along” is ironically engendered by letting go of what David Wong has characterized as “the obsession with being right”, about which the Zhuangzi expresses concern. I argue that, while this conception of creativity eschews fixed goals, including epistemically-oriented goals like apprehending truth or developing knowledge, there are nevertheless good reasons to count creativity (so understood) as an epistemic virtue. Third, I connect these explorations with current conversations (begun by Matthew Kieran and C. Thi Nguyen) that already treat creativity or, relatedly, play as an epistemic or intellectual virtue, and explore how engaging the Zhuangzi in the manner outlined promises to help extend them. (shrink)

Across a variety of religious and philosophical traditions, it is common to think that it is possible that God defies all description. This presents a problem, however, as the claim that God defies all description itself appears to describe God. Drawing on multiple religious and philosophical traditions, this paper proposes an addition to the pragmatic stock of approaches to this problem. The proposal is that apophatic utterances are best interpreted—at least in the first instance—as invitations to engage the world aesthetically (...) and creatively, as an act of faith. Their goal is principally to motivate us to act in ways that will allow us to appreciate the extraordinary or divine, rather than to, say, believe that some proposition regarding the extraordinary or divine is true. (shrink)