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The Nature of Fiction

Cambridge University Press (1990)

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  1. Categorizing Art.Kiyohiro Sen - 2024 - Dissertation, University of Tokyo
    This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...)
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  • Real Feeling and Fictional Time in Human-AI Interactions.Krueger Joel & Tom Roberts - 2024 - Topoi 43 (3).
    As technology improves, artificial systems are increasingly able to behave in human-like ways: holding a conversation; providing information, advice, and support; or taking on the role of therapist, teacher, or counsellor. This enhanced behavioural complexity, we argue, encourages deeper forms of affective engagement on the part of the human user, with the artificial agent helping to stabilise, subdue, prolong, or intensify a person’s emotional condition. Here, we defend a fictionalist account of human/AI interaction, according to which these encounters involve an (...)
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  • (1 other version)How Does Pornography Change Desires? A Pragmatic Account.Junhyo Lee & Eleonore Neufeld - forthcoming - Philosophical Quarterly.
    Rae Langton and Caroline West famously argued that pornography operates like a language game, in that it introduces certain views about women into the common ground via presupposition accommodation. While this pragmatic model explains how pornography has the potential to change its viewers’ beliefs, it leaves open how pornography changes people’s desires. Our aim in this paper is to show how Langton and West’s discourse theoretic account of pornography can be refined to close this lacuna. Using tools from recent developments (...)
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  • Fictional Reality.Kyle Blumberg & Ben Holguín - manuscript
    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 (...)
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  • The Phenomenological Image: A Husserlian Inquiry into Reality, Phantasy, and Aesthetic Experience.Claudio Rozzoni - 2023 - De Gruyter.
    Our environment is changing rapidly, as is the spectrum of possible relationships we can entertain with it. Against this background, one important task emerging in contemporary philosophical discussion concerns defining the status of contemporary images and the "iconic spaces" we encounter with ever-increasing frequency in their various forms. Within this context, the dimension of perception seems to be losing its primacy over the image, making a philosophical description of the relationships between image and reality all the more necessary. Among images, (...)
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  • How do we regard fictional people? How do they regard us?Meghan M. Salomon-Amend & Lance J. Rips - forthcoming - Psychonomic Bulletin and Review.
    Readers assume that commonplace properties of the real world also hold in realistic fiction. They believe, for example, that the usual physical laws continue to apply. But controversy exists in theories of fiction about whether real individuals exist in the story’s world. Does Queen Victoria exist in the world of Jane Eyre, even though Victoria is not mentioned in it? The experiments we report here find that when participants are prompted to consider the world of a fictional individual (“Consider the (...)
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  • Philosophical Games.Stefano Gualeni - 2022 - The Encyclopedia of Ludic Terms.
    Philosophical games are games designed to invite players to think philosophically within (and about) their gameworlds. They are interactive fictions allowing players to engage with philosophical themes in ways that often set them apart from non-interactive kinds of speculative fictions (such as philosophical novels or thought experiments). To better understand philosophical games, this entry proposes to distinguish two primary ways in which a philosophical game can approach its themes: dialectically or rhetorically.
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  • A Garden of One's Own, or Why Are There No Great Lady Detectives?Shelby Moser & Michel-Antoine Xhignesse - 2023 - Feminist Philosophy Quarterly 9 (1):1-20.
    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 (...)
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  • (1 other version)On the Ethics of Imagination and Ethical-Aesthetic Value Interaction in Fiction.Adriana Clavel-Vazquez - forthcoming - Ergo.
    Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...)
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  • The Fictional Character of Scientific Models.Stacie Friend - 2019 - In Arnon Levy & Peter Godfrey-Smith (eds.), The Scientific Imagination. New York, US: Oup Usa. pp. 101-126.
    Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role in (...)
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  • The force of fictional discourse.Karl Bergman & Nils Franzen - 2022 - Synthese 200 (6).
    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 (...)
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  • Truth in interactive fiction.Alex Fisher - 2022 - Synthese 200 (6):1-18.
    This paper provides an account of truth in interactive fiction. Interactive fiction allows the audience to make choices, resulting in many different possible fictions within each interactive fiction, unlike in literary fiction where there is just one. Adequately capturing this feature of interactive fiction requires us to address familiar issues regarding impossible fiction and the nature of time in fiction. Truth in interactive fiction thus requires a complex account to capture its multitude of fictions. It is argued that a full (...)
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  • Fictional Universal Realism.Jeffrey Goodman - 2022 - Metaphysica 23 (2):177-192.
    Certain realists about properties and relations identify them with universals. Furthermore, some hold that for a wide range of meaningful predicates, the semantic contribution to the propositions expressed by the sentences in which those predicates figure is the universal expressed by the predicate. I here address ontological issues raised by predicates first introduced to us via works of fiction and whether the universal realist should accept that any such predicates express universals. After assessing arguments by Braun, D. and Sawyer, S. (...)
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  • Against the Precisificational Approach to Fictional Inconsistencies.Inchul Yum - 2023 - Ergo: An Open Access Journal of Philosophy 9 (66).
    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 (...)
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  • Commentary on Fiction: A Philosophical Analysis, by Catharine Abell; and Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind by Jonathan Gilmore.Gregory Currie - 2022 - British Journal of Aesthetics 62 (2):185-194.
    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.
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  • Demoting Fictional Names—A Critical Note to Predelli’s Fictional Discourse: A Radical Fictionalist Semantics.Tatjana von Solodkoff - 2022 - British Journal of Aesthetics 62 (2):223-230.
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  • ‘Truth in Fiction’ Reprised.Manuel García-Carpintero - 2022 - British Journal of Aesthetics 62 (2):307-324.
    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 (...)
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  • Fiction and Epistemic Value: State of the Art.Mitchell Green - 2022 - British Journal of Aesthetics 62 (2):273-289.
    We critically survey prominent recent scholarship on the question of whether fiction can be a source of epistemic value for those who engage with it fully and appropriately. Such epistemic value might take the form of knowledge (for ‘cognitivists’) or understanding (for ‘neo-cognitivists’). Both camps may be sorted according to a further distinction between views explaining fiction’s epistemic value either in terms of the author’s engaging in a form of telling, or instead via their showing some state of affairs to (...)
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  • Mundos imaginarios y cuasi-emociones: la solución a la paradoja de la ficción en Walton y Currie.Federico Burdman - 2014 - Cuadernos de Filosofía 61:63-77.
    Las soluciones a la paradoja de la ficción propuestas por Kendall Walton y Gregory Currie, a pesar de diferir en puntos de detalle importantes, suponen dos movimientos conceptuales comunes para entender la situación de quien está inmerso en una obra de ficción, a través del recurso a la noción de “cuasi-emociones” y de la idea de construcción de escenarios imaginarios. Aquí propondré que sus propuestas fallan en sus dos puntos centrales, a partir de problemas que son, sin embargo, independientes. Por (...)
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  • (1 other version)Experimental philosophy of aesthetics.Florian Cova - 2023 - In Alexander Max Bauer & Stephan Kornmesser (eds.), The Compact Compendium of Experimental Philosophy. Berlin and Boston: De Gruyter.
    In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.
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  • Predelli on Fictional Discourse.Manuel García-Carpintero - 2022 - Journal of Aesthetics and Art Criticism 80 (1):83-94.
    John Searle argues that fictions are constituted by mere pretense—by the simulation of representational activities like assertions, without any further representational aim. They are not the result of sui generis, dedicated speech acts of a specific kind, on a par with assertion. The view had earlier many defenders, and still has some. Stefano Predelli enlists considerations derived from Searle in support of his radical fictionalism. This is the view that a sentence of fictional discourse including a prima facie empty fictional (...)
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  • What Is Acting?Yuchen Guo - 2022 - Journal of Aesthetics and Art Criticism 80 (1):58-69.
    We can portray or take on the role of someone whom we are not. For example, a professional actor can play the role of a fictional character who does not exist in the real world, although she believes she is not that person. This behavior is named “acting.” My aim here is to locate the necessary and sufficient conditions of acting. In my view, acting is a process of communication between actors and audiences. One of its necessary components is that (...)
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  • Player Engagement with Games: Formal Reliefs and Representation Checks.Karl Egerton - 2022 - Journal of Aesthetics and Art Criticism 80 (1):95-104.
    Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has (...)
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  • A Family Meal as Fiction.Josep E. Corbi - 2020 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 27:82-105.
    at seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flex- ible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and (...)
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  • Learning through the Scientific Imagination.Fiora Salis - 2020 - Argumenta 6 (1):65-80.
    Theoretical models are widely held as sources of knowledge of reality. Imagination is vital to their development and to the generation of plausible hypotheses about reality. But how can imagination, which is typically held to be completely free, effectively instruct us about reality? In this paper I argue that the key to answering this question is in constrained uses of imagination. More specifically, I identify make-believe as the right notion of imagination at work in modelling. I propose the first overarching (...)
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  • The Meanings of Fictional Names.Fiora Salis - 2021 - Organon 28 (1):9-43.
    According to Millianism, the meaning of a name is exhausted by its referent. According to anti-realism about fictional entities, there are no such entities. If there are no fictional entities, how can we explain the apparent meaningfulness of fictional names? Our best theory of fiction, Walton’s theory of make-believe, makes the same assumptions but lacks the theoretical resources to answer the question. In this paper, I propose a pragmatic solution in terms of two main dimensions of meaning, a subjective, psychological (...)
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  • Ludic Unreliability and Deceptive Game Design.Stefano Gualeni & Nele Van de Mosselaer - 2021 - Journal of the Philosophy of Games 3 (1):1-22.
    Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific sub-set of transgressive game design. More specifically, in this text we present deceptive game design as the deliberate attempt to misguide players’ inferences about the designers’ intentions. Furthermore, we argue that deceptive design should not merely be taken as a set of design choices aimed at misleading players in their efforts to understand (...)
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  • Free Indirect Discourse in Non-Fiction.Andreas Stokke - 2021 - Frontiers in Communication 5 (606616).
    This paper considers some uses of Free Indirect Discourse within non-fictional discourse. It is shown that these differ from ordinary uses in that they do not attribute actual thoughts or utterances. I argue that the explanation for this is that these uses of Free Indirect Discourse are not assertoric. Instead, it is argued here that they are fictional uses, that is, they are used with fictional force like utterances used to tell a fictional story. Rather than making assertions about the (...)
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  • Can imagination be unconscious?Amy Kind - 2021 - Synthese 199 (5-6):13121-13141.
    Our ordinary conception of imagination takes it to be essentially a conscious phenomenon, and traditionally that’s how it had been treated in the philosophical literature. In fact, this claim had often been taken to be so obvious as not to need any argumentative support. But lately in the philosophical literature on imagination we see increasing support for the view that imagining need not occur consciously. In this paper, I examine the case for unconscious imagination. I’ll consider four different arguments that (...)
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  • Fictional Characters and Their Discontents: Prolegomena to Any Future Metaphysics of Fictional Entities.Shamik Chakravarty - 2021 - Dissertation, Lingnan University
    In recent metaphysics, the questions of whether fictional entities exist, what their nature is, and how to explain truths of statements such as “Sherlock Holmes lives at 221B Baker Street” and “Holmes was created by Arthur Conan Doyle” have been subject to much debate. The main aim of my thesis is to wrestle with key proponents of the abstractionist view that fictional entities are abstract objects that exist (van Inwagen 1977, 2018, Thomasson 1999 and Salmon 1998) as well as Walton’s (...)
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  • Social Inconsistency.Thomas Brouwer - 2022 - Ergo: An Open Access Journal of Philosophy 9.
    Though the social world is real and objective, the way that social facts arise out of other facts is in an important way shaped by human thought, talk and behaviour. Building on recent work in social ontology, I describe a mechanism whereby this distinctive malleability of social facts, combined with the possibility of basic human error, makes it possible for a consistent physical reality to ground an inconsistent social reality. I explore various ways of resisting the prima facie case for (...)
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  • A New Class of Fictional Truths.Hannah H. Kim - 2021 - The Philosophical Quarterly 72 (1):90-107.
    It is widely agreed that more is true in a work of fiction than explicitly said. In addition to directly stipulated fictional content (explicit truth), inference and background assumptions give us implicit truths. However, this taxonomy of fictional truths overlooks an important class of fictional truth: those generated by literary formal features. Fictional works generate fictional content by both semantic and formal means, and content arising from formal features such as italics or font size are neither explicit nor implicit: not (...)
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  • Fiction and importation.Andreas Stokke - 2021 - Linguistics and Philosophy 45 (1):65-89.
    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 (...)
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  • Metalinguistic Acts in Fiction.Nellie Wieland - 2021 - In Emar Maier & Andreas Stokke (eds.), The Language of Fiction. Oxford: Oxford University Press. pp. 301-324.
    This chapter identifies and explains several primary functions of the fictional use of metalinguistic devices and considers some difficult cases. In particular, this chapter argues that when real persons are quoted in a storyworld they are ‘storified’ as near-real fictions. In cases of the misquotation of real persons, near-real fictions and near-real quotations must adequately exploit resemblances between the real and the fictional. This concludes with a discussion of the similarities between fictional and nonfictional uses of metalinguistic acts, and how (...)
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  • Lost in Intensity: Is there an empirical solution to the quasi-emotions debate?Steve Humbert-Droz, Amanda Ludmilla Garcia, Vanessa Sennwald, Fabrice Teroni, Julien Deonna, David Sander & Florian Cova - 2020 - Aesthetic Investigations 4 (1):460-482.
    Contrary to the emotions we feel in everyday contexts, the emotions we feel for fictional characters do not seem to require a belief in the existence of their object. This observation has given birth to a famous philosophical paradox (the ‘paradox of fiction’), and has led some philosophers to claim that the emotions we feel for fictional characters are not genuine emotions but rather “quasi-emotions”. Since then, the existence of quasi-emotions has been a hotly debated issue. Recently, philosophers and psychologists (...)
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  • Creativity.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: Oxford University Press. pp. 262-296.
    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 (...)
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  • Spoiler Alert! Unveiling the Plot in Thought Experiments and other Fictional Works.Daniele Molinari - 2020 - Argumenta 1 (11):81-97.
    According to a recent philosophical claim, “works of fiction are thought experiments” (Elgin 2007: 47), though there are relevant differences, as the role of spoilers shows—they can ruin a novel but improve the understanding we can gain through a thought experiment. In the present article I will analyze the role of spoilers and argue for a more differentiated perspective on the relation between literature and thought experiments. I will start with a short discussion of different perspectives on thought experiments and (...)
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  • Interpreting plural predication: homogeneity and non-maximality.Manuel Križ & Benjamin Spector - 2020 - Linguistics and Philosophy 44 (5):1131-1178.
    Plural definite descriptions across many languages display two well-known properties. First, they can give rise to so-called non-maximal readings, in the sense that they ‘allow for exceptions’. Second, while they tend to have a quasi-universal quantificational force in affirmative sentences, they tend to be interpreted existentially in the scope of negation. Building on previous works, we offer a theory in which sentences containing plural definite expressions trigger a family of possible interpretations, and where general principles of language use account for (...)
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  • Imagining fictional contradictions.Michel-Antoine Xhignesse - 2020 - Synthese 199 (1-2):3169-3188.
    It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...)
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  • Explaining Imagination.Peter Langland-Hassan - 2020 - Oxford: Oxford University Press.
    ​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 (...)
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  • Voluntary Imagination: A Fine-Grained Analysis.Ilaria Canavotto, Francesco Berto & Alessandro Giordani - 2020 - Review of Symbolic Logic (2):362-387.
    We study imagination as reality-oriented mental simulation (ROMS): the activity of simulating nonactual scenarios in one’s mind, to investigate what would happen if they were realized. Three connected questions concerning ROMS are: What is the logic, if there is one, of such an activity? How can we gain new knowledge via it? What is voluntary in it and what is not? We address them by building a list of core features of imagination as ROMS, drawing on research in cognitive psychology (...)
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  • Reference in Fiction.Stacie Friend - 2019 - Disputatio 11 (54):179-206.
    Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ (in Tolstoy’s War and Peace) or ‘London’ (in Orwell’s Nineteen Eighty-Four). This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive semantic (...)
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  • Singular Reference in Fictional Discourse?Manuel García-Carpintero - 2019 - Disputatio 11 (54):143-177.
    Singular terms used in fictions for fictional characters raise well-known philosophical issues, explored in depth in the literature. But philosophers typically assume that names already in use to refer to “moderatesized specimens of dry goods” cause no special problem when occurring in fictions, behaving there as they ordinarily do in straightforward assertions. In this paper I continue a debate with Stacie Friend, arguing against this for the exceptionalist view that names of real entities in fictional discourse don’t work there as (...)
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  • An emotion regulation account of the paradox of fiction.Matthieu Koroma - manuscript
    The paradox of fiction tackles how we can be considered as rational while having emotions towards fictional and thus non-existing events. I aim to show that the different philosophical positions on this issue can be reconciled within the emotion regulation framework. This approach refines the concept of emotion, defining it as a sequence of distinct regulated processes. I argue that the philosophical solutions that have been proposed to solve the paradox can be framed as different regulation mechanisms occuring at each (...)
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  • (1 other version)The Importance of Fictional Properties.Sarah Sawyer - 2015 - In Stuart Brock & Anthony Everett (eds.), Fictional Objects. Oxford: Oxford University Press. pp. 208-229.
    Semantic theories of fictional names generally presuppose, either explicitly or implicitly, that fictional predicates are guaranteed a referent. I argue that this presupposition is inconsistent with anti-realist theories of fictional characters and that it cannot be taken for granted by realist theories of fictional characters. The question of whether a fictional name refers to a fictional character cannot be addressed independently of the much-neglected question of whether a fictional predicate refers to a fictional property.
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  • Exploding stories and the limits of fiction.Michel-Antoine Xhignesse - 2020 - Philosophical Studies 178 (3):675-692.
    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 (...)
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  • Sham Emotions, Quasi-Emotions or Non-Genuine Emotions? Fictional Emotions and Their Qualitative Feel.Ingrid Vendrell Ferran - 2022 - In Thiemo Breyer, Marco Cavallaro & Rodrigo Sandoval (eds.), Phenomenology of Phantasy and Emotion. Darmstadt: WBG.
    Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...)
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  • (1 other version)Fictional reports.Pål Fjeldvig Antonsen - 2020 - Synthese:1-14.
    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.
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  • Extracting fictional truth from unreliable sources.Emar Maier & Merel Semeijn - 2021 - In Emar Maier & Andreas Stokke (eds.), The Language of Fiction. Oxford: Oxford University Press.
    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 (...)
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  • (1 other version)Obras de ficción, formas de conciencia y literatura. [REVIEW]Josep E. Corbí - 2017 - Critica 49 (145):91-112.
    Relatar lo ocurrido como invención: una introducción a la filosofía de la ficción contemporánea ofrece al lector en castellano una magnífica oportunidad para familiarizarse con algunos aspectos centrales de la filosofía del lenguaje contemporánea y sus implicaciones para la teoría de la ficción. García-Carpintero recorre los argumentos fundamentales en favor y en contra de cada una de las posiciones relevantes, y nos propone finalmente un análisis alternativo de la norma de la ficción y una teoría neofregeana de los términos referenciales (...)
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