Role realism is a promising realist theory of fictional names. Different versions of this theory have been suggested by Gregory Currie, Peter Lamarque, Stein Haugom Olsen, and Nicholas Wolterstorff. The general idea behind the approach is that fictional characters are to be analysed in terms of roles, which in turn can be understood as sets of properties. I will discuss several advantages and disadvantages of this approach. I will then propose a novel hyperintensional version of role realism, according to which (...) fictional names are analysed in terms of individual concepts that cannot be matched by a reference. I will argue that this account avoids the main disadvantages of standard role realism. (shrink)

It is acknowledged by proponents of the Artifactual Theory of Fiction that literary works sometimes involve real or immigrant characters. However, their conception of cross-fictional identity faces serious difficulties. In this paper, we set the problem in the context of a modal framework, in relation to quantification across a plurality of possible worlds. Quantification is explained in terms of Hintikka’s notion of world lines; i.e. the possible values of bound variables are individuals that are not reduced to their manifestations. We (...) finally offer another understanding of identity across weakly impermeable domains, in a way compatible with the Artifactual Theory of Fiction. (shrink)

This paper defends a version of the realist view that fictional characters exist. It argues for an instance of abstract realist views, according to which fictional characters are roles, constituted by sets of properties. It is argued that fictional names denote individual concepts, functions from worlds to individuals. It is shown that a dynamic framework for understanding the evolution of discourse information can be used to understand how roles are created and develop along with story content. Taking fictional names to (...) denote individual concepts provides accounts of a number of uses of fictional names. These include non-fictional uses, fictional uses, metafictional uses, interfictional uses, counterfictional uses, and negative existentials. It is argued that this account is not open to objections that have been raised in the literature. (shrink)

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive (...) infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. (shrink)

Possible and narrative worlds are traditionally the most influential tools for explaining our understanding of fiction. One obvious implication of this is considering fiction as a matter of pretence. The theory I offer claims that it is a mistake to take truth as a substantial notion. This view rejects possible worlds and pretence as decisive features in dealing with fiction. Minimalist theory of fiction offers a solution that gives a way to combine a philosophical theory of meaning and views of (...) literary theory. Narrative worlds approach saves its usefulness since its focus is more in the psychological process of reading. Minimalist theory of fiction is based on the minimal theory of truth and the use theory of meaning. The idea of language games as a practice of constructing contextual meanings is also decisive. A sentence is not true because it corresponds to a fact but because it is used in a right way in certain circumstances. The rejection of the possible worlds approach is thus based on the idea that understanding fiction is essentially about recognizing the constant interplay between different texts and contexts. Better understanding makes different interpretations possible. (shrink)

Understanding scientific modelling can be divided into two sub-projects: analysing what model-systems are, and understanding how they are used to represent something beyond themselves. The first is a prerequisite for the second: we can only start analysing how representation works once we understand the intrinsic character of the vehicle that does the representing. Coming to terms with this issue is the project of the first half of this chapter. My central contention is that models are akin to places and characters (...) of literary fictions, and that therefore theories of fiction play an essential role in explaining the nature of model-systems. This sets the agenda. Section 2 provides a statement of this view, which I label the fiction view of model-systems, and argues for its prima facie plausibility. Section 3 presents a defence of this view against its main rival, the structuralist conception of models. In Section 4 I develop an account of model-systems as imagined objects on the basis of the so-called pretence theory of fiction. This theory needs to be discussed in great detail for two reasons. First, developing an acceptable account of imagined objects is mandatory to make the fiction view acceptable, and I will show that the pretence theory has the resources to achieve this goal. Second, the term ‘representation’ is ambiguous; in fact, there are two very different relations that are commonly called ‘representation’ and a conflation between the two is the root of some of the problems that beset scientific representation. Pretence theory provides us with the conceptual resources to articulate these two different forms of representation, which I call p-representation and t-representation respectively. Putting these elements together provides us with a coherent overall picture of scientific modelling, which I develop in Section 5. (shrink)

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...) a version of such an analysis in line with a broad commitment to philosophical naturalism. (shrink)

To the realists.—You sober people who feel well armed against passion and fantasies and would like to turn your emptiness into a matter of pride and ornament: you call yourselves realists and hint that the world really is the way it appears to you. As if reality stood unveiled before you only, and you yourselves were perhaps the best part of it … But in your unveiled state are not even you still very passionate and dark creatures compared to fish, (...) and still far too similar to an artist in love? And what is ‘reality’ for an artist in love? You are still burdened with those estimates of things that have their origin in the passions and loves of former centuries. Your sobriety still contains a secret and inextinguishable drunkenness. Your love of ‘reality’, for example-—oh, that is a primeval ‘love’ … Subtract the phantasm and every human contribution from it, my sober friends! If you can! If you can forget your descent, your past, your training—all of your humanity and animality. (F. Nietzsche,The Gay Science, Book Two, extract from Section 57). (shrink)

The method of thought experiments or possible cases is widespread in philosophy and elsewhere. Thought experiments come with variegated theoretical commitments. These commitments are risky. They may turn out to be false or at least controversial. Other things being equal, it seems preferable to do with minimal commitments. I explore exemplary ways of minimising commitments, focusing on modal ones. There is a near-consensus to treat the scenarios considered in thought experiments as metaphysical possibilities. I challenge this consensus. Paradigmatic thought experiments (...) do not have to come with a commitment to metaphysical possibilities. In the first section, I point out difficulties with the prevailing focus on metaphysical possibilities. In the second section, I present alternative formalisations of a paradigmatic thought experiment, the Gettier experiment. Gettier’s words leave open the kind of possibilities under consideration. The standard way of spelling out Gettier’s argument uses metaphysical possibilities. One alternative proposal uses nomological possibilities. A second one uses epistemic possibilities. My modest conclusion: as long as it is not established that a thought experiment requires a commitment to metaphysical modality, one should avoid such a commitment. My preferred way of doing so is to replace the commitment to one particular formalisation by a commitment to a disjunction of alternative formalisations. (shrink)

In this paper, I set out to answer two foundational questions concerning our psychological engagements with fictions. The first is the question of fictional transformation: How we can see fictional media while also ‘seeing’ those objects as fictional ones? The second is the question of fictional response: How and why we take the objects of fiction to be the types of things that we can respond to and judge? Standard responses to these questions rely on distinct cognitive attitudes like pretense, (...) imagination, and make-believe. I call this position the distinct attitude view. I argue against the DAV, arguing instead that a psychological framework of fiction can answer the two questions without appealing to distinct mental attitudes. Hence, I call my position the standard attitude view. The challenge for the SAV is to explain the two questions in terms of everyday mental states and the intentional content of those states. I do so by appealing to the concept of taking the fictional stance.... (shrink)

Upholders of fictionalism about scientific models have not yet successfully explained how scientists can learn about the real world by making comparisons between models and the real phenomena they stand for. In this paper I develop an account of model-world comparisons in terms of what I take to be the best antirealist analyses of comparative claims that emerge from the current debate on fiction.

Tip-of-the-tongue experiences have an intriguing and insidious character. Some philosophers have tried to reduce them to more common states, with some considering these experiences to be beliefs about one’s state of knowledge, and still others considering them feelings about one’s state of knowledge. These two latter views are not mutually exclusive; indeed, one might hold a mixed theory, according to which the TOT is a feeling that depends constitutively on a belief. In the paper I first argue against the idea (...) that beliefs are a constitutive feature of TOTs and hence against both the pure and the mixed belief theories; next I address the feeling theory; finally, I defend a pluralist theory. (shrink)

Our experience of narrative has an internal and an external aspect--the content of the narrative’s representations, and its intentional, communicative aetiology. The interaction of these two things is crucial to understanding how narrative works. I begin by laying out what I think we can reasonably expect from a narrative by way of causal information, and how causality interacts with other attributes we think of as central to narrative. At a certain point this discussion will strike a problem: our judgements about (...) what is a relevant possibility within the narrative’s story depend on our judgements of probability; but these latter judgements depend, in turn, on factors external to the world of the story, and cannot be explained in terms of causal relations available within the story. We need the external, author-centred perspective at this point. These different perspectives, the internal and the external, correspond to different types of explanations we may give of events in a story; I call these internal and external explanations. I show how these different explanations are made use of in two contrasting arthistorical projects. I use these examples as the basis for a generalisation about the structure of the two explanatory forms. Finally, I suggest some ways in which explanations of these two kinds relate to one another, and to our thinking when we are engaged by a narrative. (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)

The paper attempts at yielding a language-independent argument in favour of fictional entities, that is, an argument providing genuinely ontological reasons in favour of such entities. According to this argument, ficta are indispensable insofar as they are involved in the identity conditions of semantically-based entities we ordinarily accept, i.e. fictional works. It will also be evaluated to what extent this argument is close to other arguments recently provided to the same purpose.

One way creatures of fiction seem to differ from real things is in their essential properties. While you and I might not have done many of the things we did do, Anna Karenina could not, surely, have been other than a lover of Vronsky. Is that right? Not straightforwardly: while it is true that “Necessarily, someone who was not a lover of Vronsky would not be Anna” it is also true that “Someone who was necessarily a lover of Vronsky would (...) not be Anna”. I use a framework developed by Stalnaker to explain this, and to shed light on the semantics of fictional names. (shrink)

In the first part of this paper I present a defence of the Austinian semantic approach to incomplete quantifiers and similar phenomena (section 2-4). It is part of my defence of Austinian semantics that it incorporates a cognitive dimension (section 4). This cognitive dimension makes it possible to connect Austinian semantics to various cognitive theories of discourse interpretation. In the second part of the paper (sections 5-7), I establish connections between Austinian semantics and four particular theories: • the theory of (...) reference and modes of presentation in terms of information files (see e.g. Perry 1993), • the theory of discourse interpretation as involving a process of context selection (see Sperber and Wilson 1986), • the theory of informational structure (for a survey, see Lambrecht 1994), • the theory of mental spaces (Fauconnier 1985). (shrink)

In this paper I argue that there is a viable simulationist account of emotion attribution. However, I also try to say something specific about the form that this account ought to take. I argue that someone who wants to give by a simulationist account of emotion attribution should focus on similarities between emotions and perceptual judgments.

Both the semantics of fictional discourse and the semantics of indexicality are canonical topics in the philosophy of language, on which there exists well-known significant literature. However, the same cannot be said for the terrain where they overlap. That is, the distinctive issues raised by fictive uses of indexicals and demonstratives have not been extensively studied per se. The aim of the present essay is to shed some light on this terrain, and to advance our understanding of some of these (...) issues. As it happens, accounting for indexicals in fiction requires the use of innovative new tools. In particular, the standard, familiar taxonomy of types / tokens / utterances is not sufficient to account for the complex cognitive significance and truth-conditions, unique to these kinds of case. For instance: it is widely recognized that, with indexicals generally, semantic properties attach to utterances, not to types or to tokens. But in fiction there are no utterances (in the relevant sense). An innovative notion is required, which I call an “indexed token”. This account of indexicals in fiction, based on the notion of an indexed token, is developed within a Perry (2012)-inspired pluri-propositionalist framework. As such, the present essay constitutes an original application of that framework, extending its already impressive reach. (shrink)

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 (...) obtain, a special case of which is the provision of self-knowledge. Fictional works that show rather than tell often employ thought experiments. The epistemic value of some fictional works is indicated by their enabling of empathy, itself illuminated via the psychological process of experience-taking. Whether a fictional work offers epistemic value by telling or showing, there is, in principle, no bar to its being able to deliver on what it offers, and consumers of fiction who exercise epistemic vigilance may gain either knowledge or some degree of understanding from their engagement with it. (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)

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 (...) have proposed to solve this debate by using empirical methods and experimentally studying differences between ‘real’ and ‘fictional’ emotions. In this paper, our goal is to assess the success of these attempts. We begin by surveying the existing empirical literature and stressing the methodological problems that plague most studies that might seem relevant to the debate, before focusing on recent studies that avoid this pitfall. We then argue that, due to conceptual problems, these studies fail to be relevant to the philosophical debate and emphasize new directions for future empirical research on the topic. (shrink)

This paper focuses on the performative character of fictional language. While assuming that all speaking is a form of acting, it aims to shed light on the nature of fictional, and particularly literary, speech acts. To this aim, relevant input can be found in the discussion of the ontological status of fictional entities and of their constitution and in the inquiry into the interaction between author and receiver of a fictional work. Based on the critical assessment of different approaches in (...) the debate on speech-act theory and literary fiction, the article first clarifies why the study of the performative character of fictional language cannot be reduced to either the discussion of the status of singular speech acts in the fiction or the inquiry into the pretend or unserious nature of fictional speech acts formulated by an author. While referring to Roman Ingarden’s, Jean-Paul Sartre’s, and Wolfgang Iser’s work, it subsequently argues that such a performative character should be understood as a specific serious affordance—or appeal—to imagine and thus to participate in the constitution of the fictional world. (shrink)

In this paper I argue against Divers and Miller's 'Lightness of Being' objection to Hale and Wright's neo-Fregean Platonism. According to the 'Lightness of Being' objection, the neo-Fregean Platonist makes existence too cheap: the same principles which allow her to argue that numbers exist also allow her to claim that fictional objects exist. I claim that this is no objection at all" the neo-Fregean Platonist should think that fictional characters exist. However, the pluralist approach to truth developed by WQright in (...) 'Truth and Objectivity' allows us to salvage our intuitions about the metaphysicial lightweightness of fictional characters: truth for discourse about fictional characters fails to exert 'Cognityive Command', whereas truth about arithmetic does. (shrink)

Scientific discourse is rife with passages that appear to be ordinary descriptions of systems of interest in a particular discipline. Equally, the pages of textbooks and journals are filled with discussions of the properties and the behavior of those systems. Students of mechanics investigate at length the dynamical properties of a system consisting of two or three spinning spheres with homogenous mass distributions gravitationally interacting only with each other. Population biologists study the evolution of one species procreating at a constant (...) rate in an isolated ecosystem. And when studying the exchange of goods, economists consider a situation in which there are only two goods, two perfectly rational agents, no restrictions on available information, no transaction costs, no money, and dealings are done immediately. Their surface structure notwithstanding, no competent scientist would mistake descriptions of such systems as descriptions of an actual system: we know very well that there are no such systems. These descriptions are descriptions of a model-system, and scientists use model-systems to represent parts or aspects of the world they are interested in. Following common practice, I refer to those parts or aspects as target-systems. What are we to make of this? Is discourse about such models merely a picturesque and ultimately dispensable façon de parler? This was the view of some early twentieth century philosophers. Duhem (1906) famously guarded against confusing model building with scientific theorizing and argued that model building has no real place in science, beyond a minor heuristic role. The aim of science was, instead, to construct theories, with theories understood as classificatory or representative structures systematically presented and formulated in precise symbolic.. (shrink)

A popular approach to defining fictive utterance says that, necessarily, it is intended to produce imagining. I shall argue that this is not falsified by the fact that some fictive utterances are intended to be believed, or are non-accidentally true. That this is so becomes apparent given a proper understanding of the relation of what one imagines to one's belief set. In light of this understanding, I shall then argue that being intended to produce imagining is sufficient for fictive utterance (...) as well. (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.

In this paper, a theory of the contents of fictional names — names of fictional people, places, etc. — will be developed.1 The fundamental datum that must be addressed by such a theory is that fictional names are, in an important sense, empty: the entities to which they putatively refer do not exist.2 Nevertheless, they make substantial contributions to the truth conditions of sentences in which they occur. Not only do such sentences have truth conditions, sentences differing only in the (...) fictional names they contain differ in their truth conditions. It is, after all, commonplace to note such things as, for example, thatBilbo Baggins is a hobbitis true, andSherlock Holmes is a hobbitis false, while acknowledging at .. (shrink)

Against standard descriptivist and referentialist semantics for fictional reports, I will defend a view according to which fictional names do not refer yet they can be distinguished from one another in virtue of their different name-using practices. The logical structures of sentences containing fictional names inherit these distinctions. Different interpretations follow.

Recent work in developmental psychology indicates that children naturally think that psychological states continue after death. One important candidate explanation for why this belief is natural appeals to the idea that we believe in immortality because we can't imagine our own nonexistence. This paper explores this old idea. To begin, I present a qualified statement of the thesis that we can't imagine our own nonexistence. I argue that the most prominent explanation for this obstacle, Freud's, is problematic. I go on (...) to describe some central features of contemporary cognitive accounts of the imagination, and I argue that these accounts provide an independently motivated explanation for the imaginative obstacle. While the imaginative obstacle does not dictate a belief in immortality, it does, I maintain, facilitate such a belief. (shrink)

is accounted for, among other things, in terms of particular relations between events (or states1) and places or times. Roughly speaking, an event α is said to occur in a place p (or interval t) if the spatial (temporal) extension of α is located in p (or t). Let the predicate ‘Occ’ denote such a relation. From this point of view, part of the content of the above sentences can be associated, respectively, with formulas such as.

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 (...) only that genre—as its con- trast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately de- pict a specific way of approaching such works. (shrink)

According to two-dimensional semantics, primary intension and secondary intension can play the role of reflecting the cognitive aspect of an expression like Fregean sense does. The aim of this paper is to argue that this role is likely a myth. To argue for this, I attempt to show that cognitive aspects of fictional names cannot be explained within the framework of two-dimensional semantics. To be more specific, I consider four ontological theories about fictional characters that two-dimensional semanticists might be tempted (...) to choose. And then, I argue that none of them can be combined with two-dimensional semantics in a satisfactory way. (shrink)

That we can learn something from literature, as cognitivists claim, seems to be a commonplace. However, when one considers matters more deeply, it turns out to be a problematic claim. In this paper, by focusing on general revelatory facts about the world and the human spirit, I hold that the cognitivist claim can be vindicated if one takes it as follows. We do not learn such facts from literature, if by “literature” one means the truth-conditional contents that one may ascribe (...) to textual sentences in their fictional use, i.e., in the use in which one makes believe that things unfold in a certain way. What we improperly call learning from literature amounts to knowing actually true conversational implicatures concerning the above facts as meant by literary authors. So, in one and the same shot, we learn both a general revelatory fact and the fact that such a fact is meant via a true conversational implicature by an author. The author draws that implicature from the different truth-conditional content a sentence possesses when the sentence is interpreted in a fictional context, meant as Kaplan’s (1989) narrow context, i.e., a set of circumstantial parameters (agent, space, time, and world). (shrink)

This paper provides an overview of the account of fictionality — i.e. the phenomenon of things being true “in” or “according to” fictions — that lies at the heart of Kendall Walton's account of representational art. Walton's central idea is that what it is for a proposition to be fictional is for there to be a prescription to imagine that proposition. As we shall see, however, properly understanding this proposal requires an antecedent grasp of Walton's picture of games of make-believe (...) and the relations that artworks bear to appreciators. Having explicated these connections, we will then examine the extensional accuracy of Walton's account of fictionality and its connections to the wider debate about the interpretation of artworks. (shrink)

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

Understanding a work of representational art involves more than simply grasping what it represents. We can distinguish at least three types of content that representational works may possess. First, all representational works have explicit representational content. This includes the literal content of a linguistic work and the depictive content of a pictorial work. Second, they often have a conveyed content, which outstrips their explicit representational content, including much that is merely implicit in the work, and may exclude certain aspects of (...) explicit representational content, as when explicit representational content is used for nonliteral forms of representation such as irony, metaphor, symbolism, or allegory. It is part of the conveyed content of Bruegel's The Fall of Icarus (c. 1560) that Icarus has just fallen from the sky, although the landscape does not depict his fall. (shrink)

Many philosophers suggest (1) that our emotional engagement with fiction involves participation in a game of make-believe, and (2) that what distinguishes an emotional game from a dispassionate game is the fact that the former activity alone involves sensations of physiological and visceral disturbances caused by our participation in the game. In this paper I argue that philosophers who accept (1) should reject (2). I then illustrate how this conclusion illuminates various puzzles in aesthetics and the philosophy of mind.

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, (...) the classical distinction between documentary and fiction has been drastically called into question, and along with it the nature of the emotions and values we experience in these two domains. Rozzoni promotes a phenomenology of the image, that is, a return to a description of images that starts from their essential features while avoiding simplistic dichotomies. By elucidating images’ intimate relationship with phantasy and aesthetic experience and their role in shaping our experience of "reality," this book develops a perspectival notion of "truth" intended to shed light on our contemporary interactions with images and the events, emotions, and values we experience through them. (shrink)

The goal of this paper is to present and defend an inferentialist account of the meaning of fictional names on the basis of Sellars-Brandom’s inferentialist semantics and a Brandomian anaphoric theory of reference. On this inferentialist account, the meaning of a fictional name is constituted by the relevant language norms which provide the correctness conditions for its use. In addition, the Brandomian anaphoric theory of reference allows us to understand reference in terms of anaphoric word-word relations, rather than substantial word-world (...) relations. In this paper I argue that this inferentialist account has many important merits over its rival theories. One important merit is that it explains why we can use fictional names to make true statements, even if they lack bearers. As a consequence, this theory allows us to use fictional names without committing ourselves to an implausible ontology of fictional entities. Another important merit is that it provides a uniform semantic account of fictional names across different types of statements in which fictional names are involved. (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)

A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.