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)

I formulate and criticise a condition that captures some recent ideas on the nature of pretence, namely, the disbelief condition. According to an initial understanding of this condition, an agent who is pretending that P must also disbelieve that P. I criticise this idea by proposing a counterexample showing that an agent may be in a state of pretence that does not imply disbelief in what is pretended. I also draw some general conclusions about the nature of pretence.

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 (...) explicit since formal features don’t say anything; and not implicit since content generated from formal features doesn’t rely on other truths or background assumptions. In addition to showing that our current classification is incomplete, the new class of fictional truths provides four further upshots for definitions of fictional truth, story and work identity conditions, and the relationship between literary interpretation and fictional truth. (shrink)

A review of John Woods, Truth in Fiction: Rethinking its Logic. Cham: Springer, 2018.

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)

Indeterminacy in its various forms has been the focus of a great deal of philosophical attention in recent years. Much of this discussion has focused on the status of vague predicates such as ‘tall’, ‘bald’, and ‘heap’. It is determinately the case that a seven-foot person is tall and that a five-foot person is not tall. However, it seems difficult to pick out any determinate height at which someone becomes tall. How best to account for this phenomenon is, of course, (...) a controversial matter. For example, some (such as Sorensen (2001) and Williamson (2002)) maintain that there is a precise height at which someone becomes tall and such apparent cases of indeterminacy merely reflects our ignorance of this fact. Others maintain that there is some genuine – and not merely epistemic – indeterminacy present is such cases and offer various accounts of how best to account for it. Supervaluationists (such as Keefe (2008)), for example, claim that the indeterminacy with respect to vague terms lies in their not having a single definite extension. Rather, each term is associated with a range of possible precise extensions or precisifications such that it is semantically unsettled which is the correct extension. One precisification of ‘tall’ might allow that anyone over five feet ten inches is tall, whereas another would only allow those over six foot to qualify; but no precisification will take someone who is five foot to be tall, and someone who is seven foot will count as tall on all precisifications. Thus – while someone who is seven foot will be determinately tall and someone who is five foot determinately not so – it will be indeterminate whether someone who stands at five foot eleven inches is tall. -/- Yet, it is important to stress that putative cases of indeterminacy are not limited to vague predicates of this kind. Philosophers have invoked indeterminacy in discussions of topics as diverse as moral responsibility (Bernstein (forthcoming)), identity over time (Williams (2014)), and the status of the future (Barnes and Cameron (2009)). In this paper, we focus on two areas where discussion of various kinds of indeterminacy has been commonplace: physics and fiction. We propose a new model for understanding indeterminacy across these domains and argue that it has some notable advantages when compared to earlier accounts. Treating physics and fiction cases univocally also indicates an interesting connection between indeterminacy in these two areas. (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.

This paper deals with the phenomenon of retroactive continuity, or retcon for short, in which the truth-value of a proposition in an established fictional work is changed later. The primary aim of this paper is to provide the most compelling explanation for retroactive continuity. I first defend the metaphysical view about fiction, according to which when retconning occurs, a fictional work changes its property of containing a proposition while preserving its identity. I then argue that this view is theoretically preferable (...) to all other competing approaches. (shrink)

This article discusses the possibility of some outlandish tropes from time travel fiction, such as people reversing in age as they time travel or the universe being destroyed because a time traveler kills their ancestor. First, I discuss what type of possibility we might have in mind, detailing ‘close possibility’ as one such candidate. Secondly, I argue that—with only little exception—these more outlandish tropes fail to be closely possible. Thirdly, I discuss whether these outlandish tropes may nevertheless be more broadly (...) possible (e.g., metaphysically or logically possible), arguing that whether they are or not depends upon your favored metaphysics of the laws of nature. (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)

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)

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 225 Seiten: 423-446.

En el presente trabajo intentaré poner de manifiesto las debilidades de los argumentos dados por Contessa para sustentar, como fuente del representar, a los razonamientos subrogantes válidos por sobre los sólidos. En primer lugar, analizo ciertas ventajas epistémicas del criterio sustentado sobre los RS sólidos, evidenciando, consecuentemente, los límites del criterio estipulado por Contessa. En segundo lugar, muestro que los argumentos utilizados por Contessa para descartar el criterio instituido en los RS sólidos son deficientes, ya que, en el mejor de (...) los casos, no demuestran nada y, en el peor de los casos, o bien se comete una falacia por ambigüedad o bien se comete una petición de principio. (shrink)

William D’Alessandro has recently argued that there are no implicit truths in fiction. According to the view defended by D’Alessandro, which he terms explicitism, the only truths in fiction are the ones explicitly expressed therein. In this essay, I argue that explicitism is incorrect on multiple counts. Not only is the argument D’Alessandro gives for it invalid, but explicitism as a theory of truth in fiction fails drastically to account for a number of phenomena that are crucial to our understanding (...) and interpretation of fiction, such as pragmatic implicatures and speech acts occurring in fiction, psychological profiles of fictional characters, and fictional truths determined by literary conventions. (shrink)