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  1. Fictional Truth and Make-Believe.Dimitria Electra Gatzia & Eric Sotnak - 2014 - Philosophia 42 (2):349-361.
    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 (...)
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  • Thoughtful Brutes.Tomas Hribek - 2012 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 19:70-82.
    Donald Davidson and John Searle famously differ, among other things, on the issue of animal thoughts. Davidson seems to be a latter-day Cartesian, denying any propositional thought to subhuman animals, while Searle seems to follow Hume in claiming that if we have thoughts, then animals do, too. Davidson’s argument centers on the idea that language is necessary for thought, which Searle rejects. The paper argues two things. Firstly, Searle eventually argues that much of a more complex thought does depend on (...)
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  • Fictional Entities.Fiora Salis - 2013 - Online Companion to Problems in Analytic Philosophy.
    In this entry I present one of the most hotly debated issues in contemporary analytic philosophy regarding the nature of fictional entities and the motivations that might be adduced for and against positing them into our ontology. The entry is divided in two parts. In the first part I offer an overview of the main accounts of the metaphysics of fictional entities according to three standard realist views, fictional Meinongianism, fictional possibilism and fictional creationism. In the second part I describe (...)
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  • Fiction as a Genre.Stacie Friend - 2012 - Proceedings of the Aristotelian Society 112 (2pt2):179--209.
    Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...)
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  • Pretense and Display Theories of Theatrical Performance.James R. Hamilton - 2009 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu (4):632-654.
    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.
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  • Philosophical Problems in Robotics.Yasuo Nakayama - 2011 - Kagaku Tetsugaku 44 (2):2_1-2_16.
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  • The Aesthetics of Actor-Character Race Matching in Film Fictions.Christy Mag Uidhir - 2012 - Philosophers' Imprint 12.
    Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...)
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  • Description, Disagreement, and Fictional Names.Peter Alward - 2011 - Canadian Journal of Philosophy 41 (3):423-448.
    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 (...)
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  • (1 other version)Heidegger and the romantics: the literary invention of meaning.Pol Vandevelde - 2012 - New York: Routledge.
    <P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...)
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  • Rationalism and the Content of Intuitive Judgements.Anna-Sara Malmgren - 2011 - Mind 120 (478):263-327.
    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. (...)
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  • Actualisme et fiction.Jérôme Pelletier - 2000 - Dialogue 39 (1):77-.
    The nonexistence of fictional entities does not seem incompatible with their possible existence. The aim of this paper is to give an account of the intuitive truth of statements of possible existence involving fictional proper names in an actualist framework. After having clarified the opposition between a possibilist and an actualist approach of possible wolds, I distinguish fictional individuals from fictional characters and the fictional use of fictional proper names from their metafictional use. On that basis, statements of possible existence (...)
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  • Getting Carried Away: Evaluating the Emotional Influence of Fiction Film.Stacie Friend - 2010 - Midwest Studies in Philosophy 34 (1):77-105.
    It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...)
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  • The great beetle debate: A study in imagining with names.Stacie Friend - 2011 - Philosophical Studies 153 (2):183-211.
    Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...)
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  • Modal meinongianism and fiction: The best of three worlds.Francesco Berto - 2011 - Philosophical Studies 152 (3):313-35.
    We outline a neo-Meinongian framework labeled as Modal Meinongian Metaphysics (MMM) to account for the ontology and semantics of fictional discourse. Several competing accounts of fictional objects are originated by the fact that our talking of them mirrors incoherent intuitions: mainstream theories of fiction privilege some such intuitions, but are forced to account for others via complicated paraphrases of the relevant sentences. An ideal theory should resort to as few paraphrases as possible. In Sect. 1, we make this explicit via (...)
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  • A Metaphysics of Creativity.Dustin Stokes - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New waves in aesthetics. New York: Palgrave-Macmillan. pp. 105--124.
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  • (1 other version)Speaking of fictional characters.Amie L. Thomasson - 2003 - Dialectica 57 (2):205–223.
    The challenge of handling fictional discourse is to find the best way to resolve the apparent inconsistencies in our ways of speaking about fiction. A promising approach is to take at least some such discourse to involve pretense, but does all fictional discourse involve pretense? I will argue that a better, less revisionary, solution is to take internal and fictionalizing discourse to involve pretense, while allowing that in external critical discourse, fictional names are used seriously to refer to fictional characters. (...)
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  • Telling Tales.Antony Eagle - 2007 - Proceedings of the Aristotelian Society 107 (1pt2):125 - 147.
    Utterances within the context of telling fictional tales that appear to be assertions are nevertheless not to be taken at face value. The present paper attempts to explain exactly what such 'pseudo-assertions' are, and how they behave. Many pseudo-assertions can take on multiple roles, both within fictions and in what I call 'participatory criticism' of a fiction, especially when they occur discourse-initially. This fact, taken together with problems for replacement accounts of pseudo-assertion based on the implicit prefixing of an 'in (...)
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  • Thought-experiment intuitions and truth in fiction.Jonathan Ichikawa & Benjamin Jarvis - 2009 - Philosophical Studies 142 (2):221 - 246.
    What sorts of things are the intuitions generated via thought experiment? Timothy Williamson has responded to naturalistic skeptics by arguing that thought-experiment intuitions are judgments of ordinary counterfactuals. On this view, the intuition is naturalistically innocuous, but it has a contingent content and could be known at best a posteriori. We suggest an alternative to Williamson's account, according to which we apprehend thought-experiment intuitions through our grasp on truth in fiction. On our view, intuitions like the Gettier intuition are necessarily (...)
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  • Domains of discourse.François Recanati - 1996 - Linguistics and Philosophy 19 (5):445 - 475.
    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 (...)
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  • Imaginative contagion.Tamar Szabó Gendler - 2006 - Metaphilosophy 37 (2):183-203.
    The aim of this article is to expand the diet of examples considered in philosophical discussions of imagination and pretense, and to offer some preliminary observations about what we might learn about the nature of imagination as a result. The article presents a number of cases involving imaginative contagion: cases where merely imagining or pretending that P has effects that we would expect only perceiving or believing that P to have. Examples are offered that involve visual imagery, motor imagery, fictional (...)
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  • Real Individuals in Fictions, Fictional Surrogates in Stories.Alberto Voltolini - 2020 - Philosophia 48 (2):803-820.
    In the philosophy of fiction, a majority view is continuism, i.e., the thesis that ordinary names, or genuine singular terms in general, directly refer to ordinary real individuals in fiction-involving sentences – e.g. “Napoleon” in the sentences that constitute the text of Tolstoy’s War and Peace. But there is also a minority view, exceptionalism, which is the thesis that such terms change their semantic value in such sentences, either by directly referring to fictional surrogates of those individuals – what we (...)
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  • A Controversy Over the Existence of Fictional Objects: Husserl and Ingarden on Imagination and Fiction.Witold Płotka - 2020 - Journal of the British Society for Phenomenology 51 (1):33-54.
    1. Phenomenology is first and foremost about intentionality. As Husserl puts it, “Intentionality is the name of the problem encompassed by the whole of phenomenology”.1 Broadly understood, the phen...
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  • Imaginative Resistance and Empathic Resistance.Thomas Szanto - 2020 - Topoi 39 (4):791-802.
    In the past few decades, a growing number of philosophers have tried to explain the phenomenon of imaginative resistance, or why readers often resist the invitation of authors to imagine morally deviant fictional scenarios. In this paper, I critically assess a recent proposal to explain IR in terms of a failure of empathy, and present a novel explanation. I do so by drawing on Peter Goldie’s narrative account of empathic perspective-taking, which curiously has so far been neglected in the IR-literature. (...)
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  • The Mental Functions of Appreciating Fiction.Naoko Ishida - 2016 - American Society for Aesthetics Graduate E-Journal 8 (2).
    In Fiction and Narrative, Derek Matravers argues that what is fundamental in philosophy of fiction is not the distinction between non-fiction and fiction, but the distinction between confrontation and representation. Moreover, he argues that there is no significant difference between our appreciating fiction and our appreciating non-fiction. His solutions, however, do not fix all of the problems with fiction. There are many similarities between the processes of appreciating fiction and non-fiction, but there are also important differences. In particular, it seems (...)
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  • (1 other version)Las normas y su puesta en vigor: respuesta a Josep Corbí.Manuel Garcia-Carpintero - 2017 - Critica 49 (145):113-132.
    En su discusión “Obras de ficción, formas de conciencia y literatura”, Josep Corbí formula una serie de críticas certeras a mis ideas sobre la distinción que he hecho entre ficción y no ficción en Relatar lo ocurrido como invención. En esta nota de respuesta expongo primero de forma sucinta el núcleo de esas ideas y después proporciono las que considero las razones más decisivas para adoptarlas, a pesar de las dificultades que señala Corbí.
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  • (1 other version)Fiction and scientific representation.Roman Frigg - 2010 - In .
    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 (...)
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  • Tichý and Fictional Names.Daniela Glavaničová - 2017 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 24 (3):384-404.
    The paper examines two possible analyses of fictional names within Pavel Tichý’s Transparent Intensional Logic. The first of them is the analysis actually proposed by Tichý in his (1988) book The Foundations of Frege’s Logic. He analysed fictional names in terms of free variables. I will introduce, explain, and assess this analysis. Subsequently, I will explain Tichý’s notion of individual role (office, thing-to-be). On the basis of this notion, I will outline and defend the second analysis of fictional names. This (...)
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  • Interpretation and the Implied Author: A Descriptive Project.Szu-Yen Lin - 2018 - Southern Journal of Philosophy 56 (1):83-100.
    The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...)
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  • Mental imagery and fiction.Dustin Stokes - 2019 - Canadian Journal of Philosophy 49 (6):731-754.
    Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image back into the imagination’. The (...)
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  • Fictionalism about musical works.Anton Killin - 2018 - Canadian Journal of Philosophy 48 (2):266-291.
    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 (...)
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  • More on Fictional Names and Psychologistic Semantics: Replies to Comments.Emar Maier - 2017 - Theoretical Linguistics 43 (1-2):103-120.
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  • (1 other version)Lying and Fiction.Emar Maier - 2018 - In Jörg Meibauer (ed.), The Oxford Handbook of Lying. Oxford, United Kingdom: Oxford Handbooks. pp. 303-314.
    Lying and fiction both involve the deliberate production of statements that fail to obey Grice’s first Maxim of Quality (“do not say what you believe to be false”). The question thus arises if we can provide a uniform analysis for fiction and lies. In this chapter I discuss the similarities, but also some fundamental differences between lying and fiction. I argue that there’s little hope for a satisfying account within a traditional truth conditional semantic framework. Rather than immediately moving to (...)
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  • Elucidating the Truth in Criticism.Stacie Friend - 2017 - Journal of Aesthetics and Art Criticism 75 (4):387-399.
    Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...)
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  • (2 other versions)Capturing the scientific imagination.Fiora Salis & Roman Frigg - 2019 - In Arnon Levy & Peter Godfrey-Smith (eds.), The Scientific Imagination. New York, US: Oup Usa.
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  • (3 other versions)Models and representation.Roman Frigg & James Nguyen - 2017 - In Lorenzo Magnani & Tommaso Bertolotti (eds.), Springer Handbook of Model-Based Science. Springer. pp. 49-102.
    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 (...)
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  • Fiction Unlimited.Nathan Wildman & Christian Folde - 2017 - Journal of Aesthetics and Art Criticism 75 (1):73-80.
    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.
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  • Contexts as Shared Commitments.Manuel García-Carpintero - 2015 - Frontiers in Psychology 6.
    Contemporary semantics assumes two influential notions of context: one coming from Kaplan (1989), on which contexts are sets of predetermined parameters, and another originating in Stalnaker (1978), on which contexts are sets of propositions that are “common ground”. The latter is deservedly more popular, given its flexibility in accounting for context-dependent aspects of language beyond manifest indexicals, such as epistemic modals, predicates of taste, and so on and so forth; in fact, properly dealing with demonstratives (perhaps ultimately all indexicals) requires (...)
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  • “Ancona?” Aha! that’s her name! Tip-of-the-tongue experiences.Clotilde Calabi - 2016 - Analysis 76 (4):409-418.
    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 (...)
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  • Files for Fiction.Eleonora Orlando - 2017 - Acta Analytica 32 (1):55-71.
    In this essay, I appeal to the mental file approach in order to give an anti-realist semantic analysis of statements containing fictional names. I claim that fictive and parafictive uses of them express conceptual, though not general, propositions constituted by mental files, anchored in the conceptual world of the corresponding fictional story. Moreover, by positing a referential shift determined by the presence of a simulative referential intention characteristic of those uses, it is possible to take them to be true with (...)
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  • The problem of empty names and Russellian Plenitude.Joshua Spencer - 2016 - Canadian Journal of Philosophy 46 (3):1-18.
    ‘Ahab is a whaler’ and ‘Holmes is a whaler’ express different propositions, even though neither ‘Ahab’ nor ‘Holmes’ has a referent. This seems to constitute a theoretical puzzle for the Russellian view of propositions. In this paper, I develop a variant of the Russellian view, Plenitudinous Russellianism. I claim that ‘Ahab is a whaler’ and ‘Holmes is a whaler’ express distinct gappy propositions. I discuss key metaphysical and semantic differences between Plenitudinous Russellianism and Traditional Russellianism and respond to objections that (...)
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  • Knowledge by Imagination - How Imaginative Experience Can Ground Knowledge.Fabian Dorsch - 2016 - Teorema: International Journal of Philosophy 35 (3):87-116.
    In this article, I defend the view that we can acquire factual knowledge – that is, contingent propositional knowledge about certain (perceivable) aspects of reality – on the basis of imaginative experience. More specifically, I argue that, under suitable circumstances, imaginative experiences can rationally determine the propositional content of knowledge-constituting beliefs – though not their attitude of belief – in roughly the same way as perceptual experiences do in the case of perceptual knowledge. I also highlight some philosophical consequences of (...)
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  • (1 other version)Video Games as Self‐Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2012 - Journal of Aesthetics and Art Criticism 74 (2):165-177.
    This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...)
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  • (1 other version)Models and fiction.Roman Frigg - 2007 - Synthese 172 (2):251-268.
    Most scientific models are not physical objects, and this raises important questions. What sort of entity are models, what is truth in a model, and how do we learn about models? In this paper I argue that models share important aspects in common with literary fiction, and that therefore theories of fiction can be brought to bear on these questions. In particular, I argue that the pretence theory as developed by Walton (1990, Mimesis as make-believe: on the foundations of the (...)
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  • Missing systems and the face value practice.Martin Thomson-Jones - 2010 - Synthese 172 (2):283-299.
    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 (...)
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  • (1 other version)Truths Containing Empty Names.Michael McKinsey - 2016 - In Piotr Stalmaszczyk & Luis Fernandez Moreno (eds.), Philosophical Approaches to Proper Names. Peter Lang. pp. 175-202.
    Abstract. On the Direct Reference thesis, proper names are what I call ‘genuine terms’, terms whose sole semantic contributions to the propositions expressed by their use are the terms’ semantic referents. But unless qualified, this thesis implies the false consequence that sentences containing names that fail to refer can never express true or false propositions. (Consider ‘The ancient Greeks worshipped Zeus’, for instance.) I suggest that while names are typically and fundamentally used as genuine terms, there is a small class (...)
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  • (1 other version)Video Games as Self-Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2016 - Journal of Aesthetics and Art Criticism 74 (2):165-177.
    This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...)
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  • Is the Paradox of Fiction Soluble in Psychology?Florian Cova & Fabrice Teroni - 2016 - Philosophical Psychology 29 (6):930-942.
    If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for scholars to try (...)
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  • Fact, Fiction, and Fantasy.Ben Blumson - 2015 - Midwest Studies in Philosophy 39 (1):46-57.
    This paper argues: (1) All knowledge from fiction is from imagination (2) All knowledge from imagination is modal knowledge (3) So, all knowledge from fiction is modal knowledge Moreover, some knowledge is from fiction, so (1)-(3) are non-vacuously true.
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  • Le paradoxe de la fiction: le retour.Florian Cova & Fabrice Teroni - 2015 - L'expression des Émotions: Mélanges En l'Honneur de Patrizia Lombardo.
    Tullmann et Buckwalter (2014) ont récemment soutenu que le paradoxe de la fiction tenait plus de l’illusion que de la réalité. D’après eux, les théories contemporaines des émotions ne fourniraient aucune raison d’adopter une interprétation du terme « existence » qui rende les prémisses du paradoxe incompatibles entre elles. Notre discussion a pour but de contester cette manière de dissoudre le paradoxe de la fiction en montrant qu’il ne prend pas sa source dans les théories contemporaines des émotions. Bien plutôt, (...)
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  • Models of Philosophical Thought Experimentation.Jonathan Andy Tapsell - 2014 - Dissertation, Australian National University
    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 (...)
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