I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (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)

Modeling is central to scientific inquiry. It also depends heavily upon the imagination. In modeling, scientists seem to turn their attention away from the complexity of the real world to imagine a realm of perfect spheres, frictionless planes and perfect rational agents. Modeling poses many questions. What are models? How do they relate to the real world? Recently, a number of philosophers have addressed these questions by focusing on the role of the imagination in modeling. Some have also drawn parallels (...) between models and fiction. This chapter examines these approaches to scientific modeling and considers the challenges they face. (shrink)

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 (...) representational arts. Harvard University Press, Cambridge/MA) has the resources to answer these questions. I introduce this account, outline the answers that it offers, and develop a general picture of scientific modelling based on it. (shrink)

When we engage with a work of fiction we gain knowledge about what is fictionally true in that work. Our grasp of what is true in a fiction is central to our engagement with representational works of art, and to our assessments of their merits. Of course, it is sometimes difficult to determine what is fictional – it is a good question whether the main character of American Psycho is genuinely psychotic or merely delusional, for instance. (And even in this (...) case, our ignorance itself is crucial to how we engage with the story and assess its qualities.) But in the vast majority of cases, we have no difficulty distinguishing what is fictionally true from what is not. Every attentive reader of Bleak House knows that it is fictional that Esther is Lady Dedlock’s daughter, but not fictional that Ada is the daughter of John Jarndyce. Moreover, we do not think that our judgements about what is fictional are based on guesswork. We have a folk theory of fictional truth, in the sense that we have a relatively stable framework upon which we rely when we engage with fiction, and we face the challenge of characterizing that theory systematically. (shrink)

ABSTRACTHow is it that we can rationally assert that sport outcomes do not really matter, while also seeming to care about them to an absurd degree? This is the so-called puzzle of sport. The broadly Waltonian solution to the puzzle has it that we make-believe the outcomes matter. Recently, Stear has critiqued this Waltonian solution, raising a series of five objections. He has also leveraged these objections to motive his own contextualist solution to the puzzle. The aim of this paper (...) is to defend the Waltonian solution. The general upshot is that, contra Stear, a make-believe based solution to the puzzle is viable after all. (shrink)

Recent philosophy of science has seen a number of attempts to understand scientific models by looking to theories of fiction. In previous work, I have offered an account of models that draws on Kendall Walton’s ‘make-believe’ theory of art. According to this account, models function as ‘props’ in games of make-believe, like children’s dolls or toy trucks. In this paper, I assess the make-believe view through an empirical study of molecular models. I suggest that the view gains support when we (...) look at the way that these models are used and the attitude that users take towards them. Users’ interaction with molecular models suggests that they do imagine the models to be molecules, in much the same way that children imagine a doll to be a baby. Furthermore, I argue, users of molecular models imagine themselves viewing and manipulating molecules, just as children playing with a doll might imagine themselves looking at a baby or feeding it. Recognising this ‘participation’ in modelling, I suggest, points towards a new account of how models are used to learn about the world, and helps us to understand the value that scientists sometimes place on three-dimensional, physical models over other forms of representation. (shrink)

Mental fictionalism is the view that, even if mental states do not exist, it is useful to talk as if they do. Mental states are useful fictions. Recent philosophy of mind has seen a growing interest in mental fictionalism. To date, much of the discussion has concerned the general features of the approach. In this paper, I develop a specific form of mental fictionalism by drawing on Kendall Walton’s work on make-believe. According to the approach I propose, talk of mental (...) states is a useful pretence for describing people and their behaviour. I try to clarify and motivate this approach by comparing it to well-known alternatives, including behaviourism, instrumentalism and eliminativism. I also consider some of the challenges that it faces. (shrink)

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 (...) actual world, these occurrences of Free Indirect Discourse introduce localized fictional scenarios from which audiences are meant to learn factual information. As such, they exhibit some of the ways in which the involvement of perspective in historical fiction has been shown to facilitate learning and retention of information. (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)

‘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 (...) stem from those differences. (shrink)

Realists about fictional entities often distinguish the properties that a fictional character has and the properties a character holds. Roughly, this is the distinction between the properties that a character really possesses and the properties it fictionally possess. But despite the popularity of this distinction in realist circles, it gives rise to a number of subtle issues about which fictional realists can and do disagree. In this paper, we aim to clarify these issues and defend three related theses. One: that (...) to say that Hermione holds the property of being female is just to say that the singular proposition ⟨Hermione, being female⟩ is true according to Harry Potter. Two: that ordinary objects can hold properties insofar as propositions like ⟨Napoleon, being French⟩ can be true according to fictions like War and Peace. Three: that the distinction between having and holding should not be thought to play any semantic role within the context of fictional realism. (shrink)

The problem of intersubjective identification arises from the difficulties of explaining how our thoughts and discourse about fictional characters can be directed towards the same (or different) characters given the assumption that there are no fictional entities. In this paper I aim to offer a solution in terms of participation in a practice of thinking and talking about the same thing, which is inspired by Sainsbury's name-using practices. I will critically discuss a similar idea that was put forward by Friend (...) in terms of participation in what Perry calls a notion-network. I will then argue in favor of Sainsbury's baptism-based approach against Perry's information-based approach and I will answer some recent objections that Friend put forward against the former. (shrink)

A natural way to think of models is as abstract entities. If theories employ models to represent the world, theories traffic in abstract entities much more widely than is often assumed. This kind of thought seems to create a problem for a scientific realist approach to theories. Scientific realists claim theories should be understood literally. Do they then imply the reality of abstract entities? Or are theories simply—and incurably—false? Or has the very idea of literal understanding to be abandoned? Is (...) then fictionalism towards scientific theories inevitable? This paper argues that scientific realism can happily co-exist with models qua abstracta. (shrink)

ABSTRACTI propose a different account of fictional objects from the ones already present in the literature. According to my account, fictional objects are culturally created abstract objects dependent for their existence on the pretence attitude adopted by a group of people towards a single fictional content. My work is divided into three parts: in the first one, I present how fictional objects come into existence according to my proposal; in the second part, I illustrate how the existence of fictional objects (...) so conceived may be ontically indeterminate; in the last part, I consider what happens when vague existence and indeterminate identity are claimed within fictional texts. (shrink)

Category mistakes are sentences such as ”The number two is blue’ or ”Green ideas sleep furiously’. Such sentences are highly infelicitous and thus a prominent view claims that they are meaningless. Category mistakes are also highly prevalent in figurative language. That is to say, it is very common for sentences which are used figuratively to be such that, if taken literally, they would constitute category mistakes. In this paper I argue that the view that category mistakes are meaningless is inconsistent (...) with many central and otherwise plausible theories of figurative language. Thus if the meaninglessness view is correct, the theories in question must each be rejected, and conversely, if any of the theories in question is correct, the meaninglessness view must be wrong. The debates concerning the semantics of figurative language and concerning the semantic status of category mistakes are closely connected. (shrink)

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of view by (...) philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

This is a survey of contemporary work on ‘fictionalism in metaphysics’, a term that is taken to signify both the place of fictionalism as a distinctive anti‐realist metaphysics in which usefulness rather than truth is the norm of acceptance, and the fact that philosophers have given fictionalist treatments of a range of specifically metaphysical notions.

A counterpossible is a counterfactual with an impossible antecedent. Counterpossibles present a puzzle for standard theories of counterfactuals, which predict that all counterpossibles are semantically vacuous. Moreover, counterpossibles play an important role in many debates within metaphysics and epistemology, including debates over grounding, causation, modality, mathematics, science, and even God. In this article, we will explore various positions on counterpossibles as well as their potential philosophical consequences.

The paper reviews proposals by Abell, Predelli, and others on the semantics of fiction, focusing on the discourse through which fictions are created. Predelli develops the radical fictionalism of former writers like Kripke and van Inwagen, on which that discourse is contentless and does not express propositions. This paper offers reasons to doubt these claims. It then explores realist proposals like Abell’s in which singular terms in fictions refer to fictional characters, understood as socially created representational artifacts, and irrealist alternatives (...) in which the discourse is fully meaningful even though those terms fail to refer. (shrink)

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 (...) they do in simple-sentence assertions, but rather as fictional names do. (shrink)

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 (...) to imagine. Most other theories of thought and discourse about fictional characters either fail to capture the intentionality of our imaginings, or else obscure the differences between imaginings directed toward fictional characters and those directed toward real individuals. I argue that once we have an account of prescriptions to imagine about real individuals, we can adapt the same framework to specify the contents of prescriptions to imagine about fictional characters, and thereby to account for the truth (or falsity) of statements about fictional characters. (shrink)

Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the abstract/concrete distinction, time, causation, vague (...) existence, vague identity, and inadvertent creation. (shrink)

How to interpret singular terms in fiction? In this paper, we address this semantic question from the perspective of the Artifactual Theory of Fiction (ATF). According to the ATF, fictional characters exist as abstract artifacts created by their author, and preserved through the existence of copies of an original work and a competent readership. We pretend that a well-suited semantics for the ATF can be defined with respect to a modal framework by means of Hintikka’s world lines semantics. The question (...) of the interpretation of proper names is asked in relation to two inference rules, problematic when applied in intensional contexts: the Substitution of Identicals and Existential Generalization. The former fails because identity is contingent. The latter because proper names are not necessarily linked to well-identified individuals. This motivates a non-rigid interpretation of proper names in fiction, although cross-fictional reference (e.g. to real entities) is made possible by the interpretative efforts of the reader. (shrink)

Realists about fictional characters posit a certain theoretical role and a candidate to fill this role. I will delineate the role realists take fictional characters like Emma Woodhouse to fill, and I will argue that it is better filled by what I will call ‘characterisations’. In explaining what I mean by ‘characterisations’, I will show that the existence of these entities is comparatively uncontroversial. Realists should acknowledge their existence, but doing so, I will argue, obviates the need to acknowledge the (...) existence of Emma and other fictional individuals. (shrink)

Le Verrier’s attempts to use ‘Vulcan’ to refer to an inter-Mercurial planet failed: Vulcan is a mere mythical entity. But, as the previous sentence demonstrates, we now use ‘Vulcan’ not in failed attempts to refer to a planet, but in seemingly successful attempts to refer to a mythical entity. These different uses of ‘Vulcan’ present critical pragmatics with a dilemma. On one horn, my use of ‘Vulcan’ cannot be conditionally co-referential with Le Verrier’s uses, because he failed to refer (to (...) a planet), whereas I (seemingly successfully) refer to a mythical entity. But, on the other horn, such uses of ‘Vulcan’ are not a simple case of nambiguity, because what I say in uttering ‘Vulcan is a mythical entity’ is incompatible with Le Verrier’s assertion of, e.g., ‘Vulcan is hot’. I propose to escape this dilemma by appeal to a different relation between uses of names which I call converse conditional co-reference. (shrink)

In this paper, I argue that David Lewis’s possible world semantics for counterfactual discourse and for fictional discourse are apparently inconsistent and in need of revision. The problem emerges for Lewis’s account once one considers how to evaluate ambifictional counterfactuals. Since this is likely not a concept familiar to most, and since it does not appear that the problem has been previously recognized in the critical literature, I will begin by rehearsing Lewis’s possible worlds semantics for counterfactuals and fiction. Then (...) I will explicate the distinction between intrafictional, extrafictional, interfictional, and ambifictional propositions. Next, I will state what an ambifictional counterfactual proposition is, and explain why this kind of discourse confounds Lewis’s system. I will conclude, finally, with a brief discussion of how the Lewisian would be best advised to resolve the paradox. (shrink)

Although we are still in the dark when it comes to giving necessary and jointly sufficient criteria for what it takes to be thinking a singular thought, the paradigm cases are just ones where an agent is thinking about some particular object. When we erroneously think that Vulcan is a planet, our thought appears to be singular since it is, after all, about Vulcan. A promising way to explain this is to claim that there is something, a merely hypothetical entity, (...) that is Vulcan. There have been notable supporters for positing hypothetical entities for some time now, but the account of how we create hypothetical entities is still underdeveloped. In fact, we face a puzzle if we assume: hypothetical entities are created by us; we create a given hypothetical entity only when we falsely hypothesize something to be the unique F; we create the hypothetical entity long before we learn that there is no unique F. How can we possibly manage to conditionally and unknowingly create some entity when there is no unique F? In showing how this is possible, it will become clear that we have good reason for preferring a view that posits hypothetical entities over the alternative ways of accounting for our apparently singular thoughts about Vulcan, Pegasus, the Fountain of Youth, and so on. (shrink)

In this introduction, I consider different problems posed by the use of singular terms in fiction (section 1), paying especial attention to proper names and, in particular, to names of real people, places, etc. As we will see (section 2), descriptivist and Millian theories of reference face different kinds of problems in explaining the use of fictional names in fiction-related contexts. Moreover, the task of advancing a uniform account of names in these contexts—an account which deals not only with fictional (...) names but also with “real” names—will prove to be very hard no matter whether we favour realist or antirealist intuitions about fictional discourse (section 3). Section 4 offers an overview of the content of this volume, with emphasis on the discussion between Manuel García-Carpintero and Stacie Friend about the meaning of “real” names in fiction-related contexts, the main topic of the Third Blasco Disputatio. (shrink)

This thesis aims to bring methodological issues in the debate about the nature of fictional characters to the fore. I show how the arguments fictional realists have offered in favour of their views rely on crucial ‘metaontological’ assumptions about what ontological questions are and how they should be answered. In addition to casting doubt on some of the more orthodox approaches to ontological inquiry, my positive goal is to deploy an independently motivated metaontology to defend a novel version of fictional (...) anti-realism. On the view I develop and defend, the central task we face is that of explaining truths concerning fictional characters, where the relevant notion of explanation is distinctively metaphysical in character. Fictional anti-realism emerges as the plausible thesis that truths about fictional entities can be completely explained in terms of the existence and features of other things. (shrink)

Are there nonexistent objects, i.e., objects that do not exist? Some examples often cited are: Zeus, Pegasus, Sherlock Holmes, Vulcan (the hypothetical planet postulated by the 19th century astronomer Le Verrier), the perpetual motion machine, the golden mountain, the fountain of youth, the round square, etc. Some important philosophers have thought that the very concept of a nonexistent object is contradictory (Hume) or logically ill-formed (Kant, Frege), while others (Leibniz, Meinong, the Russell of Principles of Mathematics) have embraced it wholeheartedly. (...) This entry is an examination of the many questions which arise in connection with the view that there are nonexistent objects. The following are particularly salient: What reasons are there (if any) for thinking that there are nonexistent objects? If there are nonexistent objects, then what kind of objects are they? How can they be characterized? Is it possible to provide a consistent theory of nonexistent objects? What is the explanatory force of a consistent theory of nonexistent objects (if such a thing is possible)? (shrink)

Science provides us with representations of atoms, elementary particles, polymers, populations, genetic trees, economies, rational decisions, aeroplanes, earthquakes, forest fires, irrigation systems, and the world’s climate. It's through these representations that we learn about the world. This entry explores various different accounts of scientific representation, with a particular focus on how scientific models represent their target systems. As philosophers of science are increasingly acknowledging the importance, if not the primacy, of scientific models as representational units of science, it's important to (...) stress that how they represent plays a fundamental role in how we are to answer other questions in the philosophy of science. This entry begins by disentangling ‘the’ problem of scientific representation, before critically evaluating the current options available in the literature. (shrink)

The argument from contingency for the existence of God is best understood as a request for an explanation of the total sequence of causes and effects in the universe (‘History’ for short). Many puzzles about how there could be such an explanation arise from the assumption that God is being introduced as one more cause prepended to the sequence of causes that (allegedly) needed explaining. In response to this difficulty, this chapter defends three theses. First, it argues that, if the (...) argument from contingency is to succeed, the explanation of History in terms of God must not be a causal explanation; second, that a particular hypothesis about God’s relation to History—that God is what I call the foundational ground of History—is intelligible and explanatory; third and finally, that the explanatory advantages of this hypothesis cannot be had within the confines of naturalism. (shrink)

The paper provides an opinionated survey of recent contributions – roughly, in the last decade – to our understanding of how names and other referring expressions work in fictional discourse and addresses well-known philosophical worries that they raise. Views about the semantics of referring expressions in fictional discourse are usually accompanied by metaphysical views on the ontology of fictional characters, so this will also come under our focus.

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 (...) (1990) pretense view, which denies the existence of such entities. In the process, I propose modifications to these views to deal with problems they face and show how the modifications better account for the philosophical data. -/- Key abstractionists (van Inwagen 1977, Thomasson 1999) make a strict distinction between discourse within fiction, in which statements about literary characters cannot be literally true, and discourse about fiction, as it occurs in literary criticism, where statements about fictional characters can be literally true. Fictional objects are postulated to account for the truth of the latter. This runs into trouble because statements thought to be literally true are not literal. (Yagisawa 2001, Friend 2002) I provide a uniform analysis to account for the truth of statements involving fictional characters by appealing to a presupposition involving a metaphor in both contexts. The presupposition is that there is an x such that x is fictional; x is likened to a real person; and x is and ought to be treated/counted as a real person for all relevant intents and purposes. -/- More generally, I adopt Everett and Schroeder’s (2015) realist view that fictional characters are ideas constituted by mental representations. This, to me, better accounts for how fictional characters are created within the world’s causal nexus (unlike non-spatiotemporal entities in abstractionism), among other things. One key challenge they face is to explain how ideas can possess properties such as being a detective. I present a fine-grained version of their view, according to which the mental representations constituting fictional entities encode mind-dependent properties. Moreover, I explain how reference to such representations is possible, using Bencivenga’s (1983) Neo-Kantian view of reference and Karttunen’s (1976) view on discourse referents. Finally, I suggest that the identity of fictional characters is interest-relative. The constant, and sometimes radical, change of properties that, fictional characters can undergo is taken to be a consequence of the fact that unified mental representations are bundles of simpler mental representations. As change occurs, simpler representations are replaced by others. -/- A key theme that runs through the thesis is that neither fictionality nor pretense is relevant to the semantics of fictional sentences—a claim bolstered by Matravers’ (2014) arguments. Whether or not my account works, this claim, as well as the new philosophical data I bring up, are some of the challenges I pose to the heart of established views. (shrink)

Empty names are a problem for Russellians. I describe three ways to approach solving the problem. These are positing gappy propositions as contents, nonsingular propositions as contents, or denying that sentences containing empty names have contents. I discuss methods for deciding between solutions. I then argue for some methods over others and defend one solution using those methods. I reject the arguments that either intuitions about truth value, truth, content, or meaningfulness can decide between the solutions. I give an alternative (...) argument which does decide between the three solutions. The alternative is based on the idea that a sentence and its internal negation are contrary: they cannot both be true, but they might both be false. I argue from Russellian premises to the conclusion that such sentences cannot be assigned truth values when they contain empty names. The argument shows that no Russellian should assign a truth value to a sentence containing an empty name, and therefore that no Russellian should assign a proposition as the content of such a sentence. This shows that Russellians should conclude that sentences containing empty names do not have contents, i.e. the no proposition view. (shrink)

This paper attempts to reconcile two apparently opposed ways of thinking about the imagination and its relationship to literature, one which casts it as essentially concerned with fiction-making and the other with culture-making. The literary imagination’s power to create fictions is what gives it its most obvious claim to “autonomy”, as Kant would have it: its freedom to venture out in often wild and spectacular excess of reality. The argument of this paper is that we can locate the literary imagination’s (...) complementary power of cultural articulation in this fictional activity. The suggestion is that we should conceive of the literary imagination as expressing its interests in culture not mimetically but by producing a certain kind of meaning. This meaning is irreducibly narratological, and understanding it helps us to see the role of narrative in bringing into harmony the literary imagination’s interests in both the imaginary and the real. (shrink)

Recently, a number of authors have suggested that we understand scientific models in the same way as fictional characters, like Sherlock Holmes. The biggest challenge for this approach concerns the ontology of fictional characters. I consider two responses to this challenge, given by Roman Frigg, Ronald Giere and Peter Godfrey-Smith, and argue that neither is successful. I then suggest an alternative approach. While parallels with fiction are useful, I argue that models of real systems are more aptly compared to works (...) that portray real people, like the Emperor Claudius. This approach will allow us to avoid problems with fictional characters. (shrink)

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 (...) two main kinds of arguments for or against positing fictional entities into our ontology. The first kind is traditionally inspired by the linguistic data coming from our talk about fictional characters. The second kind is more recent and it builds on genuine ontological considerations. (shrink)

In a series of papers, Robin Jeshion has forcefully criticized both Donnellan's and Evans’ claims on the contingent a priori, and she has developed an “acquaintanceless” account of singular thoughts as an alternative view. Jeshion claims that one can fully grasp a singular thought expressed by a sentence including a proper name, even if its reference has been descriptively fixed and one’s access to the referent is “mediated” by that description. But she still wants to reject “semantic instrumentalism”, the view (...) that “there are no substantive conditions of any sort on having singular thought. We can freely generate singular thoughts at will by manipulating the apparatus of direct reference.” Her account of singular thoughts is a psychological one, rejecting any epistemic requirement. Having singular thoughts is for her a matter of deploying “mental files” or “dossiers” that play a significant role in the cognitive life of the individual. This paper elaborates on an alternative descriptivist-friendly view, which has important points of contact with Jeshion’s. It differs, particularly in that it is an epistemic view; it is only a broadly understood acquaintance view, as it will transpire, but this does not make it a mere terminological variation on Jeshion’s acquaintanceless one. To argue for it, the paper discusses some relevant aspects of the semantics of fictional discourse. (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)