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Philosophy and Phenomenological Research, EarlyView. |
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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 (...) |
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Singular terms used in fictions for fictional characters raise well-known philosophical issues, explored in depth in the literature. But philosophers typically assume that names already in use to refer to “moderatesized specimens of dry goods” cause no special problem when occurring in fictions, behaving there as they ordinarily do in straightforward assertions. In this paper I continue a debate with Stacie Friend, arguing against this for the exceptionalist view that names of real entities in fictional discourse don’t work there as (...) |
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It is widely agreed that more is true in a work of fiction than explicitly said. In addition to directly stipulated fictional content (explicit truth), inference and background assumptions give us implicit truths. However, this taxonomy of fictional truths overlooks an important class of fictional truth: those generated by literary formal features. Fictional works generate fictional content by both semantic and formal means, and content arising from formal features such as italics or font size are neither explicit nor implicit: not (...) |
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This article explores the relation between belief-like imaginings and the establishment of imaginary worlds (often called fictional worlds). After outlining the various assumptions my argument is premised on, I argue that belief-like imaginings, in themselves, do not render their content true in the imaginary world to which they pertain. I show that this claim applies not only to imaginative projects in which we are instructed or intend to imagine certain propositions, but also to spontaneous imaginative projects. After arguing that, like (...) |
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Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) |
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Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) |
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In this paper I defend the claim that the act of writing a work of fiction consists in the performance of a sui generis speech act, and propose a dynamic treatment for acts of fiction-making. Recently, speech act theories of fiction have become targets of the uniformity argument. According to it, in order to account for the myriad of speech acts present in works of fiction, speech act theories of fiction need to propose a similar amount of fiction-related illocutionary forces. (...) |
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This paper offers a systematic classification and characterization of speech acts and their norms. Recently, the normative approach has been applied to various speech acts, most notably to constatives. I start by showing how the work on the norms of assertion has influenced various approaches to the norms of other speech acts. I focus on the fact that various norms of assertion have different extensions, i.e., they denote different clusters of illocutions as belonging to an assertion. I argue that this (...) |
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Consider the opening sentence of Tolkien’s The Hobbit: In a hole in the ground there lived a hobbit. By writing this sentence, Tolkien is making a fictional statement. There are two influential views of the nature of such statements. On the pretense view, fictional discourse amounts to pretend assertions. Since the author is not really asserting, but merely pretending, a statement such as Tolkien’s is devoid of illocutionary force altogether. By contrast, on the alternative make-believe view, fictional discourse prescribes that (...) |
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John Searle argues that fictions are constituted by mere pretense—by the simulation of representational activities like assertions, without any further representational aim. They are not the result of sui generis, dedicated speech acts of a specific kind, on a par with assertion. The view had earlier many defenders, and still has some. Stefano Predelli enlists considerations derived from Searle in support of his radical fictionalism. This is the view that a sentence of fictional discourse including a prima facie empty fictional (...) |
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Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) |
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The paper surveys recent appraisals of David Lewis’s seminal paper on truth in fiction. It examines variations on standard criticisms of Lewis’s account, aiming to show that, if developed as Lewis suggests in his 1983 Postscript A, his proposals on the topic are—as Hanley puts it—‘as good as it gets’. Thus elaborated, Lewis’s account can resist the objections, and it offers a better picture of fictional discourse than recent resurrections of other classic works of the 1970s by Kripke, van Inwagen (...) |
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The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Noël Carroll, Trevor Ponech, and Carl Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Gregory Currie's account can do so by relying on the notion of trace, but this involves an undesirable side effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces (...) |
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Several philosophers maintain that outright belief exists because it plays a reasoning simplifying role (Holton 2008; Ross and Schroeder 2014; Staffel 2019; Weisberg 2020). This claim has been recently contested, on the grounds that credences also can simplify reasoning (Dinges 2021). This paper takes a step back and asks: what features of an attitude explain its alleged ability to simplify reasoning? The paper contrasts two explanations, one in terms of dispositions and the other in terms of representation, arguing in favour (...) |
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When we engage with fictions, we are, in effect, pretending to deal with reports of actual events. After all, numerous fictional works are explicitly designed to facilitate this kind of pretense. This was the prevailing understanding of fiction in both analytic philosophy and classical narratology for decades. However, there is a significant problem with this view: many fictional narratives routinely portray scenarios that could not possibly be the subject of anyone’s reporting. Currie’s 'mindless fictions' are one such example. This issue (...) |
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