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)

Models for truth in fiction must be able to account for differing versions and interpretations of a given fiction in such a way that prevents contradictions from arising. I propose an analysis of truth in fiction designed to accommodate this. I examine both the interpretation of claims about truth in fiction (the ‘Interpretation Problem’) and the metaphysical nature of fictional worlds and entities (the ‘Metaphysical Problem’). My reply to the Interpretation Problem is a semantic contextualism influenced by Cameron (2012), while (...) my reply to the Metaphysical Problem involves an extension and generalisation of the counterpart-theoretic analysis put forth by Lewis (1978). The proposed analysis considers interpretive context as a counterpart relation corresponding to a set of worlds, W, and states that a sentence φ is true in interpretive context W iff φ is true at every world (w∈W). I consider the implications of this analysis for singular terms in fiction, concluding that their extensions are the members of sets of counterparts. In the case of pre-existing singular terms in fiction, familiar properties of the corresponding actual-world entities are salient in restricting the counterpart relation. I also explore interpretations of sentences concerning multiple fictions and those concerning both fictional and actual entities. This account tolerates a plurality of interpretive approaches, avoiding contradictions. (shrink)

What is the status of a cat in a virtual reality environment? Is it a real object? Or part of a fiction? Virtual realism, as defended by D. J. Chalmers, takes it to be a virtual object that really exists, that has properties and is involved in real events. His preferred specification of virtual realism identifies the cat with a digital object. The project of this paper is to use a comparison between virtual reality environments and scientific computer simulations to (...) critically engage with Chalmers’s position. I first argue that, if it is sound, his virtual realism should also be applied to objects that figure in scientific computer simulations, e.g. to simulated galaxies. This leads to a slippery slope because it implies an unreasonable proliferation of digital objects. A philosophical analysis of scientific computer simulations suggests an alternative picture: The cat and the galaxies are parts of fictional models for which the computer provides model descriptions. This result motivates a deeper analysis of the way in which Chalmers builds up his realism. I argue that he buys realism too cheap. For instance, he does not really specify what virtual objects are supposed to be. As a result, rhetoric aside, his virtual realism isn’t far from a sort of fictionalism. (shrink)

In this paper, I will claim that fictional works apparently about utterly immigrant objects, i.e., real individuals imported in fiction from reality, are instead about fictional individuals that intentionally resemble those real individuals in a significant manner: fictional surrogates of such individuals. Since I also share the realists’ conviction that the remaining fictional works concern native characters, i.e., full-fledged fictional individuals that originate in fiction itself, I will here defend a hyperrealist position according to which fictional works only concern fictional (...) individuals. (shrink)

Some philosophers of science – the present author included – appeal to fiction as an interpretation of the practice of modeling. This raises the specter of an incompatibility with realism, since fiction-making is essentially non-truth-regulated. I argue that the prima facie conflict can be resolved in two ways, each involving a distinct notion of fiction and a corresponding formulation of realism. The main goal of the paper is to describe these two packages. Toward the end I comment on how to (...) choose among them. (shrink)

As far as disputes in the philosophy of pure mathematics goes, these are usually between classical mathematics, intuitionist mathematics, paraconsistent mathematics, and so on. My own view is that of a mathematical pluralist: all these different kinds of mathematics are equally legitimate. Applied mathematics is a different matter. In this, a piece of pure mathematics is applied in an empirical area, such as physics, biology, or economics. There can then certainly be a disputes about what the correct pure mathematics to (...) apply is. Such disputes may be settled by the standard criteria of scientific theory selection (adequacy of empirical predications, simplicity, etc.) But what, exactly is it to apply a piece of pure mathematics? How is mathematics applied? By and large, philosophers of mathematics have cared more about pure mathematics than applied mathematics, and not a lot of thought has gone into this question. In this paper I will address the issue and some of its implications. (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)

This monograph examines truth in fiction by applying the techniques of a naturalized logic of human cognitive practices. The author structures his project around two focal questions. What would it take to write a book about truth in literary discourse with reasonable promise of getting it right? What would it take to write a book about truth in fiction as true to the facts of lived literary experience as objectivity allows? It is argued that the most semantically distinctive feature of (...) the sentences of fiction is that they are unambiguously true and false together. It is true that Sherlock Holmes lived at 221B Baker Street and also concurrently false that he did. A second distinctive feature of fiction is that the reader at large knows of this inconsistency and isn't in the least cognitively molested by it. Why, it is asked, would this be so? What would explain it? Two answers are developed. According to the no-contradiction thesis, the semantically tangled sentences of fiction are indeed logically inconsistent but not logically contradictory. According to the no-bother thesis, if the inconsistencies of fiction were contradictory, a properly contrived logic for the rational management of inconsistency would explain why readers at large are not thrown off cognitive stride by their embrace of those contradictions. As developed here, the account of fiction suggests the presence of an underlying three - or four-valued dialethic logic. The author shows this to be a mistaken impression. There are only two truth-values in his logic of fiction. The naturalized logic of Truth in Fiction jettisons some of the standard assumptions and analytical tools of contemporary philosophy, chiefly because the neurotypical linguistic and cognitive behaviour of humanity at large is at variance with them. Using the resources of a causal response epistemology in tandem with the naturalized logic, the theory produced here is data-driven, empirically sensitive, and open to a circumspect collaboration with the empirical sciences of language and cognition. (shrink)

Fictional realism allows direct reference theorists to provide a straightfor- ward analysis of the semantics of fictional discourse by admitting into their ontology a set of objects (ficta) that serve as the referents of fictional names. Ficta may be modeled using an axiomatic object theory, but actualist interpretations of the formalism have been the subject of recent objections. In this paper, I provide an interpretation of object theory’s formalism that is consistent with actualism and avoids these objections. Drawing on insights (...) from an actualist semantics for quantified modal logic, a central point in my proposal is to interpret ficta as contingently nonconcrete objects. (shrink)

In this article, I argue that in typical cases of singular thought, a thinker stands in an evidential relation to the object of thought suitable for providing knowledge of the object's existence. Furthermore, a thinker may generate representations that purport to refer to particular objects in response to appropriate, though defeasible, evidence of the existence of such an object. I motivate these constraints by considering a number of examples introduced by Robin Jeshion in support of a view she calls ‘cognitivism’ (...) (Jeshion, 2010b). Although I agree with Jeshion that acquaintance is not required for all cases of singular thought, I argue that her account doesn't go far enough in rejecting semantic instrumentalism, the view that we can generate singular thoughts arbitrarily, by manipulating the mechanisms of direct reference. (shrink)

Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be exploring (...) Kripke’s fleeting remarks in the Addenda to his “Naming and Necessity” lectures about expressions like ‘unicorn’ and ‘Harry Potter’. Elsewhere, Kripke motivates artifactualism by suggesting that incorporating authorial creation (as artifactualism does) is a move that is intuitive and natural; but beyond this, he doesn’t provide any arguments in favor of such a move. My purpose in this paper is to construct such an argument based on considerations about Kripke’s general view about proper names, in particular, his seminal causal-historical chain account of reference determination, and its consequences for fictional names as well as nonfictional names without bearers such as ‘Vulcan’. (shrink)

This brief introduction to a special issue of Disputatio succinctly summarizes John Perry’s pluri-propositionalist reflexive framework and notes some potential applications to varieties of context-sensitivity.

The paper presents an accommodation problem for extant semantic accounts of fiction. Some accounts of fiction are designed to accommodate one or another form of fictive statement exclusively, what I shall call in-fiction and out-fiction. Thus, typically, the accounts fail to do justice to their respective excluded form. A natural response, entertained by Kripke and in a different fashion by latter-day Meinongians, is to let the two different kinds of fiction have their respective accounts. It is very easy, however, to (...) mix in and out predicates, which amounts to a species of copredication, where a single nominal receives simultaneous distinct interpretations relative to distinct predicates without creating ambiguity. Copredication is a perfectly general phenomenon that arises for any nominal. The simple problem now is that copredication appears to render all extant accounts of fiction either essentially partial, in dealing with one kind of simple form of fiction but not another, or merely wrong in imagining that fiction comes in categorically distinct forms, for the coherence of copredication is enough to show that this is not so. The aim of the paper is to show to resolve this accommodation problem by the radical expedient of suggesting that the fiction/non-fiction distinction is not really a semantic one, but more one between different ways in which sentences are made true or false. (shrink)

My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract artifact, then the “inadvertent creation” (...) element turns out to be inescapable yet theoretically unattractive. Based on considerations about actually existing concrete objects featured in fictional works (as Napoleon is in Tolstoy’s War and Peace), I argue that independently of one’s stand on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the challenge at hand; yet this very point serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome as Goodman suggests. Indeed, the inadvertent creation phenomenon’s generality extends far beyond objects of fiction and myth, and I will use this observation to counter a further objection. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. (shrink)

In this paper, we want to maintain that the puzzle of imaginative resistance is basically a pragmatic issue due to the failure of participative imagination, as involving a pre-semantic level relating to a wide context (the overall situation of discourse). Since the linguistic meanings of the relevant fiction-involving sentences violate some of our basic norms, what such sentences (fictionally) say cannot be participatively imagined. That failure leads one to refrain from ascribing such sentences the fictional truth-conditions they would have in (...) narrow fictional contexts (sets of fixed parameters) as determined by those meanings in those contexts. Yet one could still make that ascription, for one can cognitively imagine what such sentences would say in those contexts. As is proved by the fact that if one either adopts an alternative view on such norms or, for some reason, brackets them, one can again perform that ascription. (shrink)

In this paper, first of all, I want to try a new defense of the utterance approach as to the relationship between fictional and nonfictional works on the one hand and between fictional and nonfictional utterances on the other hand, notably the idea that the distinction between fictional and nonfictional works is derivative on the distinction between fictional and nonfictional utterances of the sentences that constitute a text. Moreover, I want to account for the second distinction in minimally contextualist semantic (...) terms. Finally, I want to hold that what makes a fictional utterance, hence a fictional work, properly fictional is the contextually pre-semantic fact that its utterer entertains an act of make-believe, where such an act is accounted for in metarepresentational terms. This ultimately means that the fiction/nonfiction distinction is not clarified in terms of the fictional works/nonfictional works distinction, for things rather go the other way around. (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)

Fictional truth, or truth in fiction/pretense, has been the object of extended scrutiny among philosophers and logicians in recent decades. Comparatively little attention, however, has been paid to its inferential relationships with time and with certain deliberate and contingent human activities, namely, the creation of fictional works. The aim of the paper is to contribute to filling the gap. Toward this goal, a formal framework is outlined that is consistent with a variety of conceptions of fictional truth and based upon (...) a specific formal treatment of time and agency, that of so-called stit logics. Moreover, a complete axiomatic theory of fiction-making TFM is defined, where fiction-making is understood as the exercise of agency and choice in time over what is fictionally true. The language \ of TFM is an extension of the language of propositional logic, with the addition of temporal and modal operators. A distinctive feature of \ with respect to other modal languages is a variety of operators having to do with fictional truth, including a ‘fictionality’ operator \ . Some applications of TFM are outlined, and some interesting linguistic and inferential phenomena, which are not so easily dealt with in other frameworks, are accounted for. (shrink)