This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions which govern the relationships (...) between shots. In this paper, we develop and defend a new version of the semantic view. We articulate it for a pair of conventions that govern spatial relations between viewpoints. One such rule is already well-known; sometimes called the "180° Rule," we term it the X-Constraint; to this we add a previously unrecorded rule, the T-Constraint. As we show, both have the effect, in different ways, of limiting the way that viewpoint can shift through space from shot to shot over the course of a film sequence. Such constraints, we contend, are analogous to relations of discourse coherence that are widely recognized in the linguistic domain. If film is to have a language, it is a language made up of rules like these. (shrink)

In this paper we propose a semantic analysis of sentences of the form "In fiction x, p" based on this picture of context. We argue that the derived contexts for sentences in the scope of "In fiction X" are determined by three factors: what the beliefs of the author are taken to be, the conventions established for the fiction, and a defeasible presumption of reliability of the narrator. We develop a formal implementation based on the notion of a system of (...) spheres centered on a set of worlds. (edited). (shrink)

This paper investigates the truth values of modal sentences within fictional discourse. I investigate the consequences of (im)possible worlds–based theories of truth in fiction for the truth, in fiction, of (explicit) modal sentences. I elaborate on the consequences of explicit reliable (modal) sentences within the truth-in-fiction operators if we embed the normal modal logics. I prove that the current main possible worlds theories of truth-in-fiction make explicit reliable sentences within fiction truth-value equivalent to their possibility. This has non-intuitive consequences if (...) we employ normal modal logics. These consequences are shown to be contradictory. The main argument of the paper thus concerns the inconsistency of embedding the systems of normal modal logics within the truth-in-fiction operators provided in the discussion. (shrink)

In this paper I focus on a recently discussed phenomenon illustrated by sentences containing predicates of taste: the phenomenon of " perspectival plurality " , whereby sentences containing two or more predicates of taste have readings according to which each predicate pertains to a different perspective. This phenomenon has been shown to be problematic for (at least certain versions of) relativism. My main aim is to further the discussion by showing that the phenomenon extends to other perspectival expressions than predicates (...) of taste and by proposing a general solution to the problem raised by it on behalf of the relativist. The core claim of the solution (" multiple indexing ") is that utterances of sentences containing perspectival expressions should be evaluated with respect to (possibly infinite) sequences of perspective parameters. (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)

This study offers syntactic and semantic evidence that there are three types of locative modifiers within the verbal domain that differ with respect to their syntactic base position and interpretation. Two of them are subject to semantic indeterminacy, thereby leading to multiple utterance meanings. The study aims at showing that the full range of interpretations can be derived within a rigid account of lexical and compositional semantics. Locative modifiers are invariably treated as first-order predicates adding a locative constraint. All semantic (...) differences originate from the structural environment they are embedded in and the pragmatic resolution of semantic indeterminacy. The syntactic distribution of locative modifiers is shown to be derivable from interface conditions. (shrink)

is accounted for, among other things, in terms of particular relations between events (or states1) and places or times. Roughly speaking, an event α is said to occur in a place p (or interval t) if the spatial (temporal) extension of α is located in p (or t). Let the predicate ‘Occ’ denote such a relation. From this point of view, part of the content of the above sentences can be associated, respectively, with formulas such as.

. Fresh evidence from Free Choice Items (FCIs) in French question the current perception of the class. The role of some standard distinctions found in the literature is weakened or put in a new perspective. The distinction between universal and existential is no longer an intrinsic property of FCIs. Similarly, the opposition between variation-based vs intension-based analyses is relativized. We show that the regime of free choiceness can be characterized by an abstract constraint, that we call Non-Individuation (NI), and which (...) can be satisfied in different ways that match current distinctions. NI says that the information conveyed by a sentence containing a FCI should not be reducible to a referential situation, that is a situation in which particular individuals satisfy the sentence in the current world. The widely used resource of modal variation becomes a particular scenario of free-choiceness, not its essence. In fact, we show that under certain conditions, FCIs can occur in episodic, non-modal sentences, a fact that NI can accommodate. We also discuss more fine-grained aspects of the semantics of FCIs, such as their emotional colour. (. . .) the tripod fell spontaneously, because, though it stood on its feet so as to serve for a seat, it did not fall so as to serve for a seat. Aristotle, Physics II,6. (shrink)