One of the most controversial methods of philosophy is the use of thought experiments. If, on the one hand, philosophers usually agree that a hypothetical reasoning or an imaginative example can refute a previously well-supported theory or hypothesis, on the other there is a strong skepticism about the use of thought experiments in Philosophy. The skepticism is reinforced by the fact that scientific thought experiments are profoundly influenced by the expectation that the outcome of a thought experiment may reflect the (...) outcome of an actual experiment, whereas in Philosophy the use of this tool does not necessarily reflects what happens in the world. In other words, scientific thought experiments seem to have well delimited criteria, while philosophical thought experiments do not. In this work I will argue in favor of the thesis that not all thought experiments are disguised arguments, but that nevertheless they should not be considered as lacking in criteria of correction. (shrink)

Algunos nombres usados en nuestro lenguaje no se aplican efectivamente a nada ni nadie si son tomados de forma literal, pues carecen de referente. En términos searleanos, su significatividad no depende que puedan dar cuenta o no de ejemplares en el mundo; su significatividad se "mide" en el uso de ellos en tal o cual discurso, en medio de explicaciones o caracterizaciones forjadas por reglas, pues hablar un lenguaje es tomar parte activa en una conducta compleja gobernada por reglas. Este (...) artículo sustenta cómo en la filosofía de Searle la significatividad de los discursos, entre ellos los de la ciencia o los de la ficción, se logra en la emisión de actos ilocucionarios que hacen posible la invención de mundos cargados de significados, aun cuando estos carezcan de referencia directa. Some names in our language are not indeed applied to anything or nobody if they are taken literally, because they lack their referent. According to Searle, names´ significance does not depend on how they can give account or not of world samples; their significance "is measured" in the use of them in this or that speech, amid explanations or characterizations forged by rules, because to speak a language it is to take active part in a complex rule-governed behavior. This article supports how in the philosophy of Searle meaningfulness of speeches, including those of science or fiction, is achieved in the issuance of illocutionary acts that make possible the invention of worlds full of meanings, even when they lack direct referent. (shrink)

This essay continues my investigation of `syntactic semantics': the theory that, pace Searle's Chinese-Room Argument, syntax does suffice for semantics (in particular, for the semantics needed for a computational cognitive theory of natural-language understanding). Here, I argue that syntactic semantics (which is internal and first-person) is what has been called a conceptual-role semantics: The meaning of any expression is the role that it plays in the complete system of expressions. Such a `narrow', conceptual-role semantics is the appropriate sort of semantics (...) to account (from an `internal', or first-person perspective) for how a cognitive agent understands language. Some have argued for the primacy of external, or `wide', semantics, while others have argued for a two-factor analysis. But, although two factors can be specified–-one internal and first-person, the other only specifiable in an external, third-person way–-only the internal, first-person one is needed for understanding how someone understands. A truth-conditional semantics can still be provided, but only from a third-person perspective. (shrink)

The canonical version of possible worlds semantics for story prefixes is due to David Lewis. This paper reassesses Lewis's theory and draws attention to some novel problems for his account.

Taking inspiration from Searle’s ‘The Logic of Fictional Discourse’, this essay presents an argument against different versions of the so-called ‘speech act theory of fiction’. In particular, it argues that a Uniformity Argument may be constructed, which is additional to the Determination Argument commonly attributed to Searle, and which does not rely on his presumably controversial Determination Principle. This Uniformity Argument is equally powerful against the ‘Dedicated Speech Act’ theories that Searle originally targeted, and the more recent, Grice-inspired versions of (...) speech-act approaches to fictional discourse. (shrink)

This paper proposes an understanding of literary narrative as a form of social cognition and situates the study of such narratives in relation to the new comprehensive approach to human cognition, enaction. The particular form of enactive cognition that narrative understanding is proposed to depend on is that of participatory sense-making, as developed in the work of Di Paolo and De Jaegher. Currently there is no consensus as to what makes a good literary narrative, how it is understood, and why (...) it plays such an irreplaceable role in human experience. The proposal thus identifies a gap in the existing research on narrative by describing narrative as a form of intersubjective process of sense-making between two agents, a teller and a reader. It argues that making sense of narrative literature is an interactional process of co-constructing a story-world with a narrator. Such an understanding of narrative makes a decisive break with both text-centered approaches that have dominated both structuralist and early cognitivist study of narrative, as well as pragmatic communicative ones that view narrative as a form of linguistic implicature. The interactive experience that narrative affords and necessitates at the same time, I argue, serves to highlight the active yet cooperative and communal nature of human sociality, expressed in the many forms than human beings interact in, including literary ones. (shrink)

According to many realist philosophers of fiction, one needs to posit an ontology of existing fictional characters in order to give a correct account of discourse about fiction. The realists' claim is opposed by pretense theorists for whom discourse about fiction involves, as discourse in fiction, pretense. On that basis, pretense theorists claim that one does not need to embrace an ontology of fictional characters to give an account of discourse about fiction. The ontolog-ical dispute between realists and pretense theorists (...) is mainly a dispute in the realm of the phi-losophy of language concerning the status relative to pretense of discourse about fiction. Realists are persuaded that there is a sharp line between discourse in fiction and discourse about fiction while pretense theorists deny there exists such a line. I suggest that realists may have a wrong picture of discourse in fiction since, in many cases, discourse in fiction already contains many occurrences of discourse about fiction. Consequently, discourse about fiction, instead of ending fiction, should be regarded, following pretense theorists, as adding extra lay-ers of fiction. (shrink)

There seems to be a perfectly ordinary sense in which different speakers can use an empty name to talk about the same thing. Call this fictional coreference. It is a constraint on an adequate theory of empty names that it provide a satisfactory account of fictional coreference. The main claim of this paper is that the pretense theory of empty names does not respect this constraint.

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)

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 (...) respect to those conceptual worlds. As for metafictive uses, since they are grounded on mixed intentions, they are considered to express hybrid propositions, partly conceptual and partly referential. (shrink)

The appearance in 1945 of the idea of the open texture of empirical concepts, which anticipated Friedrich Waismann’s thesis of a many-level-structure of language, led to a re-evaluation of “context”. It widens the sense of context that we are accustomed to mentioning as being Wittgenstein’s conception of meaning in his later philosophy. The new idea Waismann brought into the landscape is how to “clarify the context”, which is in a way a very non-Wittgensteinian question as well as an “explanation of (...) context”, where open texture plays a key role. But despite the amount of literature about open texture, this idea of Waismann is still not properly understood. Open texture must be situated as an obstacle to exhaustiveness of definition for internal reasons not only because of unforeseen conditions that could always arise in the future, but also by virtue of an a priori aspect of the texture of concepts. Thus, the main goal of this paper is to propose an interpretation of open texture as an immanent property of a concept, that is, as something that is underlying its nature. (shrink)

This paper is an enquiry into some commonalities between fiction and atheism. It suggests that ‘disbelief’ may be a state of mind shared by both and asks how a meaningful semantics might be derived from the mental stance of disbelief. Albert Camus’ The Plague, published in 1947 post the trauma of two successive world wars, is a key ‘existentialist’ text that focuses on this dilemma. Not only is this work of fiction especially relevant to our current times of natural, political, (...) economic and psychological distress gone ‘viral’, it is also one in which a blunt question is posed to the atheist hero of the novel, Doctor Rieux, in Oran, a small French Algerian town fighting a terrible pandemic: ‘Do you believe in God, doctor?’. Rieux’s answer is telling: ‘No, but what does that really mean? I’m fumbling in the dark, struggling to make something out.’ It is this human ‘struggle’ to discern the contours of the invisible ‘in the dark’ that could animate the thought worlds of fiction as well as of atheism. The paper seeks to draw out some of these putative similarities through the lens of ‘ordinary language philosophy’ and J.L, Austin and John Searle’s classification of basic speech-acts. It also considers the evolutionary, affective and cross-cultural appeal of the parallel narratives of science and religion. Oran’s most remarkable aspect, Camus insists, is its ‘ordinariness’; yet, it is here that the ‘extraordinariness’ of the plague strikes. Quotidian local circumstances thus paradoxically set in motion the sorts of ‘universal’ inquiries into ‘what it means to be human’ that, my paper argues, alike motivate the fiction of atheism and the atheism of fiction. (shrink)

According to an “orthodox” reading proposed by Dummett and more recently endorsed by Lugg and Price, the later Wittgenstein rejects the idea of grouping together certain utterances as a single class of assertions. We offer an alternative commentary on the Philosophical Investigations §§21–24, developing what we call a Wittgensteinian role‐based account of assertion. We then examine whether this role‐based account can solve the problem of on‐stage utterances. In the course of this, the merits of the account are shown and compared (...) to an alternative proposal offered by Searle. (shrink)

During the last decades, there has been a debate on the question whether literary works are utterances, or have utterance meaning, and whether it is reasonable to approach them as such. Proponents of the utterance model in literary interpretation, whom I will refer to as “utterance theorists”, such as Noël Carroll and especially Robert Stecker, suggest that because of their nature as linguistic products of intentional human action, literary works are utterances similar to those used in everyday discourse. Conversely, those (...) whom I will refer to as “appreciation theorists”, such as Stein Haugom Olsen and Peter Lamarque, argue that literary works are by no means comparable to conversational utterances, and treating them in terms of utterances mistakenly dismisses their literary features. The aim of this article is twofold: to defend a central aspect of the utterance theory and to reconcile the two main positions about central issues in the debate on the meaning of literary works. On the one hand, I shall argue that it is both legitimate and reasonable to discuss the utterance meaning of a literary work on the basis of an interpretative approach interested in the author's “message”. My aim is to show that literary works should be considered utterances in a conversational approach which aims at examining the illocutionary actions conveyed through the work. On the other hand, I attempt both to show that there are various legitimate interpretative approaches which are governed by the interpreter's purposes, and to suggest that the debate between utterance theorists and appreciation theorists is actually about merely different emphases. (shrink)

According to an influential view, asserting a proposition involves undertaking some “commitment” to the truth of that proposition. But accounts of what it is for someone to be committed to the truth of a proposition are often vague or imprecise, and are rarely put to work to define assertion. This paper aims to fill this gap. It offers a precise characterisation of assertoric commitment, and shows how it can be applied to define assertion. On the proposed view, acquiring commitment is (...) not sufficient for asserting. To assert, commitment must be acquired by explicitly presenting a proposition as true. (shrink)

Not every speech act can be a lie. A good definition of lying should be able to draw the right distinctions between speech acts that can be lies and speech acts that under no circumstances are lies. This paper shows that no extant account of lying is able to draw the required distinctions. It argues that a definition of lying based on the notion of ‘assertoric commitment’ can succeed where other accounts have failed. Assertoric commitment is analysed in terms of (...) two normative components: ‘accountability’ and ‘discursive responsibility’. The resulting definition of lying draws all the desired distinctions, providing an intensionally adequate analysis of the concept of lying. (shrink)

Can fictions make genuine assertions about the actual world? Proponents of the ‘Assertion View’ answer the question affirmatively: they hold that authors can assert, by means of explicit statements that are part of the work of fiction, that something is actually the case in the real world. The ‘Nonassertion’ View firmly denies this possibility. In this paper, I defend a nuanced version of the Nonassertion View. I argue that even if fictions cannot assert, they can indirectly communicate that what is (...) recounted as fictional is actually true. I show that this view is supported by independent linguistic data, and that it is able to defuse the objections that are typically raised against the Nonassertion View. I conclude by showing that this position has some interesting implications for testimonial cognitivism about fiction. (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 paper deals with the identity problems of fictional objects, focusing on Anthony Everett's and Stuart Brock's leading criticisms against fictional creationism, the view that fictional objects are abstract objects created by our acts involving literary practices. My primary aim is to argue that creationism based on referentialism has enough resources to individuate fictional objects and hence can address the alleged identity problems: every alleged problematic case regarding the identity of fictional objects is well explained in terms of the notions (...) of authorial intention, gappy proposition, inadvertent creation, and reference shift. (shrink)

This paper wants to know whether it would exist, or could exist, in worlds in which I didn't write it. Before we can answer this question, we first of all have to inquire as to what, exactly, this paper is. After exploring two forms of Platonism, and a theory that defines literary works in terms of events, I shall argue that the term ‘this paper’ is actually infected with ambiguity. Does this paper need me? It depends upon what you mean (...) by ‘this paper’. I lay out the options for what you might mean, and answer the question for each of the options. (shrink)

The normativity of meaning—introduced by Kripke in 1982, and the subject of active debate since the early 1990s—has been exclusively understood in terms of duty-imposing norms. But there are norms of another type, well-known within the philosophy of law: authority-conferring norms. Philosophers thinking and writing about the normativity of meaning—normativists, anti-normativists, and even Kripke himself—seem to have failed to consider the possibility that semantic norms are authority-conferring. I argue that semantic norms should be understood as having an authority-conferring structure, and (...) show how this allows normativism about meaning to escape the two most popular arguments against it. (shrink)

According to the dominant theory of intentionalism, fiction and non-fiction are in a “mix-and-match” relationship with truth and falsity: both fiction and nonfiction can be either true or false. Intentionalists hold that fiction is a property of a narrative that is intended to elicit not belief but imagination or make-belief in virtue of the audience’s recognizing that such is the intention of the fiction-maker. They claim that in unlikely circumstances these fictions can turn out to be accidentally true. On the (...) contrary, I argue in this paper that fictionality and truth are incompatible. I distinguish narratives based on whether they contain invented characters or not, and offer respective sets of arguments to the effect that there is no case when a fiction is accidentally true. A narrative is either fiction or accidentally true but not both. (shrink)

Richard Gale, in On the Nature and Existence of God, offers several reasons why an “historical-cum-indexical” theory of reference cannot be appropriate in explaining how people refer to God. The present paper identifies five distinct lines of argument in Gale, attempts to clarify several important desiderata for a successful theory of reference, and argues that Gale fails to discharge the burden of proof he has assumed, leaving the most important features of Alston’s “direct reference” theory untouched. Nevertheless, it is conceded (...) that some consequences of Alston’s theory are quite counter-intuitive. The paper therefore concludes with a consideration of two alternatives: either taking a hard, Alstonian line in conflict with people’s linguistic intuitions, or striking a compromise with descriptivism along lines similar to those found in Gareth Evans’s paper, “The Causal Theory of Names.”. (shrink)

Cet article remet en question une définition de la fiction parue en 1988, dans un ouvrage intitulé « Contribution à une étude du concept de fiction ». Etant fondée sur la théorie des actes de langage, cette définition présentait en effet l’inconvénient de ne pouvoir s’appliquer qu’aux fictions verbales. Une nouvelle définition est donc proposée dans cet article, faisant apparaître clairement la fiction comme un concept de nature pragmaticosémiotique : une fiction est une représentation, verbale ou non verbale, qu’un auteur (...) produit consciemment dans le but de la transmettre à un destinataire. En transmettant cette représentation, l’auteur de la fiction adopte une attitude spécifique, consistant à inviter le destinataire à imaginer un monde fictif dont les caractéristiques sont compatibles avec celles du monde décrit dans la représentation. Sur la base de cette définition, l’article recense des exemplifications de fictions aussi diverses que possible, selon la nature de leur support de représentation et selon leur fonction, puis il pose la question du rôle des fictions dans notre vie quotidienne et, en particulier, sur la manière dont elles nous apprennent quelque chose sur le monde réel. (shrink)

Several accounts of the nature of fiction have been proposed that draw on speech act theory. I argue that speech act theory is insufficient for this task. Martinich’s, Searle’s and Currie’s accounts are considered and rejected. However dependent fiction may be on the intentional structure of communication, focus on this structure diverts attention from works themselves in an unhelpful way. The weakness inherent in speech act theory is that it does not have the resources to capture the most interesting processes (...) of interpretation in our engagement with fictions, those by which we construct their content and those through which they achieve their intended effects. (shrink)

Thought about fictional characters is special, and needs to be distinguished from ordinary world-directed thought. On my interpretation, Kendall Walton and Gareth Evans have tried to show how this serious fiction-directed thought can arise from engagement with a kind of pretending. Many criticisms of their account have focused on the methodological presupposition, that fiction-directed thought is the appropriate explanandum. In the first part of this paper, I defend the methodological claim, and thus the existence of the problem to which pretense (...) is supposed to be a solution. In the second part, I elaborate and defend the pretense theory as a solution to this problem. (shrink)

Creationism is the conjunction of the following theses: (i) fictional individuals (e.g. Sherlock Holmes) actually exist; (ii) fictional names (e.g., 'Holmes') are at least sometimes genuinely referential; (iii) fictional individuals are the creations of the authors who first wrote (or spoke, etc.) about them. CA Creationism is the conjunction of (i) - (iii) and the following thesis: (iv) fictional individuals are contingently existing abstracta; they are non-concrete artifacts of our world and various other possible worlds. TakashiYagisawa has recently provided a (...) number of arguments designed to show that Creationism is unjustified. I here critically examine three of his challenges to CA Creationism. I argue that each fails to undermine this version of Creationism. (shrink)

Within a literary ontology, YHWH in the Hebrew Bible is technically also a fictional entity or object. In Hebrew Bible scholarship, a variety of philosophical issues surrounding fiction have received sustained and in-depth attention. However, the mainstream research on these matters tends to focus on the philosophical foundations of or backgrounds to a particular literary theory, rather than on metaphysical puzzles as encountered in the philosophy of fiction proper. To fill this gap, the present article seeks to provide a meta-theoretical (...) overview of the main contemporary philosophical perspectives on the metaphysics of fictional objects. Three views are discussed, namely possibilism, Meinongianism and creationism. Each view's theory is introduced and critically appropriated with reference to what is implied to be an answer to the question of what exactly the biblical character YHWH can meaningfully be said to be in the context of the metaphysics of fictional objects. In this way, the present study also goes beyond the traditional concern with the nature of God in Old Testament theology. (shrink)

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 (...) while “It is fictional that Mr. Darcy is a detective” does not. Fictive statements can be abbreviated as “In F, P”. Determining what statements are fictionally true in a story requires providing truth conditions for statements of the form “In F, P.” This paper proposes an analysis of truth in fiction and examines the notion of make-believe. (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)

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 (...) name like “Emma Woodhouse” in fact “is not a sentence, and it encodes no proposition whatsoever.” His argument is broadly abductive; he claims that this view affords compelling explanations of features of fictions he finds well-established, among them that fictions without explicit narrators nonetheless have covert ones. Here I take up his arguments, in defense of the dedicated speech act view. I thus address pressing issues about the status of fictional names and the nature and ubiquity of narrators in fictions. (shrink)

La réflexion philosophique sur la non-existence est une thématique qui a été abordée au commencement même de la philosophie et qui suscite, depuis la publication en 1905 de « On Denoting » par Russell, les plus vifs débats en philosophie analytique. Cependant, le débat féroce sur la sémantique des noms propres et des descriptions définies qui surgirent suite à la publication du « On Referring » par Strawson en 1950 n’engagea pas d’étude systématique de la sémantique des fictions. En fait, (...) le développement systématique d’un lien qui articule approches logiques, philosophiques et littéraires de la fiction devait attendre les travaux de John Woods publiés en 1974 dans son livre The Logic of Fiction : A Philosophical Sounding of Deviant Logic. Un des enjeux les plus excitants du livre de Woods se situe au niveau de l’interaction entre les points de vue internalistes ou interne-à-l’histoire (principalement pragmatiques) et les points de vue externalistes ou externe-à-la-fiction (principalement sémantiques). Sur ce point, Woods fut le premier à formuler une sémantique pour l’opérateur de fiction à lire comme « selon l’histoire… » en relation à la notion logique de portée, ce qui permettait l’étude de l’internalisme et de l’externalisme. Suite au livre de Woods, loin de s’essouffler, les débats trouvaient une nouvelle impulsion. Le fait pertinent pour notre article est que la tradition phénoménologique également, l’étude de la fiction a joué un rôle central. En effet, l’une des problématiques les plus sujettes à controverses dans l’intentionnalité est celle de l’indépendance à l’existence, c’est-à-dire le fait que les actes intentionnels n’ont pas besoin d’être forcément dirigés vers un objet existant. Influencée par les travaux de Roman Ingarden (1893-1970), l’un des plus importants disciples de Husserl, Amie L. Thomasson développe le concept phénoménologique de dépendance ontologique en vue d’expliquer les processus de références inter- et transfictionnels – dans le contexte de l’interprétation littéraire par exemple. L’enjeu essentiel de cet article est de proposer une reconstruction multimodale bi-dimensionnelle de la théorie des personnages fictionnels de Ingarden-Thomasson. Cette théorie qui entend prendre au sérieux le fait que les fictions sont des créations montre la voie pour une articulation entre les approches internalistes et externalistes. Nous motivons certains changements quant à l’approche artéfactuelle - incluant une sémantique appropriée pour l’opérateur de fictionalité qui, nous l’espérons, éveillera l’intérêt des théoriciens de la littérature. L’article est à d’autres égards un panorama de la façon dont différents concepts d’intentionnalité pourraient fonder différentes sémantiques formelles pour la fictionalité. Nous proposerons enfin un cadre dialogique qui est une extension modale d’un certain système de preuve développé par Matthieu Fontaine et Juan Redmond. Le cadre dialogique développe la contrepartie inférentielle de la sémantique bi-dimensionnelle introduite par Shahid Rahman et Tero Tulenheimo dans un article récent. (shrink)

It is acknowledged by proponents of the Artifactual Theory of Fiction that literary works sometimes involve real or immigrant characters. However, their conception of cross-fictional identity faces serious difficulties. In this paper, we set the problem in the context of a modal framework, in relation to quantification across a plurality of possible worlds. Quantification is explained in terms of Hintikka’s notion of world lines; i.e. the possible values of bound variables are individuals that are not reduced to their manifestations. We (...) finally offer another understanding of identity across weakly impermeable domains, in a way compatible with the Artifactual Theory of Fiction. (shrink)

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 (...) the fiction' operator, suggest that pseudo-assertion is best understood as a kind of make-believe. This proposal is elaborated and defended, and some applications to fictionalism are tentatively explored. (shrink)

This paper aims to differentiate between lying and irony, typically addressed independently by philosophers and linguists, as well as to discuss the cases when deception co-occurs with, and capitalises on, irony or metaphor. It is argued that the focal distinction can be made with reference to Grice’s first maxim of Quality, whose floutings lead to overt untruthfulness, and whose violations result in covert untruthfulness. Both types of untruthfulness are divided into explicit and implicit subtypes depending on the level of meaning (...) on which they are manifest. Further, it is shown that deception may be based on irony or metaphor, which either promote deceptive implicatures or are deployed covertly. Finally, some argumentation is provided in favour of why these cases of deceiving can be conceptualised as lying. (shrink)

MEANING POSTULATES REINSTATED If I am right in agreeing with Cresswell that the "logicarrlexicaT distinction is one of degree rather than one of kind, that in turn impugns the distinction between the official truth-rules that define logical ...

This book is both an introduction to and a research work on Meinongianism. “Meinongianism” is taken here, in accordance with the common philosophical jargon, as a general label for a set of theories of existence – probably the most basic notion of ontology. As an introduction, the book provides the first comprehensive survey and guide to Meinongianism and non-standard theories of existence in all their main forms. As a research work, the book exposes and develops the most up-to-date Meinongian theory (...) (called modal Meinongianism), applies it to specific fields, and discusses its open problems. Part I of the book provides a historical introduction to, and critical discussion of, the dominant philosophical view of existence: the “Kantian-Fregean-Quinean” perspective. Part II is the full-fledged introduction to the Meinongian theories of existence as a real property of individuals: after starting with the so-called naïve Meinongian conception and its problems, it provides a self-contained presentation of the main neo-Meinongian proposals, and a detailed discussion of their strengths and weaknesses. Part III develops a specific neo-Meinongian theory of existence employing a model-theoretic semantic framework. It discusses its application to the ontology and semantics of fictional objects, and its open problems. The methodology of the book follows the most recent trends in analytic ontology. In particular, the meta-ontological point of view is largely privileged. (shrink)

The proposed theoretical motivation for legal fictionalism begins by focusing upon the seemingly supernatural powers of creation and control that mere mortals exercise over legal things, as a subclass of socially constructed things. This focus brings to the fore a dilemma of uncharitableness concerning the ontological commitments expressed in the discourse of whole societies about such things. Either, there is widespread equivocation as to the fundamental concept expressed by terms such as ‘existence’ or our claims about legal and other institutional (...) things are never really true. When stated as a dilemma, rather than assuming either horn from the outset, our broader social practice of fiction-telling yields a reason to prefer the fictionalist horn. -/- I differentiate three grades of legal fictionalism and contrast strong legal fictionalism with Horacio Spector’s weak form. Only the stronger form has it that engagement in a fictional discourse of law can provide reasons for legal decision-making independent of moral opinions or policy considerations. This stance relies on the claim that maintaining a fictional discourse with respect for its integrity justifies inferences to conclusions about a fictional domain beyond what is described in existing expressions of the discourse. Focusing on ontology allows an analogy between a fictional discourse of law and literary or popular fiction, in which context such inferences are more obviously persuasive. I argue that this notion of respect for the integrity of such a discourse saves legal formalist jurisprudence from the indeterminacy objections of legal realists. (shrink)

Readers assume that commonplace properties of the real world also hold in realistic fiction. They believe, for example, that the usual physical laws continue to apply. But controversy exists in theories of fiction about whether real individuals exist in the story’s world. Does Queen Victoria exist in the world of Jane Eyre, even though Victoria is not mentioned in it? The experiments we report here find that when participants are prompted to consider the world of a fictional individual (“Consider the (...) world of Jane Eyre…”), they are willing to say that a real individual (e.g., Queen Victoria) can exist in the same world. But when participants are prompted to consider the world of a real individual, they are less willing to say that a fictional individual can exist in that world. The asymmetry occurs when we ask participants both if a real person is in the character’s world and if the person would appear there. However, the effect is subject to spatial and temporal constraints. When the person and the character share spatial and temporal settings, interchange is more likely to occur. These results shed light on the author’s implicit contract with the reader, which can license the reader to augment a fictional world with features that the author only implicates as part of the work’s background. (shrink)

Many want to know what bitcoin is and how it works. But bitcoin is as complex as it is controversial, and relatively few have the technical background to understand it. In this paper, I offer an accessible on-ramp for understanding bitcoin in the form of a model. My model reveals both what bitcoin is and how it works. More specifically, it reveals that bitcoin is a fictional substance in a massively coauthored story on a network that automates and distributes jobs (...) normally entrusted to centralized publishing institutions. My model therefore falsifies a popular view according to which each bitcoin is a chunk of code. (shrink)