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Mimesis as make-believe: on the foundations of the representational arts

Cambridge: Harvard University Press (1990)

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  1. Naïve Realism and Sensorimotor Theory.Daniel S. H. Kim - 2024 - Synthese 204 (105):1-22.
    How can we have a sense of the presence of ordinary three-dimensional objects (e.g., an apple on my desk, a partially occluded cat behind a picket fence) when we are only presented with some parts of objects perceived from a particular egocentric viewpoint (e.g., the facing side of the apple, the unoccluded parts of the cat)? This paper presents and defends a novel answer to this question by incorporating insights from two prominent contemporary theories of perception, naïve realism and sensorimotor (...)
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  • Immersing oneself into one’s past: subjective presence can be part of the experience of episodic remembering.Denis Perrin & Michael Barkasi - 2024 - Philosophy and the Mind Sciences 5.
    A common view about the phenomenology of episodic remembering has it that when we remember a perceptual experience, we can relive or re-experience many of its features, but not its characteristic presence. In this paper, we challenge this common view. We first say that presence in perception divides into temporal and locative presence, with locative having two sides, an objective and a subjective one. While we agree with the common view that temporal and objective locative presence cannot be relived in (...)
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  • Analytic Aesthetics in Mainland China.Liu Jiachen - 2023 - East Asian Journal of Philosophy 2 (3):29-49.
    Since its emergence in the 1950s, analytic aesthetics has become the mainstream approach to aesthetics in the English-speaking world, and it has subsequently spread throughout most of the world, including mainland China. Although it was introduced into the Chinese academic world at an early time, around the late 1950s, and has been disseminated and researched in China over the past three decades, analytic aesthetics remains underdeveloped in China. Chinese academics tend to have little familiarity with, and exposure to, analytic approaches (...)
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  • Crossing the Fictional Line: Moral Graveness, the Gamer’s Dilemma, and the Paradox of Fictionally Going Too Far.Thomas Montefiore & Paul Formosa - 2023 - Philosophy and Technology 36 (3):1-21.
    The Gamer’s Dilemma refers to the philosophical challenge of justifying the intuitive difference people seem to see between the moral permissibility of enacting virtual murder and the moral impermissibility of enacting virtual child molestation in video games (Luck Ethics and Information Technology, 1:31, 2009). Recently, Luck in Philosophia, 50:1287–1308, 2022 has argued that the Gamer’s Dilemma is actually an instance of a more general “paradox”, which he calls the “paradox of treating wrongdoing lightly”, and he proposes a graveness resolution to (...)
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  • Why We Need Imagination.Amy Kind - 2023 - In Brian McLaughlin & Jonathan Cohen (eds.), Contemporary Debates in Philosophy of Mind, 2nd edition. Wiley-Blackwell. pp. 570-587.
    Traditionally, imagination has been considered to be a primitive mental state type (or group of types), irreducible to other mental state types. In particular, it has been thought to be distinct from other mental states such as belief, perception, and memory, among others. Recently, however, the category of imagination has come under attack, with challenges emerging from a multitude of different directions. Some philosophers have argued that we should not recognize belief and imagination as distinct states but rather on a (...)
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  • Where Images Make Their Wonder: An Introduction.Alessandro Cavazzana & Francesco Ragazzi - 2021 - JOLMA - The Journal for the Philosophy of Language, Mind, and the Arts 2 (1):7-20.
    The paper is an introduction to the third issue of the Journal for the Philosophy of Language, Mind and the Arts. The authors give an account of the theories that have most enriched the study of images since the second half of the twentieth century: analytical philosophy and visual culture studies. A distinction is made between the two philosophical traditions. On the one hand, in particular within the context of analytic philosophy, images have been studied as single entities in relationship (...)
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  • A Garden of One's Own, or Why Are There No Great Lady Detectives?Shelby Moser & Michel-Antoine Xhignesse - 2023 - Feminist Philosophy Quarterly 9 (1):1-20.
    Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a “great”character,theauthor cannot (...)
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  • Putting the ‘Experiment’ back into the ‘Thought Experiment’.Lorenzo Sartori - 2023 - Synthese 201 (2):1-36.
    Philosophers have debated at length the epistemological status of scientific thought experiments. I contend that the literature on this topic still lacks a common conceptual framework, a lacuna that produces radical disagreement among the participants in this debate. To remedy this problem, I suggest focusing on the distinction between the internal and the external validity of an experiment, which is also crucial for thought experiments. I then develop an account of both kinds of validity in the context of thought experiments. (...)
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  • The Fictional Character of Scientific Models.Stacie Friend - 2019 - In Arnon Levy & Peter Godfrey-Smith (eds.), The Scientific Imagination. New York, US: Oup Usa. pp. 101-126.
    Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role in (...)
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  • Truth in interactive fiction.Alex Fisher - 2022 - Synthese 200 (6):1-18.
    This paper provides an account of truth in interactive fiction. Interactive fiction allows the audience to make choices, resulting in many different possible fictions within each interactive fiction, unlike in literary fiction where there is just one. Adequately capturing this feature of interactive fiction requires us to address familiar issues regarding impossible fiction and the nature of time in fiction. Truth in interactive fiction thus requires a complex account to capture its multitude of fictions. It is argued that a full (...)
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  • An Inferentialist Account of Fictional Names.Byeong D. Lee - 2022 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 29 (3):290–326.
    The goal of this paper is to present and defend an inferentialist account of the meaning of fictional names on the basis of Sellars-Brandom’s inferentialist semantics and a Brandomian anaphoric theory of reference. On this inferentialist account, the meaning of a fictional name is constituted by the relevant language norms which provide the correctness conditions for its use. In addition, the Brandomian anaphoric theory of reference allows us to understand reference in terms of anaphoric word-word relations, rather than substantial word-world (...)
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  • What is the Uncanny? A Philosophical Enquiry.Mark Windsor - 2017 - Dissertation, University of Kent
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  • Predelli on Fictional Discourse.Manuel García-Carpintero - 2022 - Journal of Aesthetics and Art Criticism 80 (1):83-94.
    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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  • The structure of semantic norms.Jeffrey Kaplan - 2023 - Analytic Philosophy 64 (4):373-391.
    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 (...)
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  • Causation in a Virtual World: a Mechanistic Approach.Billy Wheeler - 2022 - Philosophy and Technology 35 (1):1-26.
    Objects appear to causally interact with one another in virtual worlds, such as video games, virtual reality, and training simulations. Is this causation real or is it illusory? In this paper I argue that virtual causation is as real as physical causation. I achieve this in two steps: firstly, I show how virtual causation has all the important hallmarks of relations that are causal, as opposed to merely accidental, and secondly, I show how virtual causation is genuine according to one (...)
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  • Imagining one experience to be another.Bence Nanay - 2021 - Synthese 199 (5-6):13977-13991.
    I can imagine a banana to be a phone receiver. I can also imagine the flapping of my arms to be flying. So it is possible to imagine one thing to be another—at least for some types of ‘things’. I will argue that although it is possible to imagine an object to be another object and it is also possible to imagine an activity to be a different activity, one cannot imagine one’s present sensory experience to be a different sensory (...)
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  • Reality, Fiction, and Make-Believe in Kendall Walton.Emanuele Arielli - 2021 - In Krešimir Purgar (ed.), The Palgrave Handbook of Image Studies. Palgrave-Macmillan. pp. 363-377.
    Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...)
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  • The Meanings of Fictional Names.Fiora Salis - 2021 - Organon 28 (1):9-43.
    According to Millianism, the meaning of a name is exhausted by its referent. According to anti-realism about fictional entities, there are no such entities. If there are no fictional entities, how can we explain the apparent meaningfulness of fictional names? Our best theory of fiction, Walton’s theory of make-believe, makes the same assumptions but lacks the theoretical resources to answer the question. In this paper, I propose a pragmatic solution in terms of two main dimensions of meaning, a subjective, psychological (...)
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  • Art as Political Discourse.Vid Simoniti - 2021 - British Journal of Aesthetics 61 (4):559-574.
    Much art is committed to political causes. However, does art contribute something unique to political discourse, or does it merely reflect the insights of political science and political philosophy? Here I argue for indispensability of art to political discourse by building on the debate about artistic cognitivism, the view that art is a source of knowledge. Different artforms, I suggest, make available specific epistemic resources, which allow audiences to overcome epistemic obstacles that obtain in a given ideological situation. My goal (...)
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  • (2 other versions)バーナード・ウィリアムズの功利主義批判再考 (Bernard Williams’ Critique of Utilitarianism Reconsidered).Kazuki Watanabe - 2021 - Japanese Student Research Notes of Philosophy of Science 4:17-25.
    This research discusses Bernard Williams' critique of utilitarianism. I will address Williams' well-known “Integrity Objection” and clarify where his main issue with utilitarianism lies. Through this, I will demonstrate that the separation of the two viewpoints – the “inside viewpoint” and the “impartial viewpoint” - is the issue, as the utilitarian impartial viewpoint does not capture the value of ethical deliberations based on our inside viewpoint in which we presuppose our personal projects. Furthermore, I will argue that this interpretation enables (...)
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  • Can imagination be unconscious?Amy Kind - 2021 - Synthese 199 (5-6):13121-13141.
    Our ordinary conception of imagination takes it to be essentially a conscious phenomenon, and traditionally that’s how it had been treated in the philosophical literature. In fact, this claim had often been taken to be so obvious as not to need any argumentative support. But lately in the philosophical literature on imagination we see increasing support for the view that imagining need not occur consciously. In this paper, I examine the case for unconscious imagination. I’ll consider four different arguments that (...)
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  • Peter Lamarque.Filippo Contesi - 2021 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. Bloomsbury. pp. 301–308.
    Peter Vaudreuil Lamarque is one of the most prominent members of the golden generation of analytic aestheticians born immediately after the Second World War. If, to follow Archilochus via Isaiah Berlin (via Peter Kivy), “a fox knows many things, but a hedgehog one important thing,” Lamarque is perhaps the biggest hedgehog of his generation. Lamarque’s “important thing” is not a single idea but, as he would put it, the practice that we call “literature.” His distinctive achievement has been to integrate (...)
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  • Musical agency and collaboration in the digital age.Tom Roberts & Joel Krueger - 2022 - In Kath Bicknell & John Sutton (eds.), Collaborative Embodied Performance: Ecologies of Skill. Methuen Drama. pp. 125-140.
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  • Models, structures, and the explanatory role of mathematics in empirical science.Mary Leng - 2021 - Synthese 199 (3-4):10415-10440.
    Are there genuine mathematical explanations of physical phenomena, and if so, how can mathematical theories, which are typically thought to concern abstract mathematical objects, explain contingent empirical matters? The answer, I argue, is in seeing an important range of mathematical explanations as structural explanations, where structural explanations explain a phenomenon by showing it to have been an inevitable consequence of the structural features instantiated in the physical system under consideration. Such explanations are best cast as deductive arguments which, by virtue (...)
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  • Fictional Characters and Their Discontents: Prolegomena to Any Future Metaphysics of Fictional Entities.Shamik Chakravarty - 2021 - Dissertation, Lingnan University
    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 (...)
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  • Imagination, expectation, and “thoughts entangled in metaphors”.Nathanael Stein - 2021 - Synthese 199 (3-4):9411-9431.
    George Eliot strikingly describes one of her characters as making a mistake because he has gotten his thoughts “entangled in metaphors,” saying that we all do the same. I argue that Eliot is here giving us more than an illuminating description, but drawing our attention to a distinctive kind of mistake—a form of irrationality, in fact—of which metaphor can be an ineliminable part of the correct explanation. Her fictional case helps illuminate both a neglected function of the imagination, and a (...)
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  • Understanding What It's Like To Be (Dis)Privileged.Nicholas Wiltsher - 2021 - Pacific Philosophical Quarterly 102 (2):320-356.
    Can a person privileged in some respect understand what it is like to be disprivileged in that respect? Some say yes; some say no. I argue that both positions are correct, because ‘understand what it is like to be disprivileged’ is ambiguous. Sometimes, it means grasp of the character of particular experiences of disprivileged people. Privileged people can achieve this. Sometimes, it means grasp of the general character shared by experiences of disprivileged people. Privileged people cannot achieve this. However, there (...)
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  • Aphantasia, imagination and dreaming.Cecily M. K. Whiteley - 2020 - Philosophical Studies 178 (6):2111-2132.
    Aphantasia is a recently discovered disorder characterised by the total incapacity to generate visual forms of mental imagery. This paper proposes that aphantasia raises important theoretical concerns for the ongoing debate in the philosophy and science of consciousness over the nature of dreams. Recent studies of aphantasia and its neurobehavioral correlates reveal that the majority of aphantasics, whilst unable to produce visual imagery while awake, nevertheless retain the capacity to experience rich visual dreams. This finding constitutes a novel explanandum for (...)
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  • Reading (with) Others.Wolfgang Huemer - 2021 - In Sonia Sedivy (ed.), Art, Representation, and Make-Believe: Essays on the Philosophy of Kendall L. Walton. New York: Routledge.
    Kendall Walton’s account of make-believe takes the social dimension of imagination into account. In this paper I aim to extend this suggestion and argue that works of fiction allow for encounters with concrete (yet fictitious) persons with a distinct point of view and a discernible perspective. These encounters allow us to contrast the perspective(s) that emerge from the work with one’s own. I will then discuss two moments of the social dimension: imagining fictional scenarios is a social practice, a game (...)
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  • Social Inconsistency.Thomas Brouwer - 2022 - Ergo: An Open Access Journal of Philosophy 9.
    Though the social world is real and objective, the way that social facts arise out of other facts is in an important way shaped by human thought, talk and behaviour. Building on recent work in social ontology, I describe a mechanism whereby this distinctive malleability of social facts, combined with the possibility of basic human error, makes it possible for a consistent physical reality to ground an inconsistent social reality. I explore various ways of resisting the prima facie case for (...)
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  • Truth in Fiction, Underdetermination, and the Experience of Actuality.Mark Bowker - 2021 - British Journal of Aesthetics 61 (4):437-454.
    It seems true to say that Sherlock Holmes is a detective, despite there being no Sherlock Holmes. When asked to explain this fact, philosophers of language often opt for some version of Lewis’s view that sentences like ‘Sherlock Holmes is a detective’ may be taken as abbreviations for sentences prefixed with ‘In the Sherlock Holmes stories …’. I present two problems for this view. First, I provide reason to deny that these sentences are abbreviations. In short, these sentences have aesthetic (...)
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  • Imagining the Actual.Daniel Munro - 2021 - Philosophers' Imprint 21 (17).
    This paper investigates a capacity I call actuality-oriented imagining, by which we use sensory imagination in a way that's directed at representing the actual world. I argue that this kind of imagining is distinct from other, similar mental states in virtue of its distinctive content determination and success conditions. Actuality-oriented imagining is thus a distinctive cognitive capacity in its own right. Thinking about this capacity reveals that we should resist an intuitive tendency to think of the imagination’s primary function or (...)
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  • Models, Fictions and Artifacts.Tarja Knuuttila - 2021 - In Wenceslao J. Gonzalez (ed.), Language and Scientific Research. Springer Verlag. pp. 199-22.
    This paper discusses modeling from the artifactual perspective. The artifactual approach conceives models as erotetic devices. They are purpose-built systems of dependencies that are constrained in view of answering a pending scientific question, motivated by theoretical or empirical considerations. In treating models as artifacts, the artifactual approach is able to address the various languages of sciences that are overlooked by the traditional accounts that concentrate on the relationship of representation in an abstract and general manner. In contrast, the artifactual approach (...)
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  • Really Boring Art.Andreas Elpidorou & John Gibson - 2022 - Ergo: An Open Access Journal of Philosophy 8 (30):190-218.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...)
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  • Science Fiction as a Genre.Enrico Terrone - 2021 - Journal of Aesthetics and Art Criticism 79 (1):16-29.
    Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...)
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  • There are no i-beliefs or i-desires at work in fiction consumption and this is why.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: Oxford University Press. pp. 210-233.
    Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...)
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  • Creativity.Peter Langland-Hassan - 2020 - In Explaining Imagination. Oxford: Oxford University Press. pp. 262-296.
    Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are a recent example of (...)
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  • Imagining fictional contradictions.Michel-Antoine Xhignesse - 2020 - Synthese 199 (1-2):3169-3188.
    It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...)
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  • Creative Imagining as Practical Knowing: an Akbariyya Account.Reza Hadisi - 2021 - Res Philosophica 98 (2):181-204.
    I argue that practical knowledge can be understood as constituted by a kind of imagining. In particular, it is the knowledge of what I am doing when that knowledge is represented via extramental imagination. Two results follow. First, on this account, we can do justice both to the cognitive character and the practical character of practical knowledge. And second, we can identify a condition under which imagination becomes factive, and thus a source of ob-jective evidence. I develop this view by (...)
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  • Introduction: Empathy, Fiction, and Imagination.Susanne Schmetkamp & Íngrid Vendrell Ferran - 2019 - Topoi 39 (4):743-749.
    In contemporary discourses, it has become common sense to acknowledge that humans and some species of animals, from their very inception, are embedded in social and intersubjective contexts. As social beings, we live, interact, communicate, and cooperate with others for a range of different reasons: sometimes we do so for strategic and instrumental reasons, while at other times it is purely for its own sake. Moreover, in one way or another, we encounter others not only as rational but also as (...)
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  • Invasive Weeds in Parmenides' Garden.Olga Ramirez Calle - 2020 - Croatian Journal of Philosophy 20 (60):391-412.
    The paper attempts to conciliate the important distinction between what-is, or exists, and what-is-not _thereby supporting Russell’s existential analysis_ with some Meinongian insights. For this purpose, it surveys the varied inhabitants of the realm of ‘non-being’ and tries to clarify their diverse statuses. The position that results makes it possible to rescue them back in surprising but non-threatening form, leaving our ontology safe from contradiction.
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  • Explaining Imagination.Peter Langland-Hassan - 2020 - Oxford: Oxford University Press.
    ​Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process—one with (...)
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  • Voluntary Imagination: A Fine-Grained Analysis.Ilaria Canavotto, Francesco Berto & Alessandro Giordani - 2020 - Review of Symbolic Logic (2):362-387.
    We study imagination as reality-oriented mental simulation (ROMS): the activity of simulating nonactual scenarios in one’s mind, to investigate what would happen if they were realized. Three connected questions concerning ROMS are: What is the logic, if there is one, of such an activity? How can we gain new knowledge via it? What is voluntary in it and what is not? We address them by building a list of core features of imagination as ROMS, drawing on research in cognitive psychology (...)
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  • Imagination and Perception in Film Experience.Enrico Terrone - 2020 - Ergo: An Open Access Journal of Philosophy 7.
    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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  • Sherlock Is Law Abiding.Dominic McIver Lopes - 2020 - Journal of Applied Logics 7 (2):171-176.
    An approach to the semantics of fiction that uses the tools of truth relativism provides an alternative to Meinongian and pretence-based approaches. The approach is consistent with the deep motivations of John Wood's Truth in Fiction.
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  • Singular Reference in Fictional Discourse?Manuel García-Carpintero - 2019 - Disputatio 11 (54):143-177.
    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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  • Toward a Pluralist Account of the Imagination in Science.Alice Murphy - 2020 - Philosophy of Science 87 (5):957-967.
    Typically, the imagination in thought experiments has been taken to consist in mental images; we visualize the state of affairs described. A recent alternative from Fiora Salis and Roman Frigg main...
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  • Exploding stories and the limits of fiction.Michel-Antoine Xhignesse - 2020 - Philosophical Studies 178 (3):675-692.
    It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...)
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  • Imaginative Resistance.Emine Hande Tuna - 2020 - Stanford Encyclopedia of Philosophy.
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  • Imagining stories: attitudes and operators.Neil Van Leeuwen - 2020 - Philosophical Studies 178 (2):639-664.
    This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the two mental state (...)
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