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Switch to: References
Citations of:
Mimesis as Make-Believe: On the Foundations of the Representational Arts
Philosophy 66 (258):527-529 (1990)
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In the past few decades, a growing number of philosophers have tried to explain the phenomenon of imaginative resistance, or why readers often resist the invitation of authors to imagine morally deviant fictional scenarios. In this paper, I critically assess a recent proposal to explain IR in terms of a failure of empathy, and present a novel explanation. I do so by drawing on Peter Goldie’s narrative account of empathic perspective-taking, which curiously has so far been neglected in the IR-literature. (...) |
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This paper focuses on the performative character of fictional language. While assuming that all speaking is a form of acting, it aims to shed light on the nature of fictional, and particularly literary, speech acts. To this aim, relevant input can be found in the discussion of the ontological status of fictional entities and of their constitution and in the inquiry into the interaction between author and receiver of a fictional work. Based on the critical assessment of different approaches in (...) |
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According to the so-called ‘artifactual theory’ of fiction, fictional objects are to be considered as abstract artifacts. Within this framework, fictional objects are defined on the basis of their complex dependence on literary works, authors, and readership. This theory is explicitly distinguished from other approaches to fictions, notably from the imaginary-object theory. In this article, I argue that the two approaches are not mutually exclusive but can and should be integrated. In particular, the ontology of fiction can be fruitfully supplemented (...) |
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Sometimes we learn through the use of imagination. The epistemology of imagination asks how this is possible. One barrier to progress on this question has been a lack of agreement on how to characterize imagination; for example, is imagination a mental state, ability, character trait, or cognitive process? This paper argues that we should characterize imagination as a cognitive ability, exercises of which are cognitive processes. Following dual process theories of cognition developed in cognitive science, the set of imaginative processes (...) |
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A popular approach to defining fictive utterance says that, necessarily, it is intended to produce imagining. I shall argue that this is not falsified by the fact that some fictive utterances are intended to be believed, or are non-accidentally true. That this is so becomes apparent given a proper understanding of the relation of what one imagines to one's belief set. In light of this understanding, I shall then argue that being intended to produce imagining is sufficient for fictive utterance (...) |
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According to what I call the Merit Principle, roughly, works of art that attempt to elicit unmerited responses fail on their own terms and are thereby aesthetically flawed. A horror film, for instance, that attempts to elicit fear towards something that is not scary is to that extent aesthetically flawed. The Merit Principle is not only intuitive, it is also endorsed in some form by Aristotle, David Hume, and numerous contemporary figures. In this paper, I show how the principle leads (...) |
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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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Realists about fictional entities often distinguish the properties that a fictional character has and the properties a character holds. Roughly, this is the distinction between the properties that a character really possesses and the properties it fictionally possess. But despite the popularity of this distinction in realist circles, it gives rise to a number of subtle issues about which fictional realists can and do disagree. In this paper, we aim to clarify these issues and defend three related theses. One: that (...) |
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This article will introduce readers to current debates in the philosophy of poetry. This includes discussion of the need for a philosophy of poetry as distinct from a philosophy of literature, the (in)compatibility of poetry and philosophy, poetic meaning and interpretation, and poetry in relation to affect, emotion and expressiveness, which opens up discussion of wider forms of poetry from spoken word to signlanguage poetry. The article ends with suggestions for future directions of research in the philosophy of poetry. I (...) |
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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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In this paper, I appeal to a distinction made by David Lewis between identifying and determining semantic content in order to defend a complementarity thesis expressed by Anjan Chakravartty. The thesis states that there is no conflict between informational and functional views of scientific modeling and representation. I then apply the complementarity thesis to well-received theories of pictorial representation, thereby stressing the fruitfulness of drawing an analogy between the nature of fictions in art and in science. I end by attending (...) |
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Religious fictionalism is the theory that it is morally and intellectually legitimate to affirm religious sentences and to engage in public and private religious practices, without believing the content of religious claims. This article discusses the main features of fictionalism, contrasts hermeneutic, and revolutionary kinds of fictionalism and explores possible historical and recent examples of religious fictionalism. Such examples are found in recent theories of faith, pragmatic approaches to religion, and mystical traditions in religious theology. |
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The experience of looking at a tilted penny involves a “phenomenological doubleness” in that it simultaneously seems to be of something circular and of something elliptical. In this paper, I investigate the phenomenological doubleness of this experience by comparing it to another case of phenomenological doubleness––the phenomenological doubleness of seeing an object in a painting. I begin by pointing out some striking similarities between the phenomenological characters of these two experiences. I then argue that these phenomenological characters have a common (...) |
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In social and political theory, the imagination is often used in accounting both for creativity, innovation, and change and for sociopolitical stagnation and the inability to promote innovation and change. To what extent, however, can we attribute such seemingly contradictory outcomes to the same mental faculty? To address this question, this paper develops a comprehensive account of the political imagination, one that explains the various roles played by imagination in politics and thus accounts for the promises and limits of the (...) |
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I explore some of the reasons why, under specific circumstances, it may be rational to make-believe or imagine certain religious beliefs. Adopting a jargon familiar to certain contemporary philosophers, my main concern here is to assess what reasons can be given for adopting a fictionalist stance towards some religious beliefs. My understanding of fictionalism does not involve solely a propositional attitude but a broader stance, which may include certain acts of pretence. I also argue that a plausible reason to be (...) |
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Geach points out that some pairs of beliefs have a common focus despite there being, apparently, no object at that focus. For example, two or more beliefs can be directed at Vulcan even though there is no such planet. Geach introduced the label ‘intentional identity’ to pick out the relation that holds between attitudes in these cases; Geach says that ’[w]e have intentional identity when a number of people, or one person on different occasions, have attitudes with a common focus, (...) |
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How do models represent reality? There are two conditions that scientific models must satisfy to be representations of real systems, the aboutness condition and the epistemic condition. In this article, I critically assess the two main fictionalist theories of models as representations, the indirect fiction view and the direct fiction view, with respect to these conditions. And I develop a novel proposal, what I call ‘the new fiction view of models’. On this view, models are akin to fictional stories; they (...) |
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In this paper we explore the hypothesis that constrained uses of imagination are crucial to economic modeling. We propose a theoretical framework to develop this thesis through a number of specific hypotheses that we test and refine through six new, representative case studies. Our ultimate goal is to develop a philosophical account that is practice oriented and informed by empirical evidence. To do this, we deploy an abductive reasoning strategy. We start from a robust set of hypotheses and leave space (...) |
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Against standard descriptivist and referentialist semantics for fictional reports, I will defend a view according to which fictional names do not refer yet they can be distinguished from one another in virtue of their different name-using practices. The logical structures of sentences containing fictional names inherit these distinctions. Different interpretations follow. |
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Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an influence on (...) |
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This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...) |
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The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 101-105, Winter 2020. |
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In her thought‐provoking article, Willis (2019) argues that video games differ from other media—with regard to fictional truth—in ways which cannot be accounted. |
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My responses to seven critical reviews of my book *Mental Files* published in a special issue of the journal Disputatio, edited by F. Salis. The reviewers are: Keith Hall, David Papineau, Annalisa Coliva and Delia Belleri, Peter Pagin, Thea Goodsell, Krista Lawlor and Manuel Garcia-Carpintero. |
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Peter Hanks and Scott Soames both defend pragmatic solutions to the problem of the unity of the proposition. According to them, what ties together Tim and baldness in the singular proposition expressed by ‘Tim is bald’ is an act of the speaker : the act of predicating baldness of Tim. But Soames construes that act as force neutral and noncommittal while, for Hanks, it is inherently assertive and committal. Hanks answers the Frege–Geach challenge by arguing that, in complex sentences, the (...) |
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In the first part of this paper I present a defence of the Austinian semantic approach to incomplete quantifiers and similar phenomena (section 2-4). It is part of my defence of Austinian semantics that it incorporates a cognitive dimension (section 4). This cognitive dimension makes it possible to connect Austinian semantics to various cognitive theories of discourse interpretation. In the second part of the paper (sections 5-7), I establish connections between Austinian semantics and four particular theories: • the theory of (...) |
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Grice proposed an implicature-based account of irony, according to which ironical utterances give rise to an antiphrasis implicature. This view, which followed the classical rhetorical account of irony, merely transported it from the semantic to the pragmatic domain, which is clearly not enough to answer the questions which the antiphrasis account triggers, i.e., the explanation of how the hearer recovers the antiphrasis interpretation, or of why the speaker should say something when she means exactly the reverse. A final, and devastating, (...) |
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The aim of the paper is to defend the view according to which all simple fictional sentences are meaningless. If their assertions seem to convey some truth evaluable information, and fictional sentences themselves seem to be true or false, it is because some pragmatic mechanisms are operative, enabling the expression of propositions not encoded in the semantic content of these sentences. According to some theorists, the mechanisms responsible for that process are the same as those responsible for generating conversational implicatures. (...) |
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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. |
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Climatologists have recently introduced a distinction between projections as scenario-based model results on the one hand and predictions on the other hand. The interpretation and usage of both terms is, however, not univocal. It is stated that the ambiguities of the interpretations may cause problems in the communication of climate science within the scientific community and to the public realm. This paper suggests an account of scenarios as props in games of make-belive. With this account, we explain the difference between (...) |
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1. Phenomenology is first and foremost about intentionality. As Husserl puts it, “Intentionality is the name of the problem encompassed by the whole of phenomenology”.1 Broadly understood, the phen... |
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Philosophical views of language have traditionally been focused on notions of truth. This is a reconstructive view in that we try to extract from an utterance in context what the sentence and speaker meaning are. This focus on meaning extraction from word sequences alone, however, is challenged by utterances which combine different types of figures. This paper argues that what appears to be a special case of ironic utterances—ironic metaphorical compounds—sheds light on the requirements for psychological plausibility of a theory (...) |
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Thi Nguyen has given us a cracker of a book in Games: Agency as Art, one that sports philosophers amongst others will learn from for many years. One fascinating (but I will argue, pro... |
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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 (...) |
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It is usually taken for granted that a necessary condition for knowing that P is the truth of P. It may therefore be claimed that if we assume that we gain some kind of knowledge through fiction (let us call it fictional knowledge) of P*, then P* should be true—in at least a certain sense. My hypothesis is that this assumption grounds the different ways adopted by philosophers for attributing truth-conditions to fictional sentences. My claim in this work is that (...) |
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Many philosophers suppose that sometimes we think we are saying or thinking something meaningful when in fact we’re not saying or thinking anything at all: we are producing nonsense. But what is nonsense? An account of nonsense must, I argue, meet two constraints. The first constraint requires that nonsense can be rationally engaged with, not just mentioned. In particular, we can reason with nonsense and use it within that-clauses. An account which fails to meet this constraint cannot explain why nonsense (...) |
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According to the amoralist, computer games cannot be subject to moral evaluation because morality applies to reality only, and games are not real but “just games”. This challenges our everyday moralist intuition that some games are to be met with moral criticism. I discuss and reject the two most common answers to the amoralist challenge and argue that the amoralist is right in claiming that there is nothing intrinsically wrong in simply playing a game. I go on to argue for (...) |
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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 (...) |
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In this essay, I critically evaluate components of Michael Weisberg’s approach to models and modeling in his book Simulation and Similarity. First, I criticize his account of the ontology of models and mathematics. Second, I respond to his objections to fictionalism regarding models arguing that they fail. Third, I sketch a deflationary approach to models that retains many elements of his account but avoids the inflationary commitments. |
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The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) |
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The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) |
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The nature of fantasy has been little discussed, despite its importance in the arts. Its significance is brought out here in relation to the long‐standing debate on the alleged paradox of fiction—that we respond emotionally to characters and events known to be unreal. Examination of the paradox shows it to be ill founded once the nature of fantasy is appreciated. Moreover, a detailed consideration of fantasy shows that it can itself provide a plausible account of our emotional reactions to creative (...) |
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Phenomenological accounts of technology, mediation, and embodiment are beginning to problematize traditional distinctions between subject and object. This shift is often attributed to a material or post-human turn since it is usually associated with an interest in the non-human actors and objects that make media interfaces possible. This article contends that these tendencies should also be considered part of a deeper lineage of dialectical thought in critical theory. Using videogames as an example, I argue that academic debates related to the (...) |
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Theories of picture perception aim to understand our perceptual relation to both the picture surface and the depicted object. I argue that we should talk about not two, but three entities when understanding picture perception: the picture surface, the three dimensional object the picture surface visually encodes and the three dimensional depicted object. As and can come apart, we get a more complex picture of picture perception than normally assumed and one where the notion of twofoldness, which has played an (...) |
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While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological account. I argue (...) |
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