Critics of the scope problem that motivates pluralism about truth have argued that it is a pseudo-problem. If the criticism is correct, then truth pluralism is left unmotivated and potentially bankrupt. In this paper, I argue that closely related to the scope problem is another problem, which I call “the scalar problem.” If the property of truth is sensitive to how an agent expresses the truth predicate within a single linguistic discourse and different agents or groups of agents express truth (...) differently within that discourse, then there are different ways of being true within the same linguistic discourse. Given this possibility, even if the scope problem fails, truth pluralism remains fully motivated. (shrink)

This essay raises a challenge for the perceptual theory of emotion. According to the perceptual theory, emotions are perceptual states that represent values. But if emotions represent values, something should explain why. In virtue of what do emotions represent the values they do? A psychosemantics would answer this, and that’s what the perceptual theorist owes us. To date, however, the only perceptual theorist to attempt a psychosemantics for emotion is Jesse Prinz. And Prinz’s theory, I argue, faces an important difficulty: (...) It makes the pairing of any given emotion with its respective value entirely arbitrary. But that’s a problem. It seems—and this is a major contention of this essay—that an emotion, in virtue of how it feels, bears a natural or non-arbitrary link to the value it represents. And this datum makes it all the more difficult to provide a viable psychosemantics for the evaluative content of emotion. (shrink)

While the nature of fictional characters has received much attention in the last few years within analytic philosophy, most accounts fail to grasp what distinguishes fictional characters from other fictional entities. In this paper, I propose to amend this deficiency by defining fictional characterhood. I claim that fictional characters are fictional intentional systems, a thesis that I label as FIST. After introducing FIST, I compare it to some rival definitions of fictional characters found in the literature, explaining why FIST is (...) preferable. Finally, I briefly delve into the implications of FIST for other issues related to the nature of fictional characters. (shrink)

In this paper, I argue that David Lewis’s possible world semantics for counterfactual discourse and for fictional discourse are apparently inconsistent and in need of revision. The problem emerges for Lewis’s account once one considers how to evaluate ambifictional counterfactuals. Since this is likely not a concept familiar to most, and since it does not appear that the problem has been previously recognized in the critical literature, I will begin by rehearsing Lewis’s possible worlds semantics for counterfactuals and fiction. Then (...) I will explicate the distinction between intrafictional, extrafictional, interfictional, and ambifictional propositions. Next, I will state what an ambifictional counterfactual proposition is, and explain why this kind of discourse confounds Lewis’s system. I will conclude, finally, with a brief discussion of how the Lewisian would be best advised to resolve the paradox. (shrink)

In the innovative and engaging _Philosophy, Literature and Understanding_, Jukka Mikkonen investigates a range of developments in multiple disciplines that have complicated traditional debates between cognitivists and non-cognitivists about literature. To avoid the extremes this debate has fallen into, Mikkonen develops a middle course that grounds the cognitive value of literature in its contributions to cultural and self-understanding. As part of this argument, Mikkonen offers an account of how literature can contribute to self-understanding via its narrative form despite what he (...) sees as deep differences between real-life and literary narratives. He concludes that literature can (obliquely) aid our understanding of emotions like grief due to their shared processual nature, and self-understanding generally through its artificiality, the awareness of which allows us to recognize and correct fictionalizing narrative tendencies in our life-narratives. While I agree with Mikkonen’s conclusions, I believe they are too modest and that he provides the resources to claim even greater cognitive benefits from literature. Focusing on what it means to ‘have a self-narrative’ and describing narrative work as it occurs both unreflectively and through self-conscious reflection, this paper argues that that the selectivity, interpretation, and revision said to fictionalize life-narratives are in fact critical to self-understanding, which requires imaginative engagement of the sort Mikkonen sees as characteristic of the practice of literature. This suggests additional and more direct potential cognitive benefits of literature for self-understanding than Mikkonen describes, strengthening and supporting his broader position. (shrink)

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 (...) this paradox. In response, we argue for four key claims. First, we accept Luck’s expansion of the Gamer’s Dilemma to be applicable to a wider set of media, but give a novel recasting of this in terms of the Paradox of Fictionally Going Too Far. Second, we develop a novel criticism of Luck in Philosophia, 50:1287–1308, 2022 graveness resolution to this broader paradox. Third, we argue that the Paradox of Fictionally Going Too Far helps to expose an implicit moralism in the Gamer’s Dilemma literature when compared to relevant nearby literatures about other forms of media. Fourth, we consider a range of non-moral, cultural and media conventions that plausibly help to dissolve the intuitive moral gap between non-sexual and sexual violence that is central to this paradox. (shrink)

The problem of dream skepticism – i.e., the problem of what can justify one’s belief that they are not dreaming – is one of the most famous problems in philosophy. I propose a way of responding to the problem which is available if one subscribes to the theory that the sensory experiences that we have in dreams consist of images (as opposed to false percepts). The response exploits a particular feature of imagination, viz., that it is not possible to simultaneously (...) have two separate imagistic experiences in the same modality. (shrink)

How does the integration of mixed reality devices into our cognitive practices impact the mind from a metaphysical and epistemological perspective? In his innovative and interdisciplinary article, “Minds in the Metaverse: Extended Cognition Meets Mixed Reality” (2022), Paul Smart addresses this underexplored question, arguing that the use of a hypothetical application of the Microsoft HoloLens called “the HoloFoldit” represents a technologically high-grade form of extended cognizing from the perspective of neo-mechanical philosophy. This short commentary aims to (1) carve up the (...) conceptual landscape of possible objections to Smart’s argument and (2) elaborate on the possibility of hologrammatically extended cognition, which is supposed to be one of the features of the HoloFoldit case that distinguishes it from more primitive forms of cognitive extension. In tackling (1), I do not mean to suggest that Smart does not consider or have sufficient answers to these objections. In addressing (2), the goal is not to argue for or against the possibility of hologrammatically extended cognition but to reveal some issues in the metaphysics of virtual reality upon which this possibility hinges. I construct an argument in favor of hologrammatically extended cognition based on the veracity of virtual realism (Chalmers, 2017) and an argument against it based on the veracity of virtual fctionalism (McDonnell and Wildman, 2019). (shrink)

Why do we so often care about the outcomes of games when nothing is at stake? There is a paradox here, much like the paradox of fiction, which concerns why we care about the fates and threats of merely fictional beings. I argue that the paradox threatens to overturn a great deal of what philosophers have thought about caring, severing its connection to value and undermining its moral weight. I defend a solution to the paradox that draws on Kendall Walton's (...) solution to the paradox of fiction, developing his idea that it be extended to games. The solution takes games to involve make‐believe: in particular, players and spectators make‐believe that the outcome of the game matters. I also explore how the phenomenon extends beyond games. And I explore some moral implications: in particular, my view preserves the idea that we have reason not to impede others in their pursuit of what they care about. (shrink)

The Introduction provides an overview of Kendall Walton’s make-believe framework for a variety of representations and his arguments that such representations are dependent on their social or historical context. Walton argues that diverse representations involve our capacities for imagination and make-believe with props; they overlap with the fictional. Focusing on make-believe with props explains paradigmatic representational arts such as paintings and novels, theater and film. But this perspective reaches beyond the arts: it explains pictures and photographs in general not only (...) artistic ones; stories in general as well as literary and performing arts; music; metaphors, and even the claims we make about fictional entities and existence. The first section explains the main points of the make-believe framework in Mimesis as Make-Believe, and it reconstructs Walton’s argument in “Categories of Art” that some aesthetic properties depend on the perceptible and historical categories of art to which a work belongs. The second section outlines Walton’s specific proposals about literary fiction, fictional characters, poetry, pictures, photographs, music and negative existential claims. These explanations are integrated with summaries of the papers. The third section examines Walton’s implicit view of two much-discussed issues: the ontology of art and definitions of art. This discussion clears away some misunderstandings of Walton’s contextualism or historicism and relates Walton’s work to Arthur Danto’s and Frank Sibley’s. (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)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ (in Tolstoy’s War and Peace) or ‘London’ (in Orwell’s Nineteen Eighty-Four). This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive semantic (...) contribution in fiction. In this paper I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

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

Are the objects and events that take place in Virtual Reality genuinely real? Those who answer this question in the affirmative are realists, and those who answer in the negative are irrealists. In this paper we argue against the realist position, as given by Chalmers (2017), and present our own preferred irrealist account of the virtual. We start by disambiguating two potential versions of the realist position—weak and strong— and then go on to argue that neither is plausible. We then (...) introduce a Waltonian variety of ictionalism about the virtual, arguing that this sort of irrealist approach avoids the problems of the realist positions, fits with a unifying theory of representational works, and offers a better account of the phenomenology of engaging in virtual experiences. (shrink)

Some fictionalist approaches to the notion of scientific model are based on the concept of game of make-believe developed by Kendall Walton, without proposing a similar interpretation of it. The distinction between authorized and unauthorized games can be one of the sources of those divergences. In relation to the distinction made by Walton, the de dicto and de re modalities of the fiction-operator reflect different epistemological engagements concerning objects which satisfy properties. This paper aims at following up on the proposals (...) formulated by Roman Frigg and Adam Toon by using some modal logic concepts, notably by defining the identities of properties in modal contexts in terms of world-lines. Applying a model to a target-system consists in transposing fictional truths into actual situations, through an extrapolation that goes beyond the games of make-believe. (shrink)

We outline a neo-Meinongian framework labeled as Modal Meinongian Metaphysics (MMM) to account for the ontology and semantics of fictional discourse. Several competing accounts of fictional objects are originated by the fact that our talking of them mirrors incoherent intuitions: mainstream theories of fiction privilege some such intuitions, but are forced to account for others via complicated paraphrases of the relevant sentences. An ideal theory should resort to as few paraphrases as possible. In Sect. 1, we make this explicit via (...) two methodological principles, called the Minimal Revision and the Acceptability Constraint. In Sect. 2, we introduce the standard distinction between internal and external fictional discourse. In Sects. 3–5, we discuss the approaches of (traditional) Meinongianism, Fictionalism, and Realism—and their main troubles. In Sect. 6 we propose our MMM approach. This is based upon (1) a modal semantics including impossible worlds (Subsect. 6.1); (2) a qualified Comprehension Principle for objects (Subsect. 6.2); (3) a notion of existence-entailment for properties (Subsect. 6.3). In Sect. 7 we present a formal semantics for MMM based upon a representation operator. And in Sect. 8 we have a look at how MMM solves the problems of the three aforementioned theories. (shrink)

The representational content or subject matter of a picture is normally distinguished from various non-representational components of meaning involved in artworks, such as expressive, stylistic or intentional factors. However, I show how such non subject matter components may themselves be analyzed in content terms, if two different categories of representation are recognized--aspect indication for stylistic etc. factors, and normal representation for subject matter content. On the account given, the relevant kinds of content are hierarchically structured, with relatively unconceptualized lower level (...) aspectual contents encoding or symbolizing higher level conceptualized representational subject matter. Such an account is strongly supported by the latest findings of cognitive science regarding levels of conceptualization. The paper also demonstrates how the account given is compatible with the actual pictorial competence of normal viewers of visual artworks. (shrink)

The waters part at the Crossing of the Red Sea by the Hebrews. Water is turned into wine by Jesus at the Wedding Feast at Cana. For Christians, these miraculous events have really or truly happened. But aren't miracles rather fictions full of deep meaning? Aren’t Christians invited to pretend (make-believe) that miracles have taken place? Aren’t miracles fictions? Fictionalism answer positively to these questions. This account is sometimes presupposed in the hermeneutics of the biblical narrative. Fictionalism can be theological, (...) that is global: God himself is fiction; it can be partial: only miracles are fictions, not God. The article shows that a Christian may not adhere to fictionalism and must assume the reality of miracles. The Christian may not make them a matter of simple interpretation and deep meaning. He must believe that the waters parted when the Jewish people fled Egypt, that Jesus did indeed turn the water into wine in Cana. (shrink)

How do participating in a work of fiction and imagining a fictional world intertwine with the reader’s life? I develop an account that explores the relation between fiction reading and the reader’s narrative identity. Starting with an investigation of Paul Ricoeur’s account of narrative identity and of Kendall Walton’s account of the nature of representations, I develop my own model of fiction reading. My account is based on two starting assumptions: first, that human beings are entangled in stories, and second, (...) that emotions are complex and have a narrative structure. I argue that during the reading process, the fiction reader creates her own narratives which contain not only the story provided by the work of fiction, but also event sequences from their own experiential memories. I investigate the creation and the influence of self-conscious emotions which are generated during the reading process, especially when a reader identifies with a fictional character from within. I consider how and why these fiction-induced emotions can continue after the reading is finished, and how these emotions can motivate the reader to engage in self-reflection and to refigure her self-narrative. My account examines a new topic: the interactive influence of fiction reading and the fiction reader’s narrative identity. (shrink)

Fictionalism about fictional characters is a view according to which all claims ostensibly about fictional characters are in fact claims about the content of a story. Claims that appear to refer to or quantify over fictional objects contain an implicit prefix of the form “according to such-and-such story. In.

This paper presents and discusses Simon Evnine’s hylomorphic account of fictional characters and proposes some amendments to it with the aim of explaining the functioning of fictional characters. The paper does so by relying on a case study, viz. Edgar Allan Poe’s short story Berenice. The amended hylomorphic account of fictional characters will also be capable of explaining the malfunctioning of fictional characters.

The topic of fictional objects is a familiar one, the topic of fictional properties less so. But it deserves its own place in the philosophy of fiction, if only because fictional properties have such a prominent role to play in science fiction and fantasy. What, then, are fictional properties and how does their apparent unreality relate to the unreality of fictional objects? The present paper explores these questions in the light of familiar debates about the nature of fictional objects.

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

© Mind Association 2017Exactly how radical change in commitments on matters of fundamental concern is possible has been a problem since at least Paul's conversion on the road to Damascus and Augustine's rejection of Pelagianism and defence of divine grace. If an act of will is required to accept the offer of grace, then isn’t something important left to us to do? And if so, can or does reason play any role in such radical change? If so, how? Martin Warner (...) takes on these large questions in The Aesthetics of Argument. One modest way in which he gets his account started is to note, following Susan Haack, that ‘the intuition … that there is such a thing as favourable but not conclusive evidence … is stronger than … [the intuition] that there is such a thing as “inductive implication”’. That is, we apparently do make... (shrink)

Il programma di ricerca filosofica di Maurizio Ferraris può essere ricapitolato, come egli ha scritto, in tre fasi in cui ha proposto: una estetica come teoria della sensibilità, una ontologia naturale come teoria dell’inemendabilità e una ontologia sociale come teoria della documentalità (cfr. Ferraris 2012a: x-xi). Tra queste, è stata soprattutto la prima fase del suo pensiero a influenzare i miei studi. In essa sono presenti talune delle principali tesi della sua filosofia positiva che, a mio modo di vedere, possono (...) essere sviluppate anche nell’ambito delle ricerche sulle arti contemporanee. Al fine di mostrare questa possibilità, il testo è organizzato come segue. Nei primi due paragrafi mi soffermo sulla concezione dell’estetica come teoria della sensibilità e su alcuni dei principali nuclei teorici della sua filosofia positiva. I tre successivi mirano a portare in primo piano alcune questioni concernenti la delicata relazione tra estetica e arte, e ad affrontarle tenendo conto sia della natura della prima sia delle incessanti evoluzioni della seconda. I due conclusivi offrono i lineamenti della proposta che penso possa essere formulata mantenendo come riferimento due insegnamenti tratti dalla filosofia positiva di Ferraris. (shrink)

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, (...) criticism is, quite simply, that not all ironical utterances are assertions and, hence, that the antiphrasis account does not easily apply to them. What is more, some ironical utterances, perhaps most of them, do not at all trigger an antiphrasis. Contemporary accounts of irony, such as those proposed by Sperber and Wilson — the echoic account — or by Currie — the pretence account —, do not meet with the same difficulties. They are generally presented as being able to account for “central” examples of irony and as incompatible..In the present paper, I will show that the echoic and the pretence accounts, far from being incompatible, seem to be applicable to exactly the same set of examples, and that, in fact, some of the strictures levelled by Currie against the echoic account are not in fact valid criticism. Additionally, there are quite a lot of examples of ironical utterances which are not susceptible of an account in terms of echo or pretence. Thus, it seems that neither account can serve as a general account of irony. I finally propose an account in terms of ironical utterancesshowing(rather thansaying) an unreasonable behaviour, belief or reasoning on the part of the target of the irony and plead for a Gricean account, based not on an antiphrasis implicature, but on meaningNN and the recognition of the double-barrelled intention of the speaker. This, clearly, is compatible with the echoic or pretence accounts, though more general than either. (shrink)

Not only do we enjoy the company of fictional characters (such as Emma Bovary, Pinocchio, and the like) as we read a novel, watch a movie, or listen to a story ; but we also become emotionally involved with them and their adventures. This interaction with fiction constitutes the starting point of the ongoing philosophical debate on the ontological and metaphysical status of fictional objects, and challenges with various problems the theories of fiction currently found on the market. A survey (...) of these problems is offered in this contribution. (shrink)

Collingwood argues that art is a remedy for what he calls a “corrupt consciousness.” Consciousness becomes corrupted when agents do not admit that they are starting to experience an emotion. Instead of becoming conscious of the emerging emotion, which is usually a difficult one, agents become conscious of an emotion that is easier to handle. Collingwood sees the corruption of consciousness as epistemically and morally problematic mainly because it is a form of dishonesty that infects the activity of the imagination (...) and the intellect. While highlighting the importance of Collingwood’s notion of the corruption of consciousness, this paper argues that this notion would benefit from being situated in an explicitly top-down model of attention and emotion as opposed to the bottom-up model that Collingwood proposes. This shift preserves the central insights of Collingwood’s aesthetics – most especially his emphasis on the specificity involved in the expression of emotion – while ironing out some of the implausibility in his underlying analysis. (shrink)

In this paper, I argue that the theory of mental files can provide a unitary cognitive account of how names and singular terms work in fiction. I will suggest that the crucial notion we need is not the one of regular file, i.e., a file whose function is to accumulate information that we take to be about a single object of the outside world, but the notion of indexed file, i.e., a file that stands, in the subject’s mind, for another (...) subject’s file about an object. When we read a novel containing the name of an individual, we acquire (fictional) information about that individual and we store those pieces of information into an indexed file. If the name also refers to a real individual outside the context of fiction, the indexed file is linked with the pre-existing regular file that we have about such individual. Otherwise, the indexed file is linked to a regular file referring to an abstract object, namely the fictional entity itself. (shrink)

In this paper we explore the constraints that our preferred account of scientific representation places on the ontology of scientific models. Pace the Direct Representation view associated with Arnon Levy and Adam Toon we argue that scientific models should be thought of as imagined systems, and clarify the relationship between imagination and representation.

Simulation and Similarity: Using Models to Understand the World is an account of modeling in contemporary science. Modeling is a form of surrogate reasoning where target systems in the natural world are studied using models, which are similar to these targets. My book develops an account of the nature of models, the practice of modeling, and the similarity relation that holds between models and their targets. I also analyze the conceptual tools that allow theorists to identify the trustworthy aspects of (...) models. Taken as a whole, I try to account for the ways that modeling is actually practiced by theorists, while abstracting sufficiently to understand the similarities and differences among examples of concrete, mathematical, and computational modeling.I am grateful to Wendy Parker, Jay Odenbaugh, and Bill Wimsatt for their careful and interesting reading of my book, as well as their constructive criticisms. Although I naturally disagree with some of their critiques, I have learned much .. (shrink)

What are fictional emotions and what has phenomenology to say about them? This paper argues that the experience of fictional emotions entails a splitting of the subject between a real and a phantasy ego. The real ego is the ego that imagines something; the phantasy ego is the ego that is necessarily co-posited by any experience of imagining something. Fictional emotions are phantasy emotions of the phantasy ego. The intentional structure of fictional emotions, the nature of their fictional object, as (...) well as the process of constituting the phantasy ego in representificational acts of consciousness are further elaborated to provide the groundwork for a phenomenological analysis of fictional emotions. (shrink)

Siguiendo la definición de Osvaldo Pessoa Jr., un “escenario contrafáctico” sería “una situación posible que no se realizó, como una posibilidad futura en algún instante del pasado”. Este concepto no es nuevo. De hecho, tiene una presencia significativa en campos como la filosofía analítica, la economía, las ciencias experimentales o la psicología. La pretensión de este texto es presentar, mediante el rigor teórico, conceptual, y el método inductivo, una reflexión no derivada de investigación. Esta reflexión es la importancia de la (...) relación entre los escenarios contrafácticos y el mundo del arte desde una perspectiva institucional. La observación inicial en la que se sustenta este texto es que, en una época en la que cualquier cosa puede ser arte y, sin embargo, no todo lo es, las razones por las que algo pudo ser arte, pero no lo fue, cobran una gran importancia para comprender la base de su valor económico y cultural y ahondar en nuestras categorías lingüísticas del presente; en este caso, la de arte. (shrink)

This essay reviews Theatre, Communication, Critical Realism (2010) by Tobin Nellhaus. It begins by outlining the objective of the book and proceeds to evaluate its central argument. The objective is to develop a theory of theatre founded on the premises of critical realism and thereby theoretically situate theatrical performance in its socio-cultural matrix. The argument is that critical realism is effective for developing a comprehensive account of theatrical performance because it has the capacity to reveal truths about the structure of (...) social reality (that correspond to those articulated by critical realism). In the second part of the review, employing the methods of conceptual analysis, I propose that Nellhaus’s thesis of ‘ontological doubling’ (which claims that performance doubles human agency) is undermined by certain epistemological presuppositions regarding the ontology of fictional characters. (shrink)

Argumento, seguindo a perspectiva de Amie Thomasson acerca da metafísica da ficção, que os objetos ficcionais são artefatos abstratos. No entanto, o artefactualismo encontra dificuldades em fazer sentido das propriedades que podemos atribuir corretamente a um objeto ficcional: como é possível que um personagem ficcional, como L. B. Jefferies do filme Janela Indiscreta, seja um fotógrafo e um artefato abstrato ao mesmo tempo? Tal personagem pode fazer algo como investigar um crime? A fim de solucionar essa tensão conceitual, introduzo o (...) vocabulário desenvolvido por Andrea Bonomi que trata dos proferimentos ficcionais, metaficcionais e paraficcionais. Então, em oposição às perspectivas que usam a noção de faz-de-contas para analisar o discurso ficcional, apresento a teoria dos adjetivos modificacionais de Hans Kamp e Barbara Partee e argumento que os usos que fazemos do adjetivo ‘ficcional’ são intersectivos no que diz respeito à metafísica dos objetos ficcionais, enquanto são privativos no que diz respeito às propriedades que lhes são atribuídas de acordo com a história. Consequentemente, apesar dos objetos ficcionais não exemplificarem as propriedades que lhes são atribuídas em uma história, uma vez que artefatos abstratos não têm localização espacial e não podem estabelecer interações causais com outros objetos, essas são as propriedades que temos permissões e somos obrigados a lhes atribuir. Assim, apresento uma perspectiva unificada sobre como as nossas práticas de ficção são inteligíveis e estão de acordo com a perspectiva artefactual. (shrink)

In this review of Matthew DeCoursey’s book on the aesthetics of drama education, I acknowledge the originality and usefulness of the theoretical framework he provides and attempt to summarize its key features. In applying them to an example of my own practice, I make use of the conceptual terminology DeCoursey has introduced and argue that it is both effective and illuminating to the practitioner. In tracing the trajectory of DeCoursey’s subsequent analysis of key theorists in the field, the study of (...) scripted drama, and the extensive use of drama across the curriculum, I attempt to do justice to the strengths of his argument, as well as pointing out what I perceive as some of its inherent weaknesses. I conclude by indicating some gaps in his attention to both historical and current practices in the field while still commending the book for its much-needed contribution. (shrink)

In this introduction, I consider different problems posed by the use of singular terms in fiction (section 1), paying especial attention to proper names and, in particular, to names of real people, places, etc. As we will see (section 2), descriptivist and Millian theories of reference face different kinds of problems in explaining the use of fictional names in fiction-related contexts. Moreover, the task of advancing a uniform account of names in these contexts—an account which deals not only with fictional (...) names but also with “real” names—will prove to be very hard no matter whether we favour realist or antirealist intuitions about fictional discourse (section 3). Section 4 offers an overview of the content of this volume, with emphasis on the discussion between Manuel García-Carpintero and Stacie Friend about the meaning of “real” names in fiction-related contexts, the main topic of the Third Blasco Disputatio. (shrink)

What distinguishes aesthetic thinking from other forms of thinking, such as logical, for instance? In order to clarify this question, the following contribution deals with a reception-aesthetic problem that has been controversially discussed in English-language aesthetics for decades as the ‘paradox of fiction’. It will be shown that the intentional orientation of mind and imagination towards the non-existent, the counterfactual, and the fictive belongs to the decisive peculiarity of aesthetic thinking. Its productivity consists in the process of playing through the (...) possible and imaginable and thereby transcending and thwarting the given and the existing. (shrink)

O objetivo geral desta contribuição é elucidar um dilema envolvido no debate sobre a relação entre o conhecimento teórico-prático e o valor estético da literatura. Para atingir esse objetivo, são analisados os argumentos defendidos por Peter Lamarque contra a redução epistêmica do valor literário. Em primeiro lugar, mostra-se que a defesa do valor cognitivo da literatura não necessariamente implica um compromisso com uma teoria proposicional do valor estético da literatura. Em segundo, que o que determina o valor estético da literatura (...) é a forma específica com que ganha a “batalha pelas ideias”. Portanto, segundo esta interpretação desse dilema, a opacidade narrativa não só não exclui de maneira alguma o nosso conhecimento de mundo, como a forma específica de conhecimento literário que ela constitui é o que explica o valor estético das obras literárias. (shrink)