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 (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

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 (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

Intentionality may be dealt with in two different ways: either ontologically, as an ordinary relation to some extraordinary objects, or epistemologically, as an extraordinary relation to some ordinary objects. This paper endorses the epistemological view in order to provide a model of semiotic intentionality defined as the meaning-and-cognizing process that constitutes to power of the mind to be about something on the basis of a semiotic system. After a short introduction that presents the components of semiotic intentionality (viz. sign, act, (...) content, referent) along with their division into an intending and a fulfilling side (Sect. 1), the first main part of the paper analyzes semiotic intentionality at its primary level (a.k.a. 'concrete intentionality') as a real and subjective relation between meaning-intending and meaning-fulfilling acts grounded in the manipulation of some semiotic system (Sect. 2). Then, building on such concrete intentionality, the second main part of the paper analyzes semiotic intentionality at its secondary level (a.k.a. 'abstract intentionality') as an ideal and objective relation between intentional and fulfillment contents, which in turn: (i) proceed from an abstraction performed on the intending and fulfilling acts, respectively, and (ii) retroactively categorize the intending and fulfilling acts, respectively (Sect. 3). Finally, from this combination of an act-based conception of content with a presentationalist account of intentionality, the conclusion of this paper produces the intended model of semiotic intentionality in such a way that knowledge and truth are then respectively defined in it as the subjective correspondence between the two acts of concrete intentionality and as the objective correspondence between the two contents of abstract intentionality (Sect. 4). (shrink)

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of view by (...) philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

In this paper, I will claim that fictional works apparently about utterly immigrant objects, i.e., real individuals imported in fiction from reality, are instead about fictional individuals that intentionally resemble those real individuals in a significant manner: fictional surrogates of such individuals. Since I also share the realists’ conviction that the remaining fictional works concern native characters, i.e., full-fledged fictional individuals that originate in fiction itself, I will here defend a hyperrealist position according to which fictional works only concern fictional (...) individuals. (shrink)

Fictional truth, or truth in fiction/pretense, has been the object of extended scrutiny among philosophers and logicians in recent decades. Comparatively little attention, however, has been paid to its inferential relationships with time and with certain deliberate and contingent human activities, namely, the creation of fictional works. The aim of the paper is to contribute to filling the gap. Toward this goal, a formal framework is outlined that is consistent with a variety of conceptions of fictional truth and based upon (...) a specific formal treatment of time and agency, that of so-called stit logics. Moreover, a complete axiomatic theory of fiction-making TFM is defined, where fiction-making is understood as the exercise of agency and choice in time over what is fictionally true. The language \ of TFM is an extension of the language of propositional logic, with the addition of temporal and modal operators. A distinctive feature of \ with respect to other modal languages is a variety of operators having to do with fictional truth, including a ‘fictionality’ operator \ . Some applications of TFM are outlined, and some interesting linguistic and inferential phenomena, which are not so easily dealt with in other frameworks, are accounted for. (shrink)

In 1880, when Oliver Wendell Holmes (later to be a Justice of the U.S. Supreme Court) criticized the logical theology of law articulated by Christopher Columbus Langdell (the first Dean of Harvard Law School), neither Holmes nor Langdell was aware of the revolution in logic that had begun, the year before, with Frege's Begriffsschrift. But there is an important element of truth in Holmes's insistence that a legal system cannot be adequately understood as a system of axioms and corollaries; and (...) this element of truth is not obviated by the more powerful logical techniques that are now available. (shrink)

In this paper, I investigate how far we can use stories to learn about logic. How can we engage with fiction in order to come to find out what logical principles are actually valid? Is that possible at all? I claim that it is, and I propose two case studies to make the point.

We explore the relationship between argument and narrative with reference to parables. Parables are typically thought to convey a message. In examining a parable, we can ask what that message is, whether the story told provides reasons for the message, and whether those reasons are good reasons. In exploring these questions, we employ as an inves-tigative technique the strategy of reconstructing parables as argu-ments. We then proceed to con-sider the cogency of those argu-ments. One can offer arguments through narratives and, (...) in particu-lar, through parables, but that do-ing so likely brings more risks than benefits, from an epistemic point of view. (shrink)

Philosophical logic has its problem-children; and among these the Principle of Substitutivity of codesignating expressions — the linguistic spawn of Leibniz's law—has achieved a place of prominence. It has become increasingly apparent that a certain style of linguistic analysis, which seeks to impose formal regimentation ruled by the constraints of classical quantification theory, does not yield results with the kind of uniformity and elegance one should hope for from a satisfyi.ng theory. The root of the difficulty, I believe, bears upon (...) the answers to fundamental questions concerning the nature of cognitive agents and the purposes which their use of language is designed to further. If this is the case, one might expect to find some of the trouble surfacing at precisely those points where the language is used to convey information about the cognitive activities associated with the use of language by such agents. So it is.The central problem of this essay is the interpretation of referential expressions in statements involving propositional attitudes, with the focus on belief contexts. But I shall begin by placing the discussion within a broader theoretical framework. (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)

The main aim of the paper is to offer a solution compatible with Graham Priest’s Noneism and Amie Thomasson’s Artifactual theory which stresses the epistemic features of the notion of individuality in fiction in a framework where individuals are conceived of as functions (the framework is known as the world-lines-semantics of Hintikka). According to our view, it is the endorsement of a reader’s perspective that extends the range of the values of the functions (individuals) and that offers an alternative solution (...) to cases of identity inside and outside the scope of a fictionality (or representation) operator. More technically, this proposal can be seen as both extending the notion of individuality of the Artifactual theory and furnishing an epistemic twist to Priest’s principle of freedom. (shrink)