Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be exploring (...) Kripke’s fleeting remarks in the Addenda to his “Naming and Necessity” lectures about expressions like ‘unicorn’ and ‘Harry Potter’. Elsewhere, Kripke motivates artifactualism by suggesting that incorporating authorial creation (as artifactualism does) is a move that is intuitive and natural; but beyond this, he doesn’t provide any arguments in favor of such a move. My purpose in this paper is to construct such an argument based on considerations about Kripke’s general view about proper names, in particular, his seminal causal-historical chain account of reference determination, and its consequences for fictional names as well as nonfictional names without bearers such as ‘Vulcan’. (shrink)

In a series of papers (two of them in previous ESA Proceedings), I have been defending a fictional artifactualist position according to which fictional characters (like Prince Bolkonsky in Tolstoy’s War and Peace are non-concrete, human created objects (which are commonly labeled abstract artifacts). In this paper, I aim to bring together from my previous work two lines of defending fictional artifactualism: that (for the fictional artifactualist) making room for (i) authorial creation and for (ii) inadvertent authorial creation are tenable (...) moves. Indeed, instances of authorial creation (intentional or inadvertent) are what we expect if we accept Saul Kripke’s general view about what determines the reference of proper names, and this view’s consequences for fictional names. Fictional artifactualism emerges as our best choice if we want to admit fictional characters in our ontology and are sympathetic to Kripke’s general view about proper name reference. Fictional artifactualists having taken these two conditions on board need not worry about these features of their view: that authors sometimes create fictional characters and sometimes do so inadvertently. (shrink)

There is a list of desiderata that any good metaphysics of fictional entities should be able to fulfill. These desiderata are: 1) the nonexistence of fictional entities; 2) the causal inefficacy of suchentities;3)the incompleteness of such entities;4)the created character of such entities; 5) the actual possession by ficta of the narrated properties; 6) the unrevisable ascription to ficta of such properties; and 7) the necessary possession by ficta of such properties. (Im)possibilist metaphysics uncontroversially satisfy 1) and 2); Neo-Meinongian metaphysics satisfy (...) 1), 2), 3), 5), 6), and 7); artefactualist or creationist metaphysics uncontroversially satisfy 1), 2), 3), and 4). Another metaphysics is needed in order to satisfy all such desiderata. In this chapter Idevelop such a metaphysics, claiming that a Syncretistic metaphysics that combines Neo-Meinongianism with Artefactualism achieves this purpose. According to Syncretism, ficta are hybrid entities individuated in terms of both a certain makebelieve narrative process and the set of properties that one such narration mobilizes. Toward the end of the chapter I consider some possible criticisms to this approach: its non-intuitiveness; ficta’s unnecessary proliferation; and troubles with creationism of any sort. (shrink)

In this paper I confront what I take to be the crucial challenge for fictional realism, i.e. the view that fictional characters exist. This is the problem of accounting for the intuition that corresponding negative existentials such as ‘Sherlock Holmes does not exist’ are true (when, given fictional realism, taken literally they seem false). I advance a novel and detailed form of the response according to which we take them to mean variants of such claims as: there is no concrete (...) x such that x is Sherlock Holmes. (shrink)

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

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)

Words, languages, symphonies, fictional characters, games, and recipes are plausibly abstract artifacts— entities that have no spatial location and that are deliberately brought into existence as a result of creative acts. Many accept that composition is unrestricted: for every plurality of material objects, there is a material object that is the sum of those objects. These two views may seem entirely unrelated. I will argue that the most influential argument against restricted composition—the vagueness argument—doubles as an argument that there can (...) be no abstract artifacts. There is no way to resist the vagueness argument against abstract artifacts that does not also undermine the vagueness argument against restricted composition. (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)

Creationism with respect to fictional entities, i.e., the position according to which ficta are creations of human practices, has recently become the most popular realist account of fictional entities. For it allows one to hold that there are fictional entities while simultaneously giving such entities a respectable metaphysical status, that of abstract artifacts. In this paper, I will draw what are the ontological and semantical consequences of this position, or at least of all its forms that are genuinely creationist. For (...) some people, these consequences will sound as plagues against the position; for some others, especially realists on ficta, they are welcome results. Although I hold that all forms of genuine creationism have these consequences, I will conclude by explaining why I take moderate creationism, according to which ficta are created by means of a reflexive stance on the make-believe practice grounding them, to be the best of these forms. (shrink)

This essay explains why creationism about fictional characters is an abject failure. Creationism about fictional characters is the view that fictional objects are created by the authors of the novels in which they first appear. This essay shows that, when the details of creationism are filled in, the hypothesis becomes far more puzzling than the linguistic data it is used to explain. No matter how the creationist identifies where, when and how fictional objects are created, the proposal conflicts with other (...) strong intuitions we have about fictional characters. (shrink)

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

Several philosophers including Kripke have contended that fictional entities do exist as abstract objects, and fictional names refer to such abstract entities. Kripke and Thomasson compare fictional entities to existing social entities. Kripke also reflects on fictions inside fictions to support his view. Many philosophers appeal to the apparent fact that we quantify over fictional entities. Such arguments in favor of the existence of fictional entities are critically scrutinized. It is argued that they are much less compelling than their proponents (...) suggest and involve various obscurities. (shrink)

Realists about fictional characters posit a certain theoretical role and a candidate to fill this role. I will delineate the role realists take fictional characters like Emma Woodhouse to fill, and I will argue that it is better filled by what I will call ‘characterisations’. In explaining what I mean by ‘characterisations’, I will show that the existence of these entities is comparatively uncontroversial. Realists should acknowledge their existence, but doing so, I will argue, obviates the need to acknowledge the (...) existence of Emma and other fictional individuals. (shrink)

Fictional realists claim that fictional characters like Spiderman exist in reality. Against this view, Anthony Everett (2005; 2013) argues that fictional realists cannot determine whether characters α and β are identical if the relevant fiction states that α and β are identical and distinct at the same time. Some fictional re-alists, such as Ross Cameron (2013) and Richard Woodward (2017), respond to this objection by saying that the sense in which α and β are identical differs from the sense in (...) which they are distinct. In this paper, I argue that Cameron and Woodward cannot handle all cases without undermining the theoretical foundation of their approach, namely, the thesis that the identity of fictional characters must be determined by the content of the relevant fiction. (shrink)

It is widely agreed that more is true in a work of fiction than explicitly said. In addition to directly stipulated fictional content (explicit truth), inference and background assumptions give us implicit truths. However, this taxonomy of fictional truths overlooks an important class of fictional truth: those generated by literary formal features. Fictional works generate fictional content by both semantic and formal means, and content arising from formal features such as italics or font size are neither explicit nor implicit: not (...) explicit since formal features don’t say anything; and not implicit since content generated from formal features doesn’t rely on other truths or background assumptions. In addition to showing that our current classification is incomplete, the new class of fictional truths provides four further upshots for definitions of fictional truth, story and work identity conditions, and the relationship between literary interpretation and fictional truth. (shrink)

This book is an exploration and defense of the coherence of classical theism’s doctrine of divine aseity in the face of the challenge posed by Platonism with respect to abstract objects. A synoptic work in analytic philosophy of religion, the book engages discussions in philosophy of mathematics, philosophy of language, metaphysics, and metaontology. It addresses absolute creationism, non-Platonic realism, fictionalism, neutralism, and alternative logics and semantics, among other topics. The book offers a helpful taxonomy of the wide range of options (...) available to the classical theist for dealing with the challenge of Platonism. It probes in detail the diverse views on the reality of abstract objects and their compatibility with classical theism. It contains a most thorough discussion, rooted in careful exegesis, of the biblical and patristic basis of the doctrine of divine aseity. Finally, it challenges the influential Quinean metaontological theses concerning the way in which we make ontological commitments. (shrink)

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 (...) to say that Hermione holds the property of being female is just to say that the singular proposition ⟨Hermione, being female⟩ is true according to Harry Potter. Two: that ordinary objects can hold properties insofar as propositions like ⟨Napoleon, being French⟩ can be true according to fictions like War and Peace. Three: that the distinction between having and holding should not be thought to play any semantic role within the context of fictional realism. (shrink)

Many who think that some abstracta are artefacts are fictional creationists, asserting that fictional characters are brought about by our activities. Kripke (1973), Salmon (1998, 2002), and Braun (2005) further embrace mythical creationism, claiming that certain entities that figure in false theories, such as phlogiston or Vulcan, are likewise abstracta produced by our intentional activities. I here argue that one may not reasonably take the metaphysical route travelled by the mythical creationist. Even if one holds that fictional characters are artefact (...) one ought not further hold that mythical objects are, too. (shrink)

This thesis aims to bring methodological issues in the debate about the nature of fictional characters to the fore. I show how the arguments fictional realists have offered in favour of their views rely on crucial ‘metaontological’ assumptions about what ontological questions are and how they should be answered. In addition to casting doubt on some of the more orthodox approaches to ontological inquiry, my positive goal is to deploy an independently motivated metaontology to defend a novel version of fictional (...) anti-realism. On the view I develop and defend, the central task we face is that of explaining truths concerning fictional characters, where the relevant notion of explanation is distinctively metaphysical in character. Fictional anti-realism emerges as the plausible thesis that truths about fictional entities can be completely explained in terms of the existence and features of other things. (shrink)

Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the abstract/concrete distinction, time, causation, vague (...) existence, vague identity, and inadvertent creation. (shrink)

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 (...) (1990) pretense view, which denies the existence of such entities. In the process, I propose modifications to these views to deal with problems they face and show how the modifications better account for the philosophical data. -/- Key abstractionists (van Inwagen 1977, Thomasson 1999) make a strict distinction between discourse within fiction, in which statements about literary characters cannot be literally true, and discourse about fiction, as it occurs in literary criticism, where statements about fictional characters can be literally true. Fictional objects are postulated to account for the truth of the latter. This runs into trouble because statements thought to be literally true are not literal. (Yagisawa 2001, Friend 2002) I provide a uniform analysis to account for the truth of statements involving fictional characters by appealing to a presupposition involving a metaphor in both contexts. The presupposition is that there is an x such that x is fictional; x is likened to a real person; and x is and ought to be treated/counted as a real person for all relevant intents and purposes. -/- More generally, I adopt Everett and Schroeder’s (2015) realist view that fictional characters are ideas constituted by mental representations. This, to me, better accounts for how fictional characters are created within the world’s causal nexus (unlike non-spatiotemporal entities in abstractionism), among other things. One key challenge they face is to explain how ideas can possess properties such as being a detective. I present a fine-grained version of their view, according to which the mental representations constituting fictional entities encode mind-dependent properties. Moreover, I explain how reference to such representations is possible, using Bencivenga’s (1983) Neo-Kantian view of reference and Karttunen’s (1976) view on discourse referents. Finally, I suggest that the identity of fictional characters is interest-relative. The constant, and sometimes radical, change of properties that, fictional characters can undergo is taken to be a consequence of the fact that unified mental representations are bundles of simpler mental representations. As change occurs, simpler representations are replaced by others. -/- A key theme that runs through the thesis is that neither fictionality nor pretense is relevant to the semantics of fictional sentences—a claim bolstered by Matravers’ (2014) arguments. Whether or not my account works, this claim, as well as the new philosophical data I bring up, are some of the challenges I pose to the heart of established views. (shrink)

How to interpret singular terms in fiction? In this paper, we address this semantic question from the perspective of the Artifactual Theory of Fiction (ATF). According to the ATF, fictional characters exist as abstract artifacts created by their author, and preserved through the existence of copies of an original work and a competent readership. We pretend that a well-suited semantics for the ATF can be defined with respect to a modal framework by means of Hintikka’s world lines semantics. The question (...) of the interpretation of proper names is asked in relation to two inference rules, problematic when applied in intensional contexts: the Substitution of Identicals and Existential Generalization. The former fails because identity is contingent. The latter because proper names are not necessarily linked to well-identified individuals. This motivates a non-rigid interpretation of proper names in fiction, although cross-fictional reference (e.g. to real entities) is made possible by the interpretative efforts of the reader. (shrink)

This book addresses how our revisionary practices account for relations between texts and how they are read. It offers an overarching philosophy of revision concerning works of fiction, fact, and faith, revealing unexpected insights about the philosophy of language, the metaphysics of fact and fiction, and the history and philosophy of science and religion. It will be of interest to a wide range of scholars and advanced students working in philosophy of language, metaphysics, philosophy of literature, literary theory and criticism, (...) and history and philosophy of science and religion. (shrink)

Emotional responses to fiction are part of our experience with art and media. Some of these responses (“fictional emotions”) seem to be directed towards fictional entities—entities that we believe do not exist. Some philosophers argue that fictional emotions differ in nature from other emotional responses. (cf. Walton in J Philos 75(1):5–27, 1978, Mimesis as make-believe, Harvard University Press, Cambridge, 1990, Walton, in: Hjort, Laver (ed.) Emotion and the arts, Oxford University, New York, 1997; Currie in The nature of fiction, Cambridge (...) University Press, Cambridge, 1990; Stecker in Br J Aesthet 51(3):295–308, 2011) The claim is supposed to be supported among others by ‘the argument from action.’ In contrast to genuine emotions, proponents of this argument claim, fictional emotions do not motivate their bearers to act. (cf. Yanal in Paradoxes of emotion and fiction, Pennsylvania State University Press, University Park, 1999; Lamarque in Br J Aesthet 21(4):291–304, 1981; Carroll in The philosophy of horror: or, paradoxes of the heart, Routledge, London, 1990; Currie 1990; Walton 1978, 1990; Suits in Pac Philos Q 87(3):369–386, 2006; Friend, in: Kind (ed.) The Routledge handbook of philosophy of imagination, Routledge, New York, 2016) This claim grounds in what may appear to be an obvious fact: that viewers and readers of are not led to act by their fictional emotions. It is certainly true that viewers and readers of fiction do not form intentions to perform actions directed towards fictional entities. In contrast to the proponents of the argument from action, I will argue that the lack of any such intentions can be explained only with reference to intending’s doxastic conditions, conditions that are unsatisfied in the fictional scenario. Decisively, this explanation does not refer to the motivational force of the agent’s emotions; indeed, it doesn’t refer to emotions at all. Thus, the lack of intentions to perform actions directed towards fictional objects provides no support for the claim that fictional emotions are no genuine emotions. (shrink)

Aaron Smuts has argued that attempts to offer a plausible distinction between stories and tellings will likely face insurmountable difficulties. Here, I offer a distinction between stories and tellings that does not face these difficulties. In doing so, I propose an ontology of stories according to which such entities are ideas for narrative manifestation. In developing this ontology, I also consider parallels between stories and musical compositions.

Fictional realism allows direct reference theorists to provide a straightfor- ward analysis of the semantics of fictional discourse by admitting into their ontology a set of objects (ficta) that serve as the referents of fictional names. Ficta may be modeled using an axiomatic object theory, but actualist interpretations of the formalism have been the subject of recent objections. In this paper, I provide an interpretation of object theory’s formalism that is consistent with actualism and avoids these objections. Drawing on insights (...) from an actualist semantics for quantified modal logic, a central point in my proposal is to interpret ficta as contingently nonconcrete objects. (shrink)

According to two-dimensional semantics, primary intension and secondary intension can play the role of reflecting the cognitive aspect of an expression like Fregean sense does. The aim of this paper is to argue that this role is likely a myth. To argue for this, I attempt to show that cognitive aspects of fictional names cannot be explained within the framework of two-dimensional semantics. To be more specific, I consider four ontological theories about fictional characters that two-dimensional semanticists might be tempted (...) to choose. And then, I argue that none of them can be combined with two-dimensional semantics in a satisfactory way. (shrink)

The overgeneration argument attempts to show that accepting second-order validity as a sound formal counterpart of logical truth has the unacceptable consequence that the Continuum Hypothesis is either a logical truth or a logical falsehood. The argument was presented and vigorously defended in John Etchemendy’s The Concept of Logical Consequence and it has many proponents to this day. Yet it is nothing but a seductive fallacy. I demonstrate this by considering five versions of the argument; as I show, each is (...) either unsound or lacks a troubling conclusion. (shrink)

What happens when we read a text like The Name of the Rose? How may we understand what is fictional and what is true in it? By working on Eco’s Confessions of a Young Novelist, we will try to investigate the phenomenology of reading together with immersivity and our emotional involvement with fiction.

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