John MacFarlane explores how we might make sense of the idea that truth is relative. He provides new, satisfying accounts of parts of our thought and talk that have resisted traditional methods of analysis, including what we mean when we talk about what is tasty, what we know, what will happen, what might be the case, and what we ought to do.

It is advisable to treat some sorts of discourse about fiction with the aid of an intensional operator "in such-And-Such fiction...." the operator may appear either explicitly or tacitly. It may be analyzed in terms of similarity of worlds, As follows: "in the fiction f, A" means that a is true in those of the worlds where f is told as known fact rather than fiction that differ least from our world, Or from the belief worlds of the community in (...) which the fiction originated. (shrink)

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

Presenting a novel account of singular thought, a systematic application of recent work in the theory of speech acts, and a partial revival of Russell's analysis of singular terms, this book takes an original approach to the perennial problems of reference and singular terms by separating the underlying issues into different levels of analysis.

From García-Carpintero and Kölbel, eds, Relative Truth.

you use it. These two assumptions, which I believe to be false, are based on a more fundamental assumption, that the rule governing the reference of an indexical remains constant from use to use. Contemporary theories hold that the reference of an indexical varies from use to (relevantly different) use, but that the reference-fixing rule of use is You can search..

If it is not now determined whether there will be a sea battle tomorrow, can an assertion that there will be one be true? The problem has persisted because there are compelling arguments on both sides. If there are objectively possible futures which would make the prediction true and others which would make it false, symmetry considerations seem to forbid counting it either true or false. Yet if we think about how we would assess the prediction tomorrow, when a sea (...) battle is raging (or not), it seems we must assign the utterance a definite truth-value. I argue that both arguments must be given their due, and that this requires relativizing utterance-truth to a context of assessment. I show how this relativization can be handled in a rigorous formal semantics, and I argue that we can make coherent sense of assertion without assuming that utterances have their truth-values absolutely. (shrink)

Epistemic modal operators give rise to something very like, but also very unlike, Moore's paradox. I set out the puzzling phenomena, explain why a standard relational semantics for these operators cannot handle them, and recommend an alternative semantics. A pragmatics appropriate to the semantics is developed and interactions between the semantics, the pragmatics, and the definition of consequence are investigated. The semantics is then extended to probability operators. Some problems and prospects for probabilistic representations of content and context are explored.

This paper argues in favor of a treatment of discourse about fiction in terms of operators on character, that is, Kaplanesque ‘monsters’. The first three sections criticize the traditional analysis of ‘according to the fiction’ as an intensional operator, and the approach to fictional discourse grounded on the notion of contextual shifts. The final sections explain how an analysis in terms of monsters yields the correct readings for a variety of examples involving modal and temporal indexicals.

In this paper I want to explore the arguments for so-called ‘unarticulated constituents’ (UCs). Unarticulated constituents are supposed to be propositional elements, not presented in the surface form of a sentence, nor explicitly represented at the level of its logical form, yet which must be interpreted in order to grasp the (proper) meaning of that sentence or expression. Thus, for example, we might think that a sentence like ‘It is raining’ must contain a UC picking out the place at which (...) the speaker of the sentence asserts it to be raining. In §1 I will explore the nature of UCs a little further, and, in §2, suggest that we can recognise two different forms of argument for them.. (shrink)

The beginning of the twenty-first century saw something of a comeback for relativism within analytical philosophy. Relativism and Monadic Truth has three main goals. First, we wished to clarify what we take to be the key moving parts in the intellectual machinations of self-described relativists. Secondly, we aimed to expose fundamental flaws in those argumentative strategies that drive the pro-relativist movement and precursors from which they draw inspiration. Thirdly, we hoped that our polemic would serve as an indirect defence of (...) a traditional and natural picture concerning truth. According to this picture, what we call ‘Simplicity’, the fundamental structure of semantic reality is best revealed by construing truth as a simple monadic property of propositions that serve as the objects of belief, assertion, meaning and agreement. Our project was not a straightforward one. So-called relativists are not uniform in their key ideology, are often sloppy, casual, obscure or confused in their self-characterization, and differ in their argumentative emphasis among themselves and over time, thereby presenting a target that is both amorphous and shifty. This is an area where parties will frequently claim not to understand each other and where certain parties will sometimes accuse others of failing to make any sense at all. In such a situation, any effort to impose order will inevitably strike some parties as tendentious and unfair. That said, we felt that we had enough of …. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

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 (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

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 (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

In this paper, I will first of all claim that once one takes proper names as indexicals of a particular sort, indexinames for short, one may account for some tensions that affect our desiderata regarding the use of such names in sentences directly or indirectly involving fiction. According to my proposal, a proper name “N.N.” is an indexical whose character is roughly expressed by the description “the individual called ‘N.N.’ (in context)”, where this description means “the individual one’s interlocutor’s attention (...) is called to by means of ‘N.N.’ (in context)”. This character is a partial function that maps narrow contexts onto referents. Such contexts are enriched narrow contexts, for they also include an ‘acquisition’ parameter, i.e., a parameter filled by a naming practice constituted by a dubbing, which consists in calling via the name one’s interlocutor’s attention to something (if any), and usually also by a certain transmission chain. I will also claim that such a proposal works independently of one’s ontological stance on fictional entities, that is, independently of whether one believes either that there are or that there are no such entities. Moreover, I will claim that such a proposal is better than similar indexicalist proposals such as the one put forward by Tiedke (2011), Finally, I will try to show how this proposal can deal with some objections one may raise against an indexicalist treatment of proper names. (shrink)

Stefano Predelli comes to the defense of the traditional "formal" approach to natural-language semantics, arguing that it has been misrepresented not only by its critics, but also by its foremost defenders. In Contexts he offers a fundamental reappraisal, with particular attention to the treatment of indexicality and other forms of contextual dependence which have been the focus of much recent controversy. In the process, he presents original approaches to a number of important semantic issues, including the relationship between validity and (...) indexicality, the limits of token-reflexive systems, the significance of contextualist arguments, and the interpretation of attitude reports. Contexts will make invigorating reading for all philosophers of language and many linguists. (shrink)

Cappelen and Hawthorne present a powerful critique of fashionable relativist accounts of truth, and the foundational ideas in semantics on which the new relativism draws. They argue compellingly that the contents of thought and talk are propositions that instantiate the fundamental monadic properties of truth and falsity.

In this paper, I want to deal with the problem of how to find an adequate context of interpretation for indexical sentences that enables one to account for the intuitive truth-conditional content which some apparently puzzling indexical sentences like “I am not here now” as well as other such sentences contextually have. In this respect, I will pursue a fictionalist line. This line allows for shifts in interpretation contexts and urges that such shifts are governed by pretense, which has to (...) be understood in terms of socially shared make-believe games. By appealing to pretense so conceived, I will show that the fictionalist perspective is halfway between an intentionalist perspective, according to which the above indexical sentences have to be interpreted in a shifted intended context, (this perspective is primarily defined by Predelli 1998, Analysis 58, 107; Mind and Language 13, 400) and a conventionalist perspective, according to which indexical reference shifts in accordance with a conventional setting. (For this perspective, cf. Corazza et al. 2002, Philosophical Studies 107, See also Corazza 2004, Reflecting the Mind: Indexicality and Quasi-Indexicality, Oxford University Press). Finally, I will claim that the fictionalist analysis of cases of non-ordinary uses of indexicals like “here” and “now” can be retained in face of a new alternative analysis of those cases in terms of an ‘unbound anaphora’ – theory (cf. Corazza 2004, Synthese 138, 145). (shrink)

In this paper, I consider whether tenses, temporal indexicals, and other indexicals are contextually dependent on the context of assessment (or a-contextual), rather than, as is usually thought, contextually dependent on the context of utterance (u-contextual). I begin by contrasting two possible linguistic norms, governing our use of context sensitive expressions, especially tenses and temporal indexicals (??2 and 3), and argue that one of these norms would make those expressions u-contextual, while the other would make them a-contextual (?4). I then (...) ask which of these two norms are followed by English speakers (?5). Finally, I argue that the existence of a-contextuality does not in any sense entail ?relativism? about truth (?6). (shrink)

I present a novel explanation of the apparent truth of certain remarks about fiction, such as an utterance of ''Salieri commissioned the Requiem'' during a discussion of the movie Amadeus. I criticize the traditional view, which alleges that the uttered sentence abbreviates the longer sentence ''it is true in the movie Amadeus that Salieri commissioned the Requiem''. I propose a solution which appeals to some independently motivated results concerning the contexts relevant for the semantic evaluation of indexical expressions.