Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

In Context and Content Robert Stalnaker develops a philosophical picture of the nature of speech and thought and the relations between them. Two themes in particular run through these collected essays: the role that the context in which speech takes place plays in accounting for the way language is used to express thought, and the role of the external environment in determining the contents of our thoughts. Stalnaker argues against the widespread assumption of the priority of linguistic over mental representation, (...) which he suggests has had a distorting influence on our understanding. The first part of the book develops a framework for representing contexts and the way they interact with the interpretation of what is said in them. This framework is used to help to explain a range of linguistic phenomena concerning presupposition and assertion, conditional statements, the attribution of beliefs, and the use of names, descriptions, and pronouns to refer. Stalnaker then draws out the conception of thought and its content that is implicit in this framework. He defends externalism about thought--the assumption that our thoughts have the contents they have in virtue of the way we are situated in the world--and explores the role of linguistic action and linguistic structure in determining the contents of our thoughts. Context and Content offers philosophers and cognitive scientists a summation of Stalnaker's important and influential work in this area. His new introduction to the volume gives an overview of this work and offers a convenient way in for those who are new to it. The Oxford Cognitive Science series is a new forum for the best contemporary work in this flourishing field, where various disciplines--cognitive psychology, philosophy, linguistics, cognitive neuroscience, and computational theory--join forces in the investigation of thought, awareness, understanding, and associated workings of the mind. Each book constitutes an original contribution to its subject, but will be accessible beyond the ranks of specialists, so as to reach a broad interdisciplinary readership. The series will be carefully shaped and steered with the aim of representing the most important developments in the field and bringing together its constituent disciplines. (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 is the second volume of philosophical essays by one of the most innovative and influential philosophers now writing in English. Containing thirteen papers in all, the book includes both new essays and previously published papers, some of them with extensive new postscripts reflecting Lewis's current thinking. The papers in Volume II focus on causation and several other closely related topics, including counterfactual and indicative conditionals, the direction of time, subjective and objective probability, causation, explanation, perception, free will, and rational (...) decision. Throughout, Lewis analyzes global features of the world in such a way as to show that they might turn out to supervene on the spatiotemporal arrangement of local qualities. (shrink)

Argues that Nietzsche tried to create a specific literary character in his writings and discusses the paradoxes of his work.

In this paper we defend a direct reference theory of names. We maintain that the meaning of a name is its bearer. In the case of vacuous names, there is no bearer and they have no meaning. We develop a unified theory of names such that one theory applies to names whether they occur within or outside fiction. Hence, we apply our theory to sentences containing names within fiction, sentences about fiction or sentences making comparisons across fictions. We then defend (...) our theory against objections and compare our view to the views of Currie, Walton, and others. (shrink)

We defend the view that an indexical uttered by an actor works on the model of deferred reference. If it defers to a character which does not exist, it is an empty term, just as ‘Hamlet’ and ‘Ophelia’ are. The utterance in which it appears does not express a proposition and thus lacks a truth value. We advocate an ontologically parsimonious, anti-realist, position. We show how the notion of truth in our use and understanding of indexicals (and fictional names) as (...) they appear within a fiction is not a central issue. We claim that our use and understanding of indexicals (and names) rests on the fact that their cognitive contribution is not exhausted by their semantic contribution. (shrink)