This paper argues that several sorts of metaphysical and semantic indeterminacy afflict the causal relation. If, as it is plausible to hold, there is a relationship between causation and moral responsibility, then indeterminacy in the causal relation results in indeterminacy of moral responsibility more generally.

In this paper we aim to disentangle the thesis that the future is open from theses that often get associated or even conflated with it. In particular, we argue that the open future thesis is compatible with both the unrestricted principle of bivalence and determinism with respect to the laws of nature. We also argue that whether or not the future (and indeed the past) is open has no consequences as to the existence of (past and) future ontology.

he relationship between metaphysics and science has recently become the focus of increased attention. Ladyman and Ross, in particular, have accused even naturalistically inclined metaphysicians of pursuing little more than the philosophy of A-level chemistry and have suggested that analytic metaphysics should simply be discontinued. In contrast, we shall argue, first of all, that even metaphysics that is disengaged from modern science may offer a set of resources that can be appropriated by philosophers of physics in order to set physics (...) within an interpretational framework. Secondly, however, we shall urge that insofar as metaphysics is intended to be more than just a toolbox it needs to accommodate the implications of physics if many of its core claims are to be sustained. We shall illustrate this last point with a discussion of the nature of laws and modality in the context of modern physics. (shrink)

The paper contains a short story which is inconsistent, essentially so, but perfectly intelligible. The existence of such a story is used to establish various views about truth in fiction and impossible worlds.

Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...) to imagine. Most other theories of thought and discourse about fictional characters either fail to capture the intentionality of our imaginings, or else obscure the differences between imaginings directed toward fictional characters and those directed toward real individuals. I argue that once we have an account of prescriptions to imagine about real individuals, we can adapt the same framework to specify the contents of prescriptions to imagine about fictional characters, and thereby to account for the truth (or falsity) of statements about fictional characters. (shrink)

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 article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

This piece gives an overview of the supervaluationist theory of vagueness. According to that theory, a sentence is true if and only if it is true on all ways of making it precise. This yields borderline case predications that are neither true nor false, but yet classical logic is preserved almost entirely. The article presents the view and some of its merits and briefly compares it with other theories of vagueness. It raises issues about higher-order vagueness and the definitely operator (...) and about the supervaluationist's accounts of truth and validity. (shrink)

The problem of truth in fiction concerns how to tell whether a given proposition is true in a given fiction. Thus far, the nearly universal consensus has been that some propositions are ‘implicitly true’ in some fictions: such propositions are not expressed by any explicit statements in the relevant work, but are nevertheless held to be true in those works on the basis of some other set of criteria. I call this family of views ‘implicitism’. I argue that implicitism faces (...) serious problems, whereas the opposite view is much more plausible than has previously been thought. After mounting a limited defence of explicitism, I explore a difficult problem for the view and discuss some possible responses. (shrink)

Revisionary theories of logic or truth require revisionary theories of mind. This essay outlines nonclassically based theories of rational belief, desire, and decision making, singling out the supervaluational family for special attention. To see these nonclassical theories of mind in action, this essay examines a debate between David Lewis and Derek Parfit over what matters in survival. Lewis argued that indeterminacy in personal identity allows caring about psychological connectedness and caring about personal identity to amount to the same thing. The (...) essay argues that Lewis's treatment of two of Parfit's puzzle cases—degreed survival and fission—presuppose different nonclassical treatments of belief and desire. (shrink)

When we engage with a work of fiction we gain knowledge about what is fictionally true in that work. Our grasp of what is true in a fiction is central to our engagement with representational works of art, and to our assessments of their merits. Of course, it is sometimes difficult to determine what is fictional – it is a good question whether the main character of American Psycho is genuinely psychotic or merely delusional, for instance. (And even in this (...) case, our ignorance itself is crucial to how we engage with the story and assess its qualities.) But in the vast majority of cases, we have no difficulty distinguishing what is fictionally true from what is not. Every attentive reader of Bleak House knows that it is fictional that Esther is Lady Dedlock’s daughter, but not fictional that Ada is the daughter of John Jarndyce. Moreover, we do not think that our judgements about what is fictional are based on guesswork. We have a folk theory of fictional truth, in the sense that we have a relatively stable framework upon which we rely when we engage with fiction, and we face the challenge of characterizing that theory systematically. (shrink)

This paper is a response to that of Christopher New. It argues that New has no alternative to an earlier solution I proposed to the problem of specifying the content of a fiction fails, as his solution is in terms of facts external to the game of make-believe being played, while mine was internal. It argues that understanding fiction is only a special case of understanding representation, which can be given a Gricean analysis. It proposes that the inferences crucial to (...) our understanding should be those we think reasonable of the world of the fiction. (shrink)