It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of movies (...) at all, and many have argued that the ‘effaced’ literary narrator is an illusion as well. In this paper, I attempt to sort out the central issues that arise in these debates, defending the existence of effaced narrators in both literature and film. (shrink)

In this paper I argue against the theory--popular among theorists of narrative artworks--that we must posit a fictional narrative agent in every narrative artwork in order to explain our imaginative engagement with such works. I accept that every narrative must have a narrator, but I argue that in some central literary cases the narrator is not a fictional agent, but rather the actual author of the work. My criticisms focus on the strongest argument for the ubiquity of fictional narrators, Jerrold (...) Levinson's ontological-gap argument. Finally, I outline an alternative "minimal theory" of narrators, and some consequences thereof. (shrink)

Is there a distinction between referential and attributive uses of definite descriptions? I think most philosophers who approach Donnellan’s distinction from the point of view of the theory of speech acts, those who see reference as a type of speech act, would say that there is no such distinction and that the cases he presents can be accounted for as instances of the general distinction between speaker meaning and sentence meaning: both alleged uses are referential in the sense that they (...) are cases of referring to objects, the only difference is in the degree to which the speaker makes his intentions fully explicit in his utterance. Such objections are in fact quite commonly made, both in the literature and in the oral tradition, but I have never seen a version of the objection I was fully satisfied with and the main aim of this article is to attempt to provide one. (shrink)

It is usually taken for granted, in discussions about fiction, that real things or events can occur as referents of fictional names . In this paper, I take issue with this view, and provide several arguments to the effect that it is better to take the names in fiction to refer to fictional surrogates of real objects. Doing so allows us to solve a series of problems that arise on the reference-continuity view. I also show that the arguments philosophers usually (...) rely on in order to ban surrogates are not as serious as they have been taken to be. In the first part of the paper, I describe the two conflicting views. In the second part, I discuss several specific arguments in favor of surrogates. In the third part I take up the kind of reasons ordinarily offered against them. (shrink)

Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, utter or (...) write the words of the text thereby reporting the events of the story. But there is a very different way of understanding literary works, one applicable especially to poetry. Much music can be understood in a similar manner, and doing so nicely explains several important characteristics of listen-ers’ experiences. (shrink)

By fictional realism let us understand the doctrine that there are fictional entities, in the same sense of "there are" in which -- philosophical worries set aside -- there are people, planets, and prime numbers. The standard argument for fictional realism runs as follows. Consider the following two sentences: Some characters in nineteenth-century novels are presented with a greater wealth of physical detail than are some characters in twentieth-century novels. Some fictional detectives are more famous than any living detective. Both (...) sentences are true by ordinary standards. Moreover, they involve quantification over fictional entities which cannot be paraphrased away in an easy and intuitive manner. (shrink)