Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, (...) while plain assertions are updates on a belief component. Proper names – regular, empty, or fictional – are uniformly analyzed as presupposition triggers. The possibility of different attitude components referentially depending on each other is what ultimately allows us to account for the central paradox mentioned above. (shrink)

The paper examines two possible analyses of fictional names within Pavel Tichý’s Transparent Intensional Logic. The first of them is the analysis actually proposed by Tichý in his (1988) book The Foundations of Frege’s Logic. He analysed fictional names in terms of free variables. I will introduce, explain, and assess this analysis. Subsequently, I will explain Tichý’s notion of individual role (office, thing-to-be). On the basis of this notion, I will outline and defend the second analysis (...) of fictional names. This analysis is close to the approach known in the literature as role realism (the most prominent advocates of this position are Nicholas Wolterstorff, Gregory Currie, and Peter Lamarque). (shrink)

According to Millianism, the meaning of a name is exhausted by its referent. According to anti-realism about fictional entities, there are no such entities. If there are no fictional entities, how can we explain the apparent meaningfulness of fictional names? Our best theory of fiction, Walton’s theory of make-believe, makes the same assumptions but lacks the theoretical resources to answer the question. In this paper, I propose a pragmatic solution in terms of two main dimensions of (...) meaning, a subjective, psychological dimension and an intersubjective, public dimension. The psychological dimension builds on the notion of mental files; the public dimension builds on Stalnaker’s notion of common ground. The account is coherent with two main theoretical principles, parsimony and uniformity. Furthermore, it satisfies three explanatory conditions posed by the intentionality of our thought and discourse about fiction, object-directedness, counterfictional imagining and intersubjective identification. (shrink)

This paper deals with the semantics and meta-semantics for ordinary names in fiction. It has recently been argued by some philosophers that when ordinary names are used in fictional contexts, they change their semantic contents and work as fictional names in general. In this paper, I argue that there is no compelling reason to believe that such reference changes occur and defend the view that whether those names refer to real or fictional objects (...) depends on which semantic intentions speakers have. (shrink)

(Open Access.) Quantifiers frequently figure in works of fiction. But occurrences of quantificational expressions within fictions seem no more inevitably to be associated with real domains than uses of names within fictions seem inevitably to be associated with existing referents. The paper outlines some philosophical puzzles resulting from this apparent lack of associated domains, puzzles that are broadly analogous to more familiar ones raised by the apparently nonreferential nature of many fictional names. The paper argues, in the (...) light of an important disanalogy between quantifiers and names, that the quantificational puzzles are substantive, in that they cannot be resolved merely by appealing to the possibility of empty domains. It then argues that, despite the cited parallels between occurrences of quantifiers and names within fictions, promising treatments of fictional names do not always straightforwardly generalise to provide accounts of the quantificational phenomena: the quantificational puzzles are therefore not only substantive but also distinctive. The paper provides further testament to the depth and interest of the problems involving content that are generated by fiction, by identifying a very wide range of previously neglected cases, while also helping to situate within a broader context the notoriously hard philosophical challenges posed by fictional names. (shrink)

Despite widespread evidence that fictional models play an explanatory role in science, resistance remains to the idea that fictions can explain. A central source of this resistance is a particular view about what explanations are, namely, the ontic conception of explanation. According to the ontic conception, explanations just are the concrete entities in the world. I argue this conception is ultimately incoherent and that even a weaker version of the ontic conception fails. Fictional models can succeed in offering (...) genuine explanations by correctly capturing relevant patterns of counterfactual dependence and licensing correct inferences. Using the example of Newtonian force explanations of the tides, I show how, even in science, fiction can be a vehicle for truth. (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)

Singular terms used in fictions for fictional characters raise well-known philosophical issues, explored in depth in the literature. But philosophers typically assume that names already in use to refer to “moderatesized specimens of dry goods” cause no special problem when occurring in fictions, behaving there as they ordinarily do in straightforward assertions. In this paper I continue a debate with Stacie Friend, arguing against this for the exceptionalist view that names of real entities in fictional discourse (...) don’t work there as they do in simple-sentence assertions, but rather as fictional names do. (shrink)

Fictional realists hold that fictional characters are real entities. However, Anthony Everett [“Against Fictional Realism”, Journal of Philosophy (2005)] notes that some fictions leave it indeterminate whether character A is identical to character B, while other fictions depict A as simultaneously identical and distinct from B. Everett argues that these fictions commit the realist to indeterminate and impossible identity relations among actual entities, and that as such realism is untenable. This paper defends fictional realism: for fictions (...) depicting non-classical identity between A and B, the realist should hold that there are two salient fragments, one with a single character (named both ‘A’ and ‘B’) and the other with two (named ‘A’ and ‘B’, respectively). Truth according to the fiction depicting indeterminate identity is determined by supervaluating over truth according to those salient fragments. For fictions depicting impossible identity, truth is determined by subvaluating over truth according to those two salient fragments. (shrink)

The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative (...) theatrical works or plays, performances of which are naturally regarded as involving, or evoking, a “fictional world” whose fictional characters and events are what the work in question is about. Another reason for initially focusing on such narrative plays is because performances of them provide a rich source of epistemic issues about evidence for artistic authenticity or correctness of artworks, which will turn out to be of integral importance to my fictionalist account of plays. (shrink)

In a series of papers, Robin Jeshion has forcefully criticized both Donnellan's and Evans’ claims on the contingent a priori, and she has developed an “acquaintanceless” account of singular thoughts as an alternative view. Jeshion claims that one can fully grasp a singular thought expressed by a sentence including a proper name, even if its reference has been descriptively fixed and one’s access to the referent is “mediated” by that description. But she still wants to reject “semantic instrumentalism”, the view (...) that “there are no substantive conditions of any sort on having singular thought. We can freely generate singular thoughts at will by manipulating the apparatus of direct reference.” Her account of singular thoughts is a psychological one, rejecting any epistemic requirement. Having singular thoughts is for her a matter of deploying “mental files” or “dossiers” that play a significant role in the cognitive life of the individual. This paper elaborates on an alternative descriptivist-friendly view, which has important points of contact with Jeshion’s. It differs, particularly in that it is an epistemic view; it is only a broadly understood acquaintance view, as it will transpire, but this does not make it a mere terminological variation on Jeshion’s acquaintanceless one. To argue for it, the paper discusses some relevant aspects of the semantics of fictional discourse. (shrink)

Semantic theories of fictional names generally presuppose, either explicitly or implicitly, that fictional predicates are guaranteed a referent. I argue that this presupposition is inconsistent with anti-realist theories of fictional characters and that it cannot be taken for granted by realist theories of fictional characters. The question of whether a fictional name refers to a fictional character cannot be addressed independently of the much-neglected question of whether a fictional predicate refers to a (...) fictional property. (shrink)

Abstract. On the Direct Reference thesis, proper names are what I call ‘genuine terms’, terms whose sole semantic contributions to the propositions expressed by their use are the terms’ semantic referents. But unless qualified, this thesis implies the false consequence that sentences containing names that fail to refer can never express true or false propositions. (Consider ‘The ancient Greeks worshipped Zeus’, for instance.) I suggest that while names are typically and fundamentally used as genuine terms, there is (...) a small class of names, which I call ‘descriptive names’, whose reference is fixed by commonly associated definite descriptions, and I also suggest that there is an idiom of natural language on which such names can be used as abbreviated definite descriptions in a limited set of sentential contexts, including (1) positive and negative existentials, (2) cognitive ascriptions, and (3) uses of names to talk about myth. Uses of empty descriptive names in such contexts can then be either true or false. Relying on Gregory Currie’s theory of truth in fiction, I also propose an idiom on which fictional names can be used as short for a certain type of description in talk about fiction. Along the way, I provide arguments that names are used as short for descriptions in substantive existential statements as well as in both metamythic and metafictive contexts. I also discuss and criticize alternative views of these matters, including the views of David Braun, Saul Kripke, Peter van Inwagen, and others. (shrink)

This book is about whether reference to an individual is the essential feature of a proper name -- a widely held view -- or whether referring to an individual is simply a contingent feature. Three questions need resolving, then. First, whether all names in particular contexts are themselves referring devices. Second, whether recognizing names types and the consequent issue of their ambiguity can be resolved simply by distinguishing between name types and tokens thereof. Last, whether names are (...) ever referential in the way Kripke and others have convincingly argued. The answer to first two questions is negative. The answer to third is a qualified "yes." I explain the theory that allows for these answers in the manuscript, as well as addressing other issues such as: the problem of fictional names; descriptive names; empty names; what an act of naming consists of; an account of ontological commitment; and the data that suggests that names are predicates. (shrink)

In the same way that some people are better jugglers than others, some people are better imaginers than others. But while it might be obvious what someone can do if they want to improve their juggling skills, it’s less obvious what someone can do to improve their imaginative skills. This chapter explores this issue and argues that engagement with fiction can play a key role in the development of one’s imaginative skills. The chapter proceeds in three parts. First, using work (...) by Martha Nussbaum as a launching pad, I develop arguments to show how literature helps to cultivate our capacities for one type of imagination in particular, namely, empathetic imagination. Second, I consider the empirical case for these claims. Third, I show how we can extend the argument connecting fiction and empathetic imagination to imagination more broadly. Not only can fiction provide us with practice with respect to empathetic imagination, but it can also provide us with practice with respect to other kinds of imagination as well. (shrink)

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the validity of attempts (...) to define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (shrink)

Fiction is often characterized by way of a contrast with truth, as, for example, in the familiar couplet “Truth is always strange/ Stranger than fiction" (Byron 1824). And yet, those who would maintain that “we will always learn more about human life and human personality from novels than from scientific psychology” (Chomsky 1988: 159) hold that some truth is best encountered via fiction. The scrupulous novelist points out that her work depicts no actual person, either living or dead; nonetheless, we (...) use names from fiction in ways that suggest that we take these names to refer. Philosophers who investigate fiction aim to reconcile such apparently incompatible phenomena, and, in general, to account for the myriad ways that we talk, think, and feel about fiction. (shrink)

in the treatise, hume claims to identify many “fictions of the imagination” among both “vulgar” and philosophical beliefs. To name just a few, these include the fiction of one aggregate composed of many parts,1 the fiction of a material object’s identity through change, and the fiction of a human mind’s identity through change and interruption in its existence. Hume claims that these fictions and others like them are somehow defective: in his words, they are “improper,” “inexact,” or not “strict”. I (...) will argue that this claim conflicts with other commitments.. (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)

Empty names vary in their referential features. Some of them, as Kripke argues, are necessarily empty -- those that are used to create works of fiction. Others appear to be contingently empty -- those which fail to refer at this world, but which do uniquely identify particular objects in other possible worlds. I argue against Kripke's metaphysical and semantic reasons for thinking that either some or all empty names are necessarily non-referring, because these reasons are either not the (...) right reasons for thinking that a name necessarily must fail to refer, or they are too broad -- they make every empty name necessarily non-referential. Plausibly, the explanation for the necessary non-reference of fictional names should be semantic, yet the explanation should not rule out a priori the contingent non-reference of certain other empty names. In light of this, I argue that a name's semantic value needs to carry information about its referential potential. I claim that names do so by encoding information about the way they were introduced into discourse. Names that are fictional will be marked as being non-referential -- they will fail to refer as a matter of their semantics. In contrast, names that are contingently empty will be marked as referential, but they will be failed referential names that could have been successful. The reason, then, for the non-referential status of a fictional name, will be semantic, as our intuitions suggest it should be. Likewise, the reason for the non-referential status of other empty names, those created by acts of failed attempts to refer, will be metaphysical, again, in keeping with our intuitions. (shrink)

In this paper, I propose a fictionalist approach to the problem of color. On my view, which I call prescriptive color fictionalism, we can continue to employ our color discourse as we have thus far even if it turns out that there are no colored objects. My proposal is a species of error theory. As such, it does not describe our current practices. It is rather proposed as a prescription to a problem, namely that the color theory we accept (according (...) to which there are colored objects) is false. By formulating a fictionalist account of color and showing that we can preserve ordinary color discourse in the absence of colored objects, I provide a solution to the problem of color. (shrink)

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)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ or ‘London’. This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive semantic contribution in fiction. (...) In this paper I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

Fictional realists claim that fictional characters like Spiderman really do exist. 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 realists, 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 against Cameron and Woodward, that they 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)

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)

In this paper I seek defend the view that fictional characters are author-created abstract entities against objections offered by Stuart Brock in his paper “The Creationist Fiction: The Case against Creationism about Fictional Characters.” I argue that his objections fall far short of his goal of showing that if philosophers want to believe in fictional characters as abstract objects, they should not view them as author-created. My defense of creationism in fiction in part rests on tying the (...) act of creating a fictional character more closely to the act of story-telling. Ultimately I aim to show that the creation of abstract entities is not as problem-laden as some may think, and that such a view is coherent. (shrink)

‘Ahab is a whaler’ and ‘Holmes is a whaler’ express different propositions, even though neither ‘Ahab’ nor ‘Holmes’ has a referent. This seems to constitute a theoretical puzzle for the Russellian view of propositions. In this paper, I develop a variant of the Russellian view, Plenitudinous Russellianism. I claim that ‘Ahab is a whaler’ and ‘Holmes is a whaler’ express distinct gappy propositions. I discuss key metaphysical and semantic differences between Plenitudinous Russellianism and Traditional Russellianism and respond to objections that (...) stem from those differences. (shrink)

A central passage in Cusset’s essay states: “God, for Sade, is fiction that ‘took hold of the minds of men’. What makes God’s weakness, the impossibility of rationally proving his existence, is precisely what constitutes his strength as fiction. Negated as authority, eliminated as the figure of the almighty father, God is nonetheless everywhere in the Sadean novel: he exists as the fiction principle. Libertines are never done with God because his name represents the power, not of the law, but (...) of the imagination. In showing their contempt for God, libertines reveal their anger against fiction, which does not have the power to prove its own truth: fiction — and Sade chose to write novels, not philosophical essays — is based on the desire for illusion” (119). Sade’s L’Histoire de Juliette, argues Cusset, breaks from his earlier writings in that Juliette has an agency missing from Sade’s previous female characters, and she, unlike earlier characters, breaks through the central Sadean impasse: “her ‘story’ represents the solution through which Sade paradoxically resolves the aporia of libertinage” (120). She is perfectly aware of scientific explanations for phenomena, but, “for the sake of play, Juliette chooses metaphor, and does not try to ‘unveil truth’ entirely. Juliette distinguishes herself from her teachers and masters through her relation to imagination. […] The end of the novel confirms Juliette’s choice of a playful imagination” (123). In short, Juliette is the libertine who breaks the very rules of the libertines by means of resurrecting the sense of play, imagination, and romantic delicacy which her fellow criminals forbid. Cusset concludes: “Sade invites us to read his texts as fictive and humorous texts, and not, as suggested the French feminist Elisabeth Badinter who wanted to censor Sade’s novel, as rational demonstrations inviting readers to commit murder. Juliette’s transformation through the novel allows us to understand why Sade entitled his last long novel L 'Histoire de Juliette. Juliette chooses fiction, without trying to prove its truth; she chooses pleasure, without trying to annihilate every belief, since imaginary belief is a component of pleasure. What Sade tells us with the invention of Juliette is that freedom is the very choice of limit. […] L’Histoire de Juliette is Sade’s critique of pure fiction” (129). (shrink)

Using a theoretical framework derived from my ongoing engagement with what I have called a ‘Gynocentric matrix’ of Indic sensibility, along with James Hillman’s polytheistic psychology and Wallace Stevens’ notion of a Supreme Fiction, this paper offers a reading of Jhumpa Lahiri’s (b. 1967) short stories beyond postcolonial criticism. Stemming from a depth consciousness where life, living and death, joy, indifference and sorrow, generation, de/re-generation, and transformation are intricately intertwined, Lahiri’s fictional multiverse, opposed to universe, is peopled by a (...) new generation of characters who speak to the soul of the reader, while in the process, she sculpts a reality that does not tolerate any homogenizing impulse in the name of an abstract unity. (shrink)

Scientific models share one central characteristic with fiction: their relation to the physical world is ambiguous. It is often unclear whether an element in a model represents something in the world or presents an artifact of model building. Fiction, too, can resemble our world to varying degrees. However, we assign a different epistemic function to scientific representations. As artifacts of human activity, how are scientific representations allowing us to make inferences about real phenomena? In reply to this concern, philosophers of (...) science have started analyzing scientific representations in terms of fictionalization strategies. Many arguments center on a dyadic relation between the model and its target system, focusing on structural resemblances and “as if” scenarios. This chapter provides a different approach. It looks more closely at model building to analyze the interpretative strategies dealing with the representational limits of models. How do we interpret ambiguous elements in models? Moreover, how do we determine the validity of model-based inferences to information that is not an explicit part of a representational structure? I argue that the problem of ambiguous inference emerges from two features of representations, namely their hybridity and incompleteness. To distinguish between fictional and non-fictional elements in scientific models my suggestion is to look at the integrative strategies that link a particular model to other methods in an ongoing research context. To exemplify this idea, I examine protein modeling through X-ray crystallography as a pivotal method in biochemistry. (shrink)

In this paper, I want to show that a reasonable thesis on truth in fiction, Fictional Vichianism (FV)—according to which fictional truths are true because they are stipulated to be true—can be positively endorsed if one grounds Kripke’s justification for (FV), that traces back to the idea that names used in fiction never refer to concrete real individuals, into a creationist position on fictional entities that allows for a distinction between the pretending and the characterizing use (...) of fiction-involving sentences. Thus, sticking to (FV) provides a reason for a metaphysically moderate ontological realism on fictional entities. (shrink)

In his famous article “The Unreasonable Effectiveness of Mathematics in the Natural Sciences” Eugen Wigner argues for a unique tie between mathematics and physics, invoking even religious language: “The miracle of the appropriateness of the language of mathematics for the formulation of the laws of physics is a wonderful gift which we neither understand nor deserve”. The possible existence of such a unique match between mathematics and physics has been extensively discussed by philosophers and historians of mathematics. Whatever the merits (...) of this claim are, a further question can be posed with regard to mathematization in science more generally: What happens when we leave the area of theories and laws of physics and move over to the realm of mathematical modeling in interdisciplinary contexts? Namely, in modeling the phenomena specific to biology or economics, for instance, scientists often use methods that have their origin in physics. How is this kind of mathematical modeling justified? (shrink)

This essay aims to coherently introduce a four-dimensional view adapting to the three-spatial-plus-one- temporal-dimensions (3+1) physical world. To orient the discussions, the essay presents several central claims. First, the only description a proper name abbreviates is that of being called, yet a proper name is capable of bringing up the entire object from its birth to its end. Second, there is a crucial difference in the behaviors of proper names and definite descriptions. Third, a co-knowing state may be decisive (...) in exchanging information about the physical world. Lastly, one way to consider the truth value of propositions containing fictional characters is to consider such propositions as about a summarized or entailed property of the physically stored coding texts. On the other hand, fictional worlds typically are well-established four-dimensional simulations. (shrink)

Abstract: Many, if not most philosophers, deny that a sentence like ‘Sherlock Holmes smokes’ could be true. However, this attitude conflicts with the assignment of true to that sentence by natural language speakers. Furthermore, this process of assigning truth values to sentences like ‘Sherlock Holes smokes’ seems indistinguishable from the process that leads speakers to assign true to other sentences, those like ‘Bertrand Russell smokes’. I will explore the idea that when speakers assign the value true to the first sentence, (...) they are not mistaken or confused — that we ought to take these assignments at face value. I show how the most popular alternative to this idea is inadequate for explaining various sentences involving fictional names. In addition, I offer evidence that these truth value assignments to sentences are tracking semantic content rather than pragmatic effects. (shrink)

In “Semantics of Fictional Terms,” Garcia-Carpintero critically surveys the most recent literature on the topic of fictional names. One of his targets is realism about fictional discourse. Realists about fictional discourse believe that: (a) it contains true sentences that have fictional names as their subjects; (b) sentences containing names can be true only if those names have referents; (c) fictional names have fictional characters – abstract objects – as (...) their referents. The fundamental problem that arises for realists is that not all true sentences containing fictional names are plausibly about abstract objects. This leads to the need to introduce disjunctive conceptions of property attribution that Garcia-Carpintero claims are implausible, and that realism should therefore be rejected. He also maintains, however, that (a) is correct. I agree. Furthermore, I am also committed to anti-realism about fictional discourse – that fictional names have no referents. Garcia-Carpintero claims that my view is simply a notational variant of realism. I argue that this is false – that my view could not possibly be a notational variant of any extant realist theory. (shrink)

My aim in this paper is to show that the existence of empty names raise problems for the Millian that go beyond the traditional problems of accounting for their meanings. Specifically, they have implications for Millian strategies for dealing with puzzles about belief. The standard move of positing a referent for a fictional name to avoid the problem of meaning, because of its distinctly Millian motivation, implies that solving puzzles about belief, when they involve empty names, do (...) in fact hang on Millian assumptions after all. (shrink)

Zeitgenössische Positionen in der Debatte über fiktionale Namen lassen sich in zwei Lager aufteilen: deskriptivistische und Millsche Ansätze. Deskriptivisten nehmen an, dass der semantische Inhalt eines Namens synonym mit einer Kennzeichnung sei, während Millianerinnen, behaupten, dass der semantische Inhalt eines Namens sein Bezugsobjekt sei. Da es sich bei diesen Ansätzen um Theorien handelt, die sich nicht auf fiktionale Namen beschränken, sondern Eigennamen generell behandeln, müssen sie sich auch Einwänden stellen, die nicht nur auf fiktionale Namen zutreffen. Dieses Kapitel konzentriert sich (...) weniger auf die Darstellung allgemeiner Probleme, sondern auf solche, die sich besonders im Zusammenhang mit fiktionalen Namen stellen. (shrink)

Özet: Bu metindeki amacım Kripke’nin kurgu çözümlemesinde özel adlar ve adımsılar (pretended name) arasındaki ilişkiyi ele almak. Kripke için özel adlar değişmez imleyicilerdir (rigid designator), yani tek bir varlığı/şeyi var olduğu tüm olanaklı dünyalarda biricik belirlerler. Adımsılar ise kurgusal söylemde ortaya çıkan kurgunun taslamasının bir parçasıdır; yani kurgu dünyadaki karakterlerin adlarıdır. Kripke’ye göre adımsılar sadece gerçek adları taklit eden fakat taklit ve benzerlik ilişkisinden öte bir ilişkileri olmayan, adlardan kategorik olarak farklı şeylerdir. Fakat Kripke için adlar ve adımsılar kategorik olarak (...) farklı olsalar da bu iki dilsel birim birbirlerini belirler gibi gözükür. Yani “Sherlock Holmes” özel adı, “Sherlock Holmes” özel adımsısı ile eşseslidir fakat bunun gerekçesi yeterince açık değildir. Bu açık olmama durumu kurgusal karakter adlandırma önermelerinin adlandırıcı açısından a priori ve olumsal mı olduğu yoksa a posteriori ve zorunlu mu olduğu sorusuyla ilişkilidir. Böylelikle bu belirleme ilişkisi ya zorunlu ya da olumsal bir ilişkidir. Ben bu belirleme ilişkisinin olumsal olduğunu savunacağım. Fakat bu belirleme ilişkisi olumsal olsa da ad ve adımsı arasında eşseslilik açısından sıkı bir ilişki olmaya devam eder. Ben bu sıkı ilişkinin genellikle kendiliğinden bir ilişki olduğunu, kurgu karakterin önce adı olabileceği gibi ilişkilendiği adımsısı da olabileceğini ve bu ayrım yeterince düşünülmediği için genellikle ad ve adımsının eşseslilik açısından çakıştığını savunacağım. Fakat ilişkilendiği adımsı ve özel adı eşsesli olmayan karakterler de olabileceğini ileri süreceğim. Son olarak ise bu dediklerimizden adımsıların geçtiği betimlemeler üretebileceğimizi ve bunlar yoluyla da kurgu varlıklara değişen imleyiciler olarak gönderimde bulunabileceğimizi savunacağım. Abstract: My purpose in the article is to explore the relation between proper names and pretended names in Kripke’s analysis of fiction. According to Kripke, proper names are rigid designators, so they designate the same object in all possible worlds in which that object exists. In contrast, pretended names are part of the pretense in fiction; they are names of fictional entities in fictional worlds. For Kripke, pretended names just pretend real names but there is no further relation apart from a similarity between them. Although in his view, names and pretended names are categorically different from each other, they seem to determine each other. That is, the proper name “Sherlock Holmes” and the pretended name “Sherlock Holmes” are homophones. However, the reason for their being homophone is not clear enough in this view. That unclarity concerns the question of whether the propositions that are used to name fictional entities are a priori contingent or a posteriori necessary. Thus, the relation of determining is either necessary or contingent. I will defend that it is contingent. However, though it is contingent, names and pretended names have a strict relation in the sense of being homophone. I will argue that this strict relation is generally a spontaneous relation; there are two possibilities: fictional entities have names before the associated pretended names come to existence or vice versa. I think names and pretended names generally coincide because this relation is not being thought thoroughly. Finally, I will defend that we can produce descriptions in which pretended names occur and we can refer to fictional entities non-rigidly via these descriptions. (shrink)

Abstract In this paper I criticise a recent account of fictional discourse proposed by Nathan Salmon. Salmon invokes abstract artifacts as the referents of fictional names in both object- and meta-fictional discourse alike. He then invokes a theory of pretence to forge the requisite connection between object-fictional sentences and meta-fictional sentences, in virtue of which the latter can be assigned appropriate truth-values. I argue that Salmon's account of pretence renders his appeal to abstract artifacts (...) as the referents of fictional names in object-fictional discourse explanatorily redundant. I further argue that his account is therefore no improvement over those he criticises, thus leaving his own account unmotivated. (shrink)

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real entities in fiction, (...) references to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (shrink)

In Shame and Necessity, Bernard Williams recounts that colleagues often ask why he analyses literary texts – why can’t he use examples from “real life”? He responds that “it is a perfectly good question, and it has a short answer: what philosophers will lay before themselves and their readers as an alternative to literature will not be life, but bad literature.” This anecdote contains an argument that would be readily embraced by any proponent of “post-structuralism.” Namely, it suggests that no (...) theory can solely be based on reason. Any rational account needs an – acknowledged or repressed – fictional support. We do not rely on pure concepts but rather on conceptual fictions. (shrink)

According to possibilism, or non-actualism, fictional characters are possible individuals. Possibilist accounts of fiction do not only assign the intuitively correct truth-conditions to sentences in a fiction, but has the potential to provide powerful explanatory models for a wide range of phenomena associated with fiction (though these two aspects of possibilism are, I argue, crucially distinct). Apart from the classic defense by David Lewis the idea of modeling fiction in terms of possible worlds have been widely criticized. In this (...) article, I provide a defense of a possibilist account against some lines of criticism. To do so, I assume that names for fictional characters are directly referential and a possible-worlds model that accommodates transworld identity. On this background, I argue, it is possible to construct an elegant model of fictional discourse using familiar models of information exchange in ordinary discourse, and I sketch how this model can be used to i) make a natural distinction between fictional and counterfactual discourse, ii) account for creativity, and iii) sustain a natural definition of truth-in-fiction that avoids certain familiar objections to possibilism. Though I set aside questions about the metaphysical commitments of a possible-world interpretation here, there is accordingly reason to think that the battle over possibilist treatments of fiction will have to be fought over metaphysical foundations rather than technical shortcomings. (shrink)

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 his “Naming and Necessity” lectures (1972, 156–7) 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. (shrink)

We reply to various arguments by Otavio Bueno and Edward Zalta against Modal Meinongianism, including that it presupposes, but cannot maintain, a unique denotation for names of fictional characters, and that it is not generalizable to higher-order objects. We individuate the crucial difference between Modal Meinongianism and Object Theory in the former’s resorting to an apparatus of worlds, possible and impossible, for the representational purposes for which the latter resorts to a distinction between two kinds of predication, exemplification (...) and encoding. We show that encoding has fewer forerunners in the history of philosophy than Bueno and Zalta want, and that there’s a reason why the notion has been found baffling by some. (shrink)

Photomechanical reprint of papers from 1970 to 1992 mostly in English, some in German or French: Foreword 1–4; LAW AS PRACTICE ‘La formation des concepts en sciences juridiques’ 7–33, ‘Geltung des Rechts – Wirksamkeit des Rechts’ 35–42, ‘Macrosociological Theories of Law’ 43–76, ‘Law & its Inner Morality’ 77–89, ‘The Law & its Limits’ 91–96; LAW AS TECHNIQUE ‘Domaine »externe« & domaine »interne« en droit’ 99–117, ‘Die ministerielle Begründung’ 119–139, ‘The Preamble’ 141–167, ‘Presumption & Fiction’ 169–185, ‘Legal Technique’187–198; LAW AS LOGIC (...) ‘Moderne Staatlichkeit und modernes formales Recht’ 201–207, ‘Heterogeneity & Validity of Law’ 209–218, ‘Leibniz & die Frage der rechtlichen Systembildung’ 219–232, ‘Law & its Approach as a System’ 233–255, ‘Logic of Law & Judicial Activity’ 258–288, ‘Kelsen’s Pure Theory of Law’ 289–293, ‘The Nature of the Judicial Application of Norms’ 295–314; LAW AS EXPERIENCE ‘The Socially Determined Nature of Legal Reasoning’317–374, ‘The Ontological Foundation of Law’ 375–390, ‘Is Law a System of Enactments?’ 391–398, ‘The Uniqueness of National Legal Cultures’ 399–411, ‘Institutions as Systems’ 413–424; LAW AS HISTORY ‘From Legal Customs to Legal Folkways’ 427–436, ‘Anthropological Jurisprudence?’ 437–457, ‘Law as a Social Issue’ 459–475, ‘Law as History?’477–484, ‘Rechtskultur – Denkkultur’ 485–489; w/ Curriculum Vitae & Bibliography, as well as Index & Indexes of normative materials & of names. (shrink)

From 1900 onwards, scientists and novelists have explored the contours of a future society based on the use of “anthropotechnologies” (techniques applicable to human beings for the purpose of performance enhancement ranging from training and education to genome-based biotechnologies). Gradually but steadily, the technologies involved migrated from (science) fiction into scholarly publications, and from “utopia” (or “dystopia”) into science. Building on seminal ideas borrowed from Nietzsche, Peter Sloterdijk has outlined the challenges inherent in this development. Since time immemorial, and at (...) least since the days of Plato’s Academy, human beings have been interested in possibilities for (physical or mental) performance enhancement. We are constantly trying to improve ourselves, both collectively and individually, for better or for worse. At present, however, new genomics-based technologies are opening up new avenues for self-amelioration. Developments in research facilities using animal models may to a certain extent be seen as expeditions into our own future. Are we able to address the bioethical and biopolitical issues awaiting us? After analyzing and assessing Sloterdijk’s views, attention will shift to a concrete domain of application, namely sport genomics. For various reasons, top athletes are likely to play the role of genomics pioneers by using personalized genomics information to adjust diet, life-style, training schedules and doping intake to the strengths and weaknesses of their personalized genome information. Thus, sport genomics may be regarded as a test bed where the contours of genomics-based self-management are tried out. (shrink)

Within science fiction the topic of ‘first contact’ is a popular theme. How will an encounter with aliens unfold? Will we succeed in communicating with them? Although such questions are present in the background of many science fiction novels, they are not always explicitly dealt with and even if so, often in a poor way. In this article, I will introduce a typology of five dominant types of solutions to the problem of first contact in science fiction works. The first (...) four solutions are the more dominant, but also the least interesting ones. There is a fifth category that addresses the question of first contact in a more interesting way, exemplified by the work of Stanisław Lem. This fifth option defines itself as a critique of the four previous categories, or of their shared assumption of what Lem (1967) has called ‘the myth of cognitive universality’. Lem is sceptical of the common optimism that first contact will always be successful. In books such as Solaris (1961), His Master’s Voice (1967) and Fiasco (1986), humanity makes first contact with an alien phenomenon, but fails to comprehend the phenomenon. Fundamentally, it will be argued that Lem’s work shows that in such an encounter we will typically not only lack the right answers to our questions, but that we also often lack the correct questions: we simply do not have the right categories or instruments to even recognize, let alone meaningfully interrogate, the alien phenomenon. The article ends with an exploration of the implications of Lem’s pessimism and whether it is the most plausible option for first contact. Moreover, the article will draw some lessons for philosophy of science, by exploring the parallel with the confrontation of novel or deviant phenomena in science. Lem’s work is helpful here because it succeeds in articulating what has not always been appreciated in the philosophy of science, namely that the right questions by which to interrogate scientific phenomena are not given, but that their articulation always requires work. (shrink)

This paper aspires to meet a philosophical challenge posed to the author to give treatment to what was seen as a particularly nice Meinongian case1; namely the case of Galician Meigas. However, through the playful footpaths of enchanted Galician Meigas, I rehabilitate some relevant discussion on the justification of belief formation and come to some poignant philosophical insights regarding the understanding of possibilities. I hope both the leading promoter of the challenge and, of course, other philosophical readers are satisfied with (...) the outcome. (shrink)

I argue that any account of imagination should satisfy the following three desiderata. First, imaginations induce actions only in conjunction with beliefs about the environment of the imagining subject. Second, there is a continuum between imaginations and beliefs. Recognizing this continuum is crucial to explain the phenomenon of imaginative immersion. Third, the mental states that relate to imaginations in the way that desires relate to beliefs are a special kind of desire, namely desires to make true in fiction. These desires (...) to make true in fiction do not differ from regular desires in kind, but only in content. I argue for these three desiderata in turn by critically discussing several recent accounts of imagination. (shrink)