Abstract creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.

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)

Creationism about fictional entities requires a principle connecting what fictions say exist with which fictional entities really exist. The most natural way of spelling out such a principle yields inconsistent verdicts about how many fictional entities are generated by certain inconsistent fictions. Avoiding inconsistency without compromising the attractions of creationism will not be easy.

In this entry I present one of the most hotly debated issues in contemporary analytic philosophy regarding the nature of fictional entities and the motivations that might be adduced for and against positing them into our ontology. The entry is divided in two parts. In the first part I offer an overview of the main accounts of the metaphysics of fictional entities according to three standard realist views, fictional Meinongianism, fictional possibilism and fictional creationism. (...) In the second part I describe two main kinds of arguments for or against positing fictional entities into our ontology. The first kind is traditionally inspired by the linguistic data coming from our talk about fictional characters. The second kind is more recent and it builds on genuine ontological considerations. (shrink)

In this paper, I explore a line of argument against one form of realism about fictional characters : abstract artifact theory, the view according to which fictional characters like Harry Potter are part of our reality, but, they are abstract objects created by humans, akin to the institution of marriage and the game of soccer. I will defend artifactualism against an objection that Mark Sainsbury considers decisive against it: the category-mistake objection. The objection has it (...) that artifactualism attributes to people who produce and process sentences and thoughts about Harry Potter massive error, indeed, a category mistake about what kind of thing Harry Potter is; for an abstract object isn’t the sort of thing that can wear glasses, ride a double-decker bus, attend school. Given problems with this objection, artifactualism, I shall conclude, remains a tenable contender. (shrink)

This paper is concerned with fictive utterances, the authorial utterances that make up works of fiction. It is widely held that fictive utterances cannot be constative speech acts, such as assertions. Instead, fictive utterances are construed as pretended speech acts, as invitations to make-believe or as declarations. My aim is to challenge the non-constative consensus and to defend a view on which fictive utterances are constative speech acts after all, namely constatives that have a story as their target. I motivate (...) the constative view by discussing works of fiction that feature plot twists. Some of these plot twists indicate that fictive utterances can carry assertoric commitment and can be lies, contrary to what is commonly assumed. And I spell out a version of the constative view that takes cues from Stalnaker’s common ground account of assertion and the debate on commitment and responsibility in constatives. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor (...) straightforward, and that the invocation of pretense provides a better account of the same phenomena. I outline and assess these competing theories. (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 recent metaphysics, the questions of whether fictional entities exist, what their nature is, and how to explain truths of statements such as “Sherlock Holmes lives at 221B Baker Street” and “Holmes was created by Arthur Conan Doyle” have been subject to much debate. The main aim of my thesis is to wrestle with key proponents of the abstractionist view that fictional entities are abstract objects that exist (van Inwagen 1977, 2018, Thomasson 1999 and Salmon 1998) as well (...) as Walton’s (1990) pretense view, which denies the existence of such entities. In the process, I propose modifications to these views to deal with problems they face and show how the modifications better account for the philosophical data. -/- Key abstractionists (van Inwagen 1977, Thomasson 1999) make a strict distinction between discourse within fiction, in which statements about literary characters cannot be literally true, and discourse about fiction, as it occurs in literary criticism, where statements about fictional characters can be literally true. Fictional objects are postulated to account for the truth of the latter. This runs into trouble because statements thought to be literally true are not literal. (Yagisawa 2001, Friend 2002) I provide a uniform analysis to account for the truth of statements involving fictional characters by appealing to a presupposition involving a metaphor in both contexts. The presupposition is that there is an x such that x is fictional; x is likened to a real person; and x is and ought to be treated/counted as a real person for all relevant intents and purposes. -/- More generally, I adopt Everett and Schroeder’s (2015) realist view that fictional characters are ideas constituted by mental representations. This, to me, better accounts for how fictional characters are created within the world’s causal nexus (unlike non-spatiotemporal entities in abstractionism), among other things. One key challenge they face is to explain how ideas can possess properties such as being a detective. I present a fine-grained version of their view, according to which the mental representations constituting fictional entities encode mind-dependent properties. Moreover, I explain how reference to such representations is possible, using Bencivenga’s (1983) Neo-Kantian view of reference and Karttunen’s (1976) view on discourse referents. Finally, I suggest that the identity of fictional characters is interest-relative. The constant, and sometimes radical, change of properties that, fictional characters can undergo is taken to be a consequence of the fact that unified mental representations are bundles of simpler mental representations. As change occurs, simpler representations are replaced by others. -/- A key theme that runs through the thesis is that neither fictionality nor pretense is relevant to the semantics of fictional sentences—a claim bolstered by Matravers’ (2014) arguments. Whether or not my account works, this claim, as well as the new philosophical data I bring up, are some of the challenges I pose to the heart of established views. (shrink)

Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an (...) ineliminable role in the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model-systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model-systems is misguided. If model-systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model-systems. (shrink)

Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the (...) abstract/concrete distinction, time, causation, vague existence, vague identity, and inadvertent creation. (shrink)

Ingarden distinguishes four strata making up the structure of the literary work of art: the stratum of word sounds and sound-complexes; the stratum of meaning units; the stratum of represented objectivities (characters, actions, settings, and so forth); and the stratum of schematized aspects (perspectives under which the represented objectivities are given to the reader). It is not only works of literature which manifest this four-fold structure but also certain borderline cases such as newspaper articles, scientific works, biographies, and so (...) forth. Ingarden specifies what is characteristic of a work of literature by asserting that all declarative sentences appearing in the stratum of meaning units of such work possess what he calls a quasi-judgmental character. We discuss here Ingarden’s theory of quasi-judgments and draw out its implication that all works of literature are works of fiction through and through. (shrink)

This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the (...) first one. For this purpose, I will rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

In this paper I want to show that the idea supporters of traditional creationism (TC) defend, that success of a fictional character across different works has to be accounted for in terms of the persistence of (numerically) one and the same fictional entity, is incorrect. For the supposedly commonsensical data on which those supporters claim their ideas rely are rather controversial. Once they are properly interpreted, they can rather be accommodated by moderate creationism (MC), according to (...) which fictional characters arise out of a reflexive stance on a certain make-believe process. For MC, success of a fictional character across different works amounts to the fact that, first, different work-bound ficta are related with each other by means of a relation weaker than numerical identity, transfictional sameness, and second, that all those ficta are related by transfictional inclusion to a fictum that in some sense gather them all, the so-called general character. Since a general character is an abstract constructed entity, moreover, the more those particular ficta are generated, the more general fictional characters including all of them arise. (shrink)

If different translations of the same literary work have different syntaxes and semantics, how are they supposed to be about one and the same fictional character? In order to answer this question it’s necessary to (a) know what fictional characters are and (b) present reference conditions for them. Relying on Amie Thomasson’s (1999, 2003, 2007) and Saul Kripke’s (1980, 2013) works I argue that fictional characters are abstract artifacts whose reference is fixed by the (...) baptism performed by an author; and that the identity of a fictional character is preserved due to the maintenance of the same chain of reference. Finally, I show how translators maintain the chain of reference initiated by the author of a given work and how consequently a fictional character remains the same abstract artifact throughout different translations. (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)

In this paper, I argue that sentences that contain ‘omission’ tokens that appear to function as singular terms are meaningful while maintaining the view that omissions are nothing at all or mere absences. I take omissions to be fictional entities and claim that the way in which sentences about fictional characters are true parallels the way in which sentences about omissions are true. I develop a pragmatic account of fictional reference and argue that my (...) fictionalist account of omissions implies a plausible account of the metaphysics of omissions. (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)

This paper discusses a puzzle, the heart of which is this question: How is it that real individuals can resemble fictional individuals? It seems that any answer given by one who has taken a stand on the ontology of fictional individuals will come with significant drawbacks. An Anti-Realist will have to explain, or explain away, the apparent truth of our positive assertions of resemblance, while a Realist will have to explain how we are to understand resemblance in light (...) of either the further claim that fictional characters are not associated with properties in the same way real individuals are, or that fictional characters are nonexistent or nonactual. I here survey the different Realist and Anti-Realist strategies in hopes that reflection on (mainly the drawbacks of) each will aid those who are curious about ontologies which may include fictionalia. (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)

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)

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)

Some philosophers of fiction – most famously Jerold Levinson1 - have tried to argue that fictional narrators can never be identified with real authors. This argument relies on the claim that narration involves genuine assertion (not just the pretense of assertion that lacks truthfulness) and that real authors are not in a position to assert anything about beings on the fictional plain - given that they don’t rationally believe in their existence. This debate on the status of (...) narrators depends on the idea that fictional beings and beings in the real worlds reside, as it were, at different levels. The assumption that there is a gap separating the levels of fiction and reality serves as a rationale for the claim that real authors could not possibly be en rapport with the fictional characters that they create (e.g. entertain beliefs about them, etc.). (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)

Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I will call them. Their authors do not exist. But that does not take away that we can perform, recite, or otherwise generate actual instances of such works. This means we can bring (...) such individuals actually into existence, as the works they are. I conclude that the assumption about encapsulation is untenable, unless an exception is made for types. (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)

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)

The most well-known and controversial solution to the paradox of fiction is Kendall Walton’s, according to whom pity of (say) Anna Karenina is not genuine pity. Walton’s opponents argue that we can resolve the paradox of fiction while preserving the intuition that our response to Anna is ordinary, run-of-the-mill pity; and they claim that retaining this intuition explains more than Walton’s approach. In my view, the arguments of Walton’s opponents depend on idiosyncratic features of examples involving purely fictional (...) class='Hi'>characters like Anna Karenina. What is really at issue is the fact that we respond emotionally to fiction in ways that are not explained by our beliefs, but instead by what we imagine. That this is the crux of the paradox of fiction becomes clear only when we consider fictions about real persons and events. And I contend that once we turn our attention to these cases, Walton’s theory proves significantly more explanatory than the opposition. (shrink)

What kind of thing, as it were, is power and how does it fit into our understanding of the social world? I approach this question by exploring the pragmatic character of power ascriptions, arguing that they involve fictional expectations directed at an open future. When we take an agent to be powerful, we act as if that agent had a robust capacity to make a difference to the actions of others. While this pretense can never fully live up to (...) a social reality whose future is open, acting on such expectations helps constitute social order. Fictional expectations are thus built into the material practices that constitute power. This account, I argue, helps us make sense of some of the deep disagreements about the nature of power. I develop the account by drawing on Thomas Hobbes’s myth of an original institution of sovereign power before expanding it to other forms of power. (shrink)

Readers assume that commonplace properties of the real world also hold in realistic fiction. They believe, for example, that the usual physical laws continue to apply. But controversy exists in theories of fiction about whether real individuals exist in the story’s world. Does Queen Victoria exist in the world of Jane Eyre, even though Victoria is not mentioned in it? The experiments we report here find that when participants are prompted to consider the world of a fictional individual (...) (“Consider the world of Jane Eyre…”), they are willing to say that a real individual (e.g., Queen Victoria) can exist in the same world. But when participants are prompted to consider the world of a real individual, they are less willing to say that a fictional individual can exist in that world. The asymmetry occurs when we ask participants both if a real person is in the character’s world and if the person would appear there. However, the effect is subject to spatial and temporal constraints. When the person and the character share spatial and temporal settings, interchange is more likely to occur. These results shed light on the author’s implicit contract with the reader, which can license the reader to augment a fictional world with features that the author only implicates as part of the work’s background. (shrink)

There is a list of desiderata that any good metaphysics of fictional entities should be able to fulfill. These desiderata are: 1) the nonexistence of fictional entities; 2) the causal inefficacy of suchentities;3)the incompleteness of such entities;4)the created character of such entities; 5) the actual possession by ficta of the narrated properties; 6) the unrevisable ascription to ficta of such properties; and 7) the necessary possession by ficta of such properties. (Im)possibilist metaphysics uncontroversially satisfy 1) and 2); Neo-Meinongian (...) metaphysics satisfy 1), 2), 3), 5), 6), and 7); artefactualist or creationist metaphysics uncontroversially satisfy 1), 2), 3), and 4). Another metaphysics is needed in order to satisfy all such desiderata. In this chapter Idevelop such a metaphysics, claiming that a Syncretistic metaphysics that combines Neo-Meinongianism with Artefactualism achieves this purpose. According to Syncretism, ficta are hybrid entities individuated in terms of both a certain makebelieve narrative process and the set of properties that one such narration mobilizes. Toward the end of the chapter I consider some possible criticisms to this approach: its non-intuitiveness; ficta’s unnecessary proliferation; and troubles with creationism of any sort. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can (...) We Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

The aim of this article is to present the disagreement between Moran and Walton on the nature of our affective responses to fiction and to defend a view on the issue which is opposed to Moran’s account and improves on Walton’s. Moran takes imagination-based affective responses to be instances of genuine emotion and treats them as episodes with an emotional attitude towards their contents. I argue against the existence of such attitudes, and that the affective element of such responses should (...) rather be taken to be part of what is imagined. In this respect, I follow Walton; and I also agree with the latter that our affective responses to fiction are, as a consequence, not instances of real emotion. However, this gives rise to the challenge to be more specific about the nature of our responses and explain how they can still involve a phenomenologically salient affective element, given that propositionally imagining that one feels a certain emotion is ruled out because it may be done in a dispassionate way. The answer —already suggested, but not properly spelled out by Walton— is that affectively responding to some fictional element consists in imaginatively re-presenting an experience of emotional feeling towards it. The central thought is that the conscious and imaginative representation of the affective character of an instance of genuine emotion itself involves the respective phenomenologically salient affective element, despite not instantiating it. (shrink)

Raquel Cascales and Luis Echarte focus on the development of practical wisdom and what they call ‘seeing with the heart’ for science students by means of reading science fiction literature. They argue that literature can bring the student into contact with the reality of moral life as moral dilemmas are made concrete by the characters and circumstances in a novel. They provide an analysis of how Aldous Huxley’s Brave New World can be read in the classroom and show how (...) the novel invites students to think about the role of science in society, the evolutionary paradigm, advances in genetic and psychological manipulation, as well as questions concerning human emotions,suffering, and friendship. (shrink)

This paper concerns the familiar topic of whether we can have genuinely emotional responses such as pity and fear to characters and situations we believe to be fictional1. As is well known, Kendall Walton responds in the negative (Walton (1978); (1990): 195-204 and Chapter 7; (1997)). That is, he is an ‘irrealist’ about emotional responses to fiction (the term is Gaut’s (2003): 15), arguing that such responses should be construed as quasiemotions (Walton (1990): 245), of which their possessor (...) imagines that they are genuine emotions. This is not to deny that an experience in response to a fiction may have a phenomenology very like a given emotion, but to insist that, nonetheless, such responses are not real instances of the emotions which they resemble (Walton (1997)). So, in his most famous example, Charles, who experiences fear-like emotion in relation to a film which depicts the approach of evil slime, does not, despite appearances, experience genuine fear towards the slime, but only quasi-fear (Walton (1990): 195-204)2. Walton’s view presupposes the following view about the nature of emotion3. (shrink)

In this article it is argued that the videogame Far Cry 2 manages to take advantage of the heroic formula so characteristic of the first-person shooter videogame genre in a way that potentially prompts players to reflect on the ethical adequacy of their own decision to immerse themselves in a fictional scenario in which they take the role of a fictional character whose behaviour primarily, if not exclusively, consists in shooting.

In this article, I use science-fiction scenarios drawn from Dan Simmons’ “Hyperion Cantos” (Hyperion, The Fall of Hyperion, Endymion, The Rise of Endymion) to explore a cluster of issues related to the evolutionary history and neural bases of human moral cognition, and the moral desirability of improving our ability to make moral decisions by techniques of neuroengineering. I begin by sketching a picture of what recent research can teach us about the character of human moral psychology, with a particular (...) emphasis on highlighting the importance of our evolutionary background as social mammals. I then consider how the moral psychology of intelligent machines might differ from our own, and argue that the differences would depend on the extent to which their evolutionary background resembled our own. I offer two very different case studies—the “Technocore AIs” that have evolved from early, parasitic computer programs, and the mysterious “Shrike,” who travels backward through time. I close by looking at the character of Aenea, a messianic figure that is a joint descendant of humans and machines. I argue that while the sort of “moral enhancement” she represents is far beyond the scope of either contemporary neuroscience or artificial intelligence research, it nevertheless represents a worthwhile goal. (shrink)

Words are indispensable linguistic tools for beings like us. However, there is not much philosophical work done about what words really are. In this paper, I develop a new ontology for words. I argue that words are abstract artifacts that are created to fulfill various kinds of purposes, and words are abstract in the sense that they are not located in space but they have a beginning and may have an end in time given that certain conditions are met. (...) What follows from this two-fold argument is that words, from an ontological point of view, are more like musical works, fictional characters or computer programs, than numbers or sets. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their (...) audiences about certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (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)

The general topic of this paper is the ontological commitment to so-called "fictitious objects", that is, things and characters of fictional stories, like Sherlock Holmes and Pegasus. Discourse about fiction seems to entail an ontological commitment to fictitious entities, a commitment that is often deemed inconsistent with empirical facts. For instance, "Pegasus is a flying horse" seems to entail "There are flying horses" as well as "Pegasus exists" (according to some widely accepted logical principles). I discuss two (...) solutions that have been proposed in the literature. The first one amounts to rejecting sentences like "Pegasus is a flying horse" as false, at least if they are taken at face value. This solution is called the "story operator strategy". It consists in paraphrasing sentences like "Pegasus is a flying horse" by means of the expression "according to a story" such that they are interpreted as an elliptic formulation of, e.g., "According to a story, Pegasus is a flying horse". I spell out the difficulties of the story operator strategy and opt for a realist ontology of fiction. A novel interpretation of the story operator "according to a story" is given, which is not only consistent with but even sheds new light on such a realist ontology. In particular, it is shown how the story operator can be used as a tool to introduce the so-called "modes of predication distinction" (which is an essential ingredient of many realist ontologies of fiction) in a commonsensical way. (shrink)

Feminist standpoint theory has been marginal to mainstream philosophical analyses of science–indeed, it has been marginal to science studies generally–and it has had an uneasy reception among feminist theorists. Critics of standpoint theory have attributed to it untenable foundationalist assumptions about the social identities that can underpin an epistemically salient standpoint, and implausible claims about the epistemic privilege that should be accorded to those who occupy subdominant social locations. I disentangle what I take to be the promising core (...) of feminist standpoint theory from this conflicted history of debate. I argue that non-foundationalist, non-essentialist arguments can be given (and have been given) for attributing epistemic advantage (rather than privilege) to some social locations and standpoints. They presuppose a situated knowledge thesis, and posit contingent advantage relative to epistemic purpose. I illustrate these claims in terms of the epistemic advantages that accrue to a fictional character, from Neely’s novel Blanche on the Lam, who represents a type of standpoint invoked by diverse advocates of standpoint theory: that of a race, class, and gender disadvantaged “insider-outsider” who has no choice, given her social location, but to negotiate the world of the privileged while at the same time being grounded in a community whose marginal status generates a fundamentally different understanding of how the world works. (shrink)

The aim of this paper is to show that Priest's modal Meinongianism might benefit from joining forces with two-dimensionalism. For this purpose, I propose a two-dimensional solution to a problem for modal Meinongianism that is posed by Beall, Sauchelli, and Milne, and show that, by taking recourse to two-dimensionalism, divergent intuitions about the question of whether fictional characters might exist can be reconciled. Moreover, two-dimensionalism helps to rebut Kroon's argument to the conclusion that modal Meinongianism cannot rule (...) out the odd claim that some non-existent objects have existence-entailing properties at the actual world. (shrink)

Prop oriented make-believe is make-believe utilized for the purpose of understanding what I call “props,” actual objects or states of affairs that make propositions “fictional,” true in the make-believe world. I, David Hills, and others have claimed that prop oriented make-believe lies at the heart of the functioning of many metaphors, and one variety of fictionalism in metaphysics invokes prop oriented make-believe to explain away apparent references to entities some find questionable or problematic (fictional characters, propositions, moral (...) properties, numbers). Elisabeth Camp has argued against my and David Hills’ views of metaphor. Her arguments, many of them echoed by Catharine Wearing, demolish a very implausible account of metaphor, but leave entirely untouched the views that Hills and I actually proposed. Clarifying what we say about metaphor serves also as a defense of fictionalist theories that invoke prop oriented make-believe. (shrink)

Ontological pluralism is the view that there are ways of being. Ontological pluralism is enjoying a revival in contemporary metaphysics. We want to say that there are numbers, fictional characters, impossible things, and holes. But, we don’t think these things all exist in the same sense as cars and human beings. If they exist or have being at all, then they have different ways of being. Fictional characters exist as objects of make‐believe and holes exist as (...) absences in objects. But, human beings and cars exist in a much more robust sense. What are ways of being? Why should be believe in them and what should we believe about them? This short essay provides an overview of the recent revival of ways of being and explores some of the surrounding issues. (shrink)

Do numbers exist? Do properties? Do possible worlds? Do fictional characters? Many metaphysicians spend time and effort trying to answer these and other questions about the existence of various entities. These inquiries have recently encountered opposition: a group of philosophers, drawing inspiration from Aristotle, have argued that many or all of the existence questions debated by metaphysicians can be answered trivially, and so are not worth debating. Our task is to defend existence questions from the neo-Aristotelians' attacks.

The theory of truthmaking has long aroused skepticism from philosophers who believe it to be tangled up in contentious ontological commitments and unnecessary theoretical baggage. I argue in A Theory of Truthmaking that this suspicion is unfounded. Philosophers across the spectrum can take advantage of truthmaking, and use it to better understand the ontological implications of topics that arise all over the philosophical landscape. Challenging the current orthodoxy that truthmaking's fundamental purpose is to be a tool for explaining why truths (...) are true, the book revives the conception of truthmaking as fundamentally an exercise in ontology: a means for coordinating one's beliefs about what is true and one's ontological commitments. I go on to show how truthmaking connects to analyticity, truth, and realism, and how it contributes to debates over nominalism, presentism, mathematical objects, and fictional characters. (shrink)

In this paper, I will claim that fictional works apparently about utterly immigrant objects, i.e., real individuals imported in fiction from reality, are instead about fictional individuals that intentionally resemble those real individuals in a significant manner: fictional surrogates of such individuals. Since I also share the realists’ conviction that the remaining fictional works concern native characters, i.e., full-fledged fictional individuals that originate in fiction itself, I will here defend a hyperrealist position (...) according to which fictional works only concern fictional individuals. (shrink)

Plausibly, how much is at stake in some salient practical task can affect how generously people ascribe knowledge of task-relevant facts. There is a metaphysical puzzle about this phenomenon, and an empirical puzzle. Metaphysically: there are competing theories about when and how practical stakes affect whether it is correct to ascribe knowledge. Which of these theories is the right one? Empirically: experimental philosophy has struggled to find a stakes-effect on people’s knowledge ascriptions. Is the alleged phenomenon just a (...) philosopher’s fantasy? I propose a new psychological account of when and why people’s knowledge ascriptions are sensitive to stakes. My hypothesis is motivated by empirical research on how people’s judgements are sensitive to their social context. Specifically, people’s evaluations are sensitive to their ‘psychological distance’ from the scenarios they are considering. When using ‘fixed-evidence probes’, experimental philosophy has found that what’s at stake for a fictional character in a made-up scenario has little or no effect on how participants ascribe knowledge to them. My hypothesis predicts this finding: the scenarios are too ‘psychologically distant’ to participants. Our empirical puzzle is resolved: the stakes-effect often present in the wild won’t be present in vignette studies. (This illustrates a widespread problem with X-phi vignette studies: if people might judge differently in other social contexts, we can’t generalize from the results of these experiments. That is, vignette studies are of doubtful ‘external validity’.) The hypothesis also resolves our metaphysical puzzle. It predicts that people do not ascribe knowledge in a way deemed correct by any of the standard philosophical views, namely classical invariantism, interest-relative invariantism, and contextualism. Our knowledge ascriptions shift around in the way that’s most useful for social beings like us, and this pattern in our judgements can only be endorsed by a genuinely relativist metaphysics for knowledge. (shrink)