In this paper, I consider the difficulty of distinguishing between science fiction and philosophy. The boundary between these genres is somewhat vague. There is a “neutral zone” separating the genres. But this neutral zone is often transgressed. One key distinction considered here is that between entertainment and edification. Another crucial element is found in the importance of the author’s apparent self-consciousness of these distinctions. Philosophy seeks to edify, and philosophers are often deliberately focused on thinking about the (...) question of the borders that distinguish genres. Science fiction is more interested in entertainment, and narrative authors tend to care less about policing the border. This distinction is a pragmatic one. And canonical authors often violate the boundary. I examine key authors to make this point, including Plato, Kant, and H.G. Wells. My discussion shows that these canonical authors wandered into the neutral zone in their own work, reminding us that the boundaries we draw around genres are arbitrary and subject to transgression. (shrink)

I consider a proposal for what the relation between philosophy and fiction is: the same problems appear in both, but fiction explores solutions which are not available to philosophers. I use Joe Horton’s all-or-nothing problem to illustrate the proposal, but pose an objection to it.

Most commentators on Spengler's philosophy tend to focus on the details of his cyclical theory of world-history, according to which history should be understood in terms of the rise and fall of great cultures. I argue that Spengler's philosophy of history is itself an expression of his primary concern with philosophical analysis of the structures of human consciousness, and that an awareness of Spengler's account of the existential structures of subjective consciousness enables one to grasp the reasoning behind (...) some of the key features of his philosophy of history, such as his cultural isolation hypothesis and critique of Eurocentric historiography. I further argue that the way to access Spengler's theory of consciousness, and the ways in which it informs his philosophy of history, is via his critical engagement with the Kant character that recurs in the first volume of The Decline of the West. (shrink)

In a transcendent gathering beyond the confines of time and space, philosopher Socrates finds himself engaged in profound dialogues with some of history's most influential thinkers. These dialogues span five days and delve into a wide array of philosophical topics, guided by quantum entanglement. This unique assembly unearths the timeless questions surrounding knowledge, reality, causation, and the interface between philosophy and science. The first day witnesses Socrates conversing with Plato, Aristotle, René Descartes, John Locke, and David Hume, delving into (...) the essence of knowledge. Their discourse navigates through Plato's Theory of Forms, Aristotle's empirical approach, Descartes' emphasis on the role of the mind, Locke's ideas on the role of experience, and Hume's skepticism regarding causation. The day culminates in Kant's synthesis of empiricism and rationalism. On the second day, these thinkers explore the nature of reality and the distinction between ontology and mental reality. Quantum physicist Richard Conn Henry joins them, bringing fresh insights on quantum perspectives. They contemplate the implications of quantum causation and how it challenges traditional notions of cause and effect. The third day centers on the relationship between philosophy and science, highlighting the significance of imagination and empirical evidence. Philosopher Thomas Kuhn introduces the concept of paradigms, sparking intriguing discussions. The fourth day extends this discourse, emphasizing the role of imagination and empirical evidence in philosophy and science. It touches on atomic theory, Max Planck, Niels Bohr, and the fascinating world of sub-particles. The final day reflects on the differences between philosophy and science, with philosopher Karl Popper adding his perspective. The dialogue culminates in discussions on cosmology, where ancient cosmologists and modern scientists intertwine in an exploration of the cosmos. In these five days, Socrates and his esteemed colleagues delve into the timeless questions that have shaped human understanding for millennia. Their insights shed light on the interplay between ancient wisdom and contemporary knowledge, reminding us that the pursuit of wisdom transcends temporal and spatial boundaries. (shrink)

Oswald Spengler is best known as a philosopher of history. However, one can trace in volume one of his The Decline of the West a sustained consideration of philosophical issues pertaining to the nature and practice of science that I suggest can be considered to be a philosophy of science. Not only has Spengler’s philosophy of science been largely overlooked, so too has its peculiar fictionalist character. By elaborating on the fictionalist character of Spengler’s scientific views I shall (...) consider his work in comparison with that of Hans Vaihinger, a contemporary of Spengler and noted fictionalist with regards to science. This comparison not only supports my interpretation of Spengler’s philosophy of science as fictionalist, it also throws into relief the numerous affinities between the thought of two philosophers who are not usually associated, in particular with regards to their accounts of the origins of science in the structures of human consciousness. This fictionalist affinity in turn suggests the need for a wholesale reappraisal of Spengler’s philosophical outlook. (shrink)

Looking at philosophy—and I mean western philosophy to be more specific—in the course of its historical development that goes back to ancient Greece, it emerged as a thematic phenomenon in the spontaneous course of broadening the scope of the sphere of human intellectual achievements at the time when the ancient Greeks were deeply immersed in and dimly shrouded by the superstitions and mystifications that characterized its mythological religion dominated by the Olympus-based pantheon of gods and goddesses led by (...) the ¨almighty¨ Zeus. If we want now to talk of fiction, ancient mythological Greek religion was hardcore fiction. And the emergence of the first so-called philosophers was a welcome relief in the lives of a people fed up with the exploitative machination of a hyper-superstitious religion enslaving them for so many generations. (shrink)

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken (...) together, a philosophy of science fiction horror emerges. Central to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre. (shrink)

A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which (...) we are inclined to resist imagining (or even accepting as true in the fiction) what’s explicitly stated in the text. But if we can’t take the text’s word for it, how do we determine what’s true in a fiction? We propose an account of fiction interpretation in a dynamic setting (a version of DRT with a mechanism for opening, updating, and closing temporary ‘workspaces’) and combine this framework with belief revision logic. With these tools in hand we turn to modelling imaginative resistance and unreliable narrators. (shrink)

Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our (...) understanding of unreliable narrators and unreliable narration in fiction needs to accommodate stories that, on the face of it, cannot possibly be true. (shrink)

Some experimental philosophers imply that philosophers should endorse folk intuitions and even use them to advance philosophical theses. In this paper I will try to contrast experimental appeals to intuition with J. L. Austin’s, whom some experimentalists cite as a precursor of their method. I will suggest that Austin evokes ordinary intuitions in order to dismantle philosophical quests. He even suggests (a) that the appeal to ordinary intuitions of the folk can hardly prescribe answers to extraordinary circumstances and (b) that (...) philosophical quests themselves are extraordinary. Therefore, the appeal to folk intuitions cannot prescribe answers to philosophical problems. It can only dissolve philosophical quests; yet, the dismantling of philosophy hardly accords with the experimentalists’ agenda. (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)

Egal was der heutige Tag auch bringen mag, der 1. April 2063 wird zumindest als der Tag in die Geschichte des Wissenschaftsjournalismus eingehen, der die bisher aufwändigste Berichterstattung erfahren hat. So viele Kamerateams, wie hier vor den Toren der Australian National University in Canberra, hat bisher kein wissenschaftliches Experiment anziehen können. Selbst der Knüller des Vorjahres, als es einer 48jährigen Hausfrau in einem Vorort von London gelang, mit einfachsten Küchenutensilien einen kleinen Kalte-Fusion-Reaktor herzustellen, der den Staubsauger und die Mikrowelle zuverlässig (...) mit sauberer Energie versorgte, hatte bei weitem nicht ein solches Echo in der Wissenschaftspresse erfahren. Es war zwar noch nichts über den Experimentausgang zu erfahren, trotzdem wurde freilich seit drei Tagen ununterbrochen live auf fast allen Kanälen aus Canberra darüber berichtet, dass nun zwar noch nichts zu erfahren sei, dass es aber ja sehr bald soweit sein müsse. Das Experiment, dessen Ausgang man hier so gespannt erwartete, war schon im Vorfeld hitzig diskutiert worden und überhaupt nur durch einen Sonderbeschluss der Vereinten Nationen zustande gekommen. Immerhin läuft die Vorbereitung bereits seit fast 30 Jahren, als sich mehrere Philosophen und Bürgerinitiativen zusammenschlossen, die UNO um eine endgültige Klärung einer der ältesten Fragen der Menschheit zu bitten: Was ist Bewusstsein? Und insbesondere: Ist Bewusstsein etwas anderes als physikalisch beschreibbare Zustände unseres Gehirns, oder sind alle Tatsachen letztlich physikalische Tatsachen? Dass diese Fragen trotz ihres Ehrfurcht einflößenden Alters zunehmend auf den Nägeln brannten, hatte nicht zuletzt die jüngste Entwicklung der Computertechnologie befördert. Nachdem die KI in den letzten Jahrzehnten einen großen Schritt vorwärts gemacht hatte, war man in Sorge, dass ohne endgültige begriffliche Klärung dieser Fragen unser zukünftiger Umgang mit unseren elektronischen Helfern auf moralisch unsicherem Boden stehen könne. Man hatte sich daher nach langer Abwägung der ethischen Aspekte dieses Experiments dazu entschieden, ein gerade neugeborenes Waisenkind in einem völlig schwarz-weiß-grauen Raum groß werden zu lassen, sorgsam darum bemüht, dass die kleine Mary (so hatte man das Mädchen in Anlehnung an die Protagonistin einer fiktiven philosophischen Geschichte genannt) keine Farben zu Gesicht bekommt.. (shrink)

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)

The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not just concern (...) language, but also states of imagining themselves, and then presents a solution. The solution draws on the idea that many reports of imagining conceal a distinctive kind of question, and such concealed questions have an extra argument place for (what we will call) an experiencer from whose perspective things are imagined. This solution has a range of advantages over other proposals in the literature, and helps to advance two debates concerning perspectival engagement with fiction. (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)

Abstract Impossible fictions have lessons to teach us about linguistic representation, about mental content and concepts, and about uses of conceivability in epistemology. An adequate theory of impossible fictions may require theories of meaning that can distinguish between different impossibilities; a theory of conceptual truth that allows us to make useful sense of a variety of conceptual falsehoods; and a theory of our understanding of necessity and possibility that permits impossibilities to be conceived. After discussing these questions, strategies for resisting (...) the picture of impossible fictions presented here and in Part I are discussed. Perhaps apparently impossible fictions describe possibilities after all; or perhaps impossible fictions are all trivial; or perhaps some apparently intelligible impossible fictions are unintelligible after all. (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)

Many philosophers are very sanguine about the cognitive contributions of fiction to science and philosophy. I focus on a case study: Ichikawa and Jarvis’s account of thought experiments in terms of everyday fictional stories. As far as the contribution of fiction is not sui generis, processing fiction often will be parasitic on cognitive capacities which may replace it; as far as it is sui generis, nothing guarantees that fiction is sufficiently well-behaved to abide by the (...) constraints of scientific and philosophical discourse, not even by the minimum requirements of conceptual and logical coherence. (shrink)

The recent discussion of fictional models has focused on imagination, implicitly considering fictions as something nonconcrete. We present two cases from synthetic biology that can be viewed as concrete fictions. Both minimal cells and alternative genetic systems are modal in nature: they, as well as their abstract cousins, can be used to study unactualized possibilia. We approach these synthetic constructs through Vaihinger’s notion of a semi-fiction and Goodman’s notion of semifactuality. Our study highlights the relative existence of such concrete (...) fictions. Before their realizations neither minimal cells nor alternative genetic systems were any well-defined objects, and the subsequent experimental work has given more content to these originally schematic imaginings. But it is as yet unclear whether individual members of these heterogeneous groups of somewhat functional synthetic constructs will eventually turn out to be fully realizable, remain only partially realizable, or prove outright impossible. (shrink)

Importation in fictional discourse is the phenomenon by which audiences include information in the story over and above what is explicitly stated by the narrator. This paper argues that importation is distinct from generation, the phenomenon by which truth in fiction may outstrip what is made explicit, and draws a distinction between fictional truth and fictional records. The latter comprises the audience’s picture of what is true according to the narrator. The paper argues that importation into fictional records operates (...) according to principles that also govern ordinary conversation. An account of fictional records as a species of common ground information is proposed. Two sources of importation are described in detail, presupposition accommodation and conversational implicatures. It is shown that presuppositions are both mandatorily imported and mandatorily generated. By contrast, conversational implicatures are neither mandatorily imported nor mandatorily generated. The paper distinguishes conversational implicatures from contextual inferences. Both rely on background assumptions, yet conversational implicatures moreover depend on assumptions concerning Gricean cooperation. (shrink)

Several philosophers including Kripke have contended that fictional entities do exist as abstract objects, and fictional names refer to such abstract entities. Kripke and Thomasson compare fictional entities to existing social entities. Kripke also reflects on fictions inside fictions to support his view. Many philosophers appeal to the apparent fact that we quantify over fictional entities. Such arguments in favor of the existence of fictional entities are critically scrutinized. It is argued that they are much less compelling than their proponents (...) suggest and involve various obscurities. (shrink)

Engagement with fiction often inspires emotional responses. We may pity Sethe while feeling ambivalent about her actions (in Beloved), fear for Ellen Ripley as she battles monstrous creatures (in Alien), get angry at Okonkwo for killing Ikemefuna (in Things Fall Apart), and hope that Kiyoaki and Satoko find love (in Spring Snow). Familiar as they are, these reactions are puzzling. Why do I respond emotionally if I do not believe that these individuals exist or that the events occurred? If (...) I merely imagine that my best friend has betrayed me, I do not become angry with him; if I did, I would be considered irrational. Yet although beliefs seem to be necessary for emotions in other contexts, we respond to fiction without the relevant beliefs. These observations prompt two questions about our emotional responses to fiction (henceforth: fictional emotions). The first is descriptive: Should fictional emotions be classified as the same kind of emotions we experience in other contexts? The second is normative: Are fictional emotions irrational or otherwise inappropriate? I take each of these debates in turn. (shrink)

[This download contains the Table of Contents and Chapter 1.] This first book-length study of confabulation breaks ground in both philosophy and cognitive science.

This book addresses how our revisionary practices account for relations between texts and how they are read. It offers an overarching philosophy of revision concerning works of fiction, fact, and faith, revealing unexpected insights about the philosophy of language, the metaphysics of fact and fiction, and the history and philosophy of science and religion. It will be of interest to a wide range of scholars and advanced students working in philosophy of language, metaphysics, (...) class='Hi'>philosophy of literature, literary theory and criticism, and history and philosophy of science and religion. (shrink)

One of the vexed questions in the philosophy of wonder and indeed education is how to ensure that the next generation harbours a sense of wonder. Wonder is important, we think, because it encour- ages inquiry and keeps us as Albert Einstein would argue from ‘being as good as dead’ or ‘snuffed-out candles’ (Einstein 1949, 5). But how is an educator to install, bring to life, or otherwise encourage a sense of wonder in his or her stu- dents? Biologist (...) Rachel Carson suggests that exploring nature and specifically undertaking walks along the rocky coast of Maine would keep alive a person’s inborn sense of wonder (Carson 1984). Philosopher Jesse Prinz thinks that exposure to art will encourage wonderment because artworks, as he puts it, are “inventions for feeding the appetite that wonder excites in us” (Prinz 2013). Weird fiction (a subgenre of speculative fiction) – and in particular the work of one of its greatest exponents, the early-20th-century American author How- ard Phillips Lovecraft – is likewise a catalyst for wonder. The reason behind this is that Lovecraft’s ‘wonder-stories’ are densely packed with wonder per design; and in support of this claim I shall in what is to come 1) provide a brief introduction to Lovecraft and weird fiction; 2) present a working definition of wonder; and 3) clarify what is meant by something being ‘densely packed with wonder’ via bringing to the fore evidence of Lovecraft’s literary wonder- mongery. The paper ends with some reflections on the notion of ‘dark wonder’, why this peculiar label might be suitable for the kind of wonder we find in Lovecraft’s work, and why exposure to ‘dark wonder’ can be edifying, and in that sense educational. (shrink)

Some philosophers of science – the present author included – appeal to fiction as an interpretation of the practice of modeling. This raises the specter of an incompatibility with realism, since fiction-making is essentially non-truth-regulated. I argue that the prima facie conflict can be resolved in two ways, each involving a distinct notion of fiction and a corresponding formulation of realism. The main goal of the paper is to describe these two packages. Toward the end I comment (...) on how to choose among them. (shrink)

A legal fiction is a knowingly false assumption that is given effect in a legal proceeding and that participants are not permitted to disprove. I offer a semantic pretence theory that shows how fiction-involving legal reasoning works.

What does it mean for a proposition to be "true in a fiction"? According to the account offered by Kendall Walton in Mimesis as Make-Believe (1990), what is fictionally true, or simply fictional, is what a work of fiction invites or prescribes that we imagine. To say that it is fictional that Okonkwo kills Ikemefuna in Chinua Achebe's Things Fall Apart, for example, is to say that we are supposed to imagine that event. Yet Walton gives no account (...) of the kind of imagining relevant to understanding fictionality. In this paper I argue that the relevant kind of imagining is imagining a storyworld. I propose an account of this sort of imagining, as well as the nature of the invitations or prescriptions to imagine generated by fiction. I show that this account can be defended against various criticisms of Walton's original view, including his own argument in 2015 that prescriptions to imagine provide only necessary conditions for fictionality. (shrink)

Science and fiction seem to lie at opposite ends of the cognitive-epistemic spectrum. The former is typically seen as the study of hard, real-world facts in a rigorous manner. The latter is treated as an instrument of play and recreation, dealing in figments of the imagination. Initial appearances notwithstanding, several central features of scientific modeling in fact suggest a close connection with the imagination and recent philosophers have developed detailed accounts of models that treat them, in one way or (...) another, as akin to fictions. This chapter will critically discuss the fictions approach as an epistemology of scientific modeling. (shrink)

This paper argues: (1) All knowledge from fiction is from imagination (2) All knowledge from imagination is modal knowledge (3) So, all knowledge from fiction is modal knowledge Moreover, some knowledge is from fiction, so (1)-(3) are non-vacuously true.

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)

We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

The contemporary debate in the philosophy of literature is strongly shaped by the anticognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this (...) challenge by pointing at ways in which works of literary fiction can be informative even though they lack worldly reference: it has been argued, for example, that works of fictions are thought experiments; that they add not to our theoretical knowledge, but to our know-how or to our phenomenal knowledge; or that that they help readers to understand the perspectives of others. A stubborn defense of literary cognitivism, however, risks to collapse into an instrumental understanding of literature. In my paper I suggest that both sides in the debate focus too narrowly on semantic features of the works in question that is tied to what I will call the “referential picture” of language. A shift perspective is needed: for one, we ought to fully appreciate that the term “literature” does not refer to a homogeneous phenomenon, but rather to a very heterogeneous and multifarious set of works that are read by many different readers for many different reasons in many different ways. Second, we need to understand that these works have in common much more than the semantic peculiarity of lacking worldly reference: they are a unique means of communication between authors and readers – and in particular the role of the latter is often neglected in contemporary debate. These two points should help us to get a more comprehensive understanding of the practice of literature and the vast range of values we can find works of literary fiction – and the interplay between them. (shrink)

Fictional names present unique challenges for semantic theories of proper names, challenges strong enough to warrant an account of names different from the standard treatment. The theory developed in this paper is motivated by a puzzle that depends on four assumptions: our intuitive assessment of the truth values of certain sentences, the most straightforward treatment of their syntactic structure, semantic compositionality, and metaphysical scruples strong enough to rule out fictional entities, at least. It is shown that these four assumptions, taken (...) together, are inconsistent with referentialism, the common view that names are uniformly associated with ordinary individuals as their semantic value. Instead, the view presented here interprets names as context-sensitive expressions, associated in a context of utterance with a particular act of introduction, or dubbing, which is then used to determine their semantic value. Some dubbings are referential, which associate names with ordinary individuals as their semantic values; others are fictional, which associate names, instead, with sets of properties. Since the semantic values of names can be of different sorts, the semantic rule interpreting predication must be complex as well. In the body of the paper, I show how this new treatment of names allows us to solve our original puzzle. I defend the complexity of the semantic predication rule, and address additional worries about ontological commitment. (shrink)

The Gamer’s Dilemma refers to the philosophical challenge of justifying the intuitive difference people seem to see between the moral permissibility of enacting virtual murder and the moral impermissibility of enacting virtual child molestation in video games (Luck Ethics and Information Technology, 1:31, 2009). Recently, Luck in Philosophia, 50:1287–1308, 2022 has argued that the Gamer’s Dilemma is actually an instance of a more general “paradox”, which he calls the “paradox of treating wrongdoing lightly”, and he proposes a graveness resolution to (...) this paradox. In response, we argue for four key claims. First, we accept Luck’s expansion of the Gamer’s Dilemma to be applicable to a wider set of media, but give a novel recasting of this in terms of the Paradox of Fictionally Going Too Far. Second, we develop a novel criticism of Luck in Philosophia, 50:1287–1308, 2022 graveness resolution to this broader paradox. Third, we argue that the Paradox of Fictionally Going Too Far helps to expose an implicit moralism in the Gamer’s Dilemma literature when compared to relevant nearby literatures about other forms of media. Fourth, we consider a range of non-moral, cultural and media conventions that plausibly help to dissolve the intuitive moral gap between non-sexual and sexual violence that is central to this paradox. (shrink)

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image back into the imagination’. The (...) weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. (shrink)

In digital cinema, the ambiguity in the concept of representation asks us: How do moving pictures represent fictional objects? I am more concerned in the veracity of fictional objects than the representational theory of how fictional objects are generated. I claim that John Dilworth’s framework is uncritical, therefore, I will adopt an account of truth in fiction according to David Lewis. The purposes of this paper are: (1) to criticize John Dilworth’s framework, and (2) to provide Lewis’s theory as (...) an alternative solution in understanding the veracity of fictional objects. (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)

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)

In his [Africans are not Black: The Case for Conceptual Liberation], Kwesi Tsri relies extensively on myths and non-fictional narratives to dictate the origin of the racial disparagement of Afro-Americans and Africans from south of the Sahara. Owing to the synonymy between ‘black’ and ‘Africa’ as well as the derogatory symbolism in the former that fuels the latter, Tsri submits the need to disassociate Africans from the concept, ‘black.’ Upon a critical conversation with Tsri’s text however, Chimakonam discerns three flaws. (...) Granted, the objections are salient, I augment herein, one of Chimakonam’s critiques – the exclusion by Tsri, of nonfictional or scientific texts on the race discourse. Whereas I agree with Chimakonam that both the fictional and non-fictional accounts on race are pertinent for intellectual balance in Tsri’s disquisition, I further suggest that in most cases, non-fictional or scientific theories on race are undergirded by the prejudice initiated by mythical and/or fictional narratives. I substantiate my thesis, relying on Karl Popper’s evolutionary epistemology, with 21 st century science admission that human genetic diversity cannot be captured by scientific theories of race. Keywords: Africa, Blackness, Jonathan Chimakonam, Karl Popper, Kwesi Tsri. (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)

A recent and growing discussion in philosophy addresses the construction of models and their use in scientific reasoning by comparison with fiction. This comparison helps to explore the problem of mediated observation and, hence, the lack of an unambiguous reference of representations. Examining the usefulness of the concept of fiction for a comparison with non-denoting elements in science, the aim of this paper is to present reasonable grounds for drawing a distinction between these two kinds of representation. (...) In particular, my account will suggest a demarcation between fictional and non-fictional discourse as involving two different ways of interpreting representations. This demarcation, leading me to distinguish between fictional and non-fictional forms of enquiry, will provide a useful tool to explore to what extent the descriptions given by a model can be justified as making claims about the world and to what degree they are a consequence of the model’s particular construction. (shrink)

Anti-cognitivism is best understood as a challenge to explain how works of fictional narrative can add to our worldly knowledge. One way to respond to this challenge is to argue that works of fictional narrative add to our knowledge by inviting us to explore, in the imagination, the perspectives or points of view of others. In the present paper, I distinguish two readings of this thesis that reflect two very different conceptions of “perspective”: a first understanding focuses on what the (...) world looks like from a subjective point of view. Within this framework, we can distinguish approaches that focus on the subjective character of experience from others that explore the nature of subjectivity. I will argue that both strands can be successful only if they acknowledge the de se character of imagining. The second conception understands perspective as a method of representing. To illustrate it, I will look back to the invention of linear perspective in Renaissance painting. I will argue that the definition of perspective as a rule-guided method or technique can shed new light on the thesis that works of narrative fiction are particularly suited to display other perspectives. (shrink)

I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability (...) to understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (shrink)

This paper explores one of Unamuno's most challeng-ing short stories: Artemio, heuatontimoroumenos (1918). In this text, Unamuno deals with an experience for which he coins the expression ›self-envy‹. Is ›self-envy‹ conceptually sound? Or is it an unsuitable phrase for an emotional state that has nothing to do with envy? The paper proceeds in three steps in order to answer these questions. After presenting Unamuno’s Artemio, heuatontimoroumenos (section 1), the following section considers the notion of self-envy, which I interpret as a (...) singular but instructive case of envy (section 2). My attention then turns to a more general emotional state, which I interpret using the concept of akratic emotion (section 3). The paper concludes with some considerations as to the use of literature as a form of thought experiment for philosophical purposes. In sum, I show that Artemio can be efectively read as a thought experiment in relation to envy and akrasia, i.e., the state of acting against one’s better judgement. (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)

Idiosyncratic responses as more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that draw (...) the spectator’s attention. Film may facilitate self-reflection by slowing down narrative development and making the narrative indeterminate. Such scenes make idiosyncratic responses, such as self-reflection, appropriate and intended. Fiction film is a safe context for the spectator to reflect on personal issues, as it also affords him with distancing techniques if the reflection becomes too painful or unwanted. The fictional context further encourages self-reflection in response to empathy, as the spectator is relieved from real life moral obligations to help the other. (shrink)