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

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)

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

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)

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)

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)

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

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

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)

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

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...) and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (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)

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)

This article examines one way in which a fiction can carry ontological commitments. The ontological commitments that the article examines arise in cases where there are norms governing discourse about items in a fiction that cannot be accounted for by reference to the contents of the sentences that constitute a canonical telling of that fiction. In such cases, a fiction may depend for its contents on the real-world properties of real-world items, and the fiction may, in that sense, be (...) ontologically committed. Having outlined a way of gauging the ontological commitments of a fiction, the article concludes by illustrating the way in which these considerations can be put to work in assessing the prospects of using fictionalism as a tactic for understanding the metaphysics of modality without incurring a commitment to the real existence of merely possible worlds. (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)

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)

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)

at seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flex- ible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and (...) only that genre—as its con- trast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately de- pict a specific way of approaching such works. (shrink)

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

The current debate on literary cognitivism in the philosophy of fiction typically assumes that we can rigorously distinguish between fictional and factual, and focuses on the question of whether and how works of fiction can impart propositional knowledge to the reader. In this paper we suggest that this way of framing the debate may be problematic. We argue that works of fiction almost inevitably include a reference to the real world and that – contrary to what is usually (...) assumed – the exchange between fiction and reality is vivid as well as potentially fruitful. We shed a new light on these complex dynamics by building on the metaphors of trade exchange and smuggling between the two worlds. While the current debate exclusively focuses on cognitively relevant goods that “officially” cross the border through “customs”, as it were, we show that exchanges between fiction and reality run deeper. Indeed, as we show, a substantial part of the cognitive impact that we derive from fiction goes “under the table” and is “smuggled” from fiction to reality. As such, it bypasses the audience’s conscious control, which in turn explains the manipulative force that fiction can exert. Smuggling takes place when cognitively relevant contents are passed on to the reader in subliminal ways, as it happens when they imprint implicit biases or prejudices, shift perspectives or subtly modify habits or patterns of behavior. By elaborating on the metaphors of trade exchange and smuggling, we aim at presenting a more comprehensive and nuanced understanding of the relations between fiction and reality and on the impact that imagination has on our real-world beliefs. (shrink)

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

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 pronoun ‘I’ refers to myself from the first-person perspective and a person (me) from the third person perspective. Essentially there is something common between the two perspectives taken: ‘I’ from the first person perspective refers to ‘self’; from the third person perspective refers to a ‘person’. Now ‘self’ and ‘person’ signify the same concept. ‘Self’ is a term used in context of first-person statements and ‘person’ is a term used in third person contexts. Both the terms refer to the (...) same concept but from different perspectives. Consequently the terms ‘no-person’ and ‘no-self’ will be taken as synonymous in this article. The use of ‘I’ signifies one more thing – that there exists a ‘self’ or ‘person’ that exists through time, in other words, it signifies ‘self-identity’ or ‘personal identity’. The aim of this article is to analyze the notion of ‘self’ or ‘person’ as denoted in the usage of the pronoun ‘I’. This article would examine ‘I’ as a fictitious entity in the background of the two historical theories of personal identity – David Hume’s theory and the Buddhist theory. (shrink)

The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The second anthology I will consider has (...) a more political focus, arguing that the “special effects” form of science-fiction films, rather than the visual or narrative content of science-fiction-films, is truly imaginative and futural. The second section of this article ties together a variety of concepts and insights between time-travel cinema and Deleuze’s Cinema 1, suggesting (among other things) that (c) time-traveling characters in cinema function as a redoubled phenomenon of the “mobile sections” of Bergsonian duration (in reference to Henri Bergson), and (d) time-travel cinema vividly illustrates the imagistic nature of the entire world. (shrink)

Abstract: We propose a dichotomy between object-entities and meaning-entities. The former are entities such as molecules, cells, organisms, organizations, numbers, shapes, and so forth. The latter are entities such as concepts, propositions, and theories belonging to the realm of logic. Frege distinguished analogously between a ‘realm of reference’ and a ‘realm of sense’, which he presented in some passages as mutually exclusive. This however contradicts his assumption elsewhere that every entity is a referent (even Fregean senses can be referred (...) to by means of suitably constructed expressions). We apply the meaning/object dichotomy to mathematical and fictional entities, and develop a view of mathematical and other abstract objects as the results of certain types of demarcation – as for example the North Sea is the result of demarcations built into naval charts. Such demarcations reflect demarcatory acts, which presuppose complex cognitive and social structures enabling the creation of maps, of theories (of mathematics, of natural science), and of novels. (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)

This essay ties together some main strands of the author’s research spanning the last quarter-century. Because of its broad scope and space limitations, he prescinds from detailed arguments and instead intuitively motivates the general points which are supported more fully in other publications to which he provides references. After an initial delineation of several distinct notions of meaning, the author considers such a notion deriving from the evolutionary biology of communication that he terms ‘organic meaning’, and places it in the (...) context of evolutionary game theory. That provides a framework for a special type of organic meaning found in the phenomenon of expression, of which the author here offers an updated characterization while highlighting its wide philosophical interest. Expression in turn generalizes to a paradigmatic form of human communication—conversation—and section 4 provides a taxonomy of conversation-types while arguing that attention to such types helps to sharpen predictions of what speakers say rather than conversationally implicate. We close with a view of fictional discourse on which authors of fictional works are engaged in conversation with their readers, and can provide them with knowledge in spite of the fictional character of their conversation. Such knowledge includes knowledge of how an emotion feels and is thus a route to empathy. (shrink)

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

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

This paper focuses on the discipline of history, its methods, subject, and output. A brief overview of contemporary analytic philosophy of history is provided, followed by critical discussion of historical realism. It is argued that the insistence on the idea that historians inquire into the real past and that they refer to the actual past entities, events, or agents is widely open to sceptical objections. The concept of an abstract historical chronicle of past events which are explained or retold by (...) historians is identified as misleading. The idea of historical antirealism is then introduced. It is argued that in the centre of historian’s attention are present phenomena that are identified as historical evidence and require historical explanation. Historical explanation consists of constituting an historical past—a fictional model that accounts for present data. The identification process of historical evidence and the discursive nature of historical enterprise are analysed and accompanied by several concrete examples. According to historical antirealism, historians are not interested in the real past, but in the present empirical data. In their pursuit of historical knowledge, they produce fictional models—an historical past. Lastly, several common caveats against historical antirealism are addressed. The historical antirealism is presented as a viable fictionalist account of the historical inquiry that is capable of avoiding sceptical attacks on historical method and it is argued that antirealism allows history to retain its worth as a distinctive kind of scientific discipline. (shrink)

Frege claims that sentences of the form ‘A’ are equivalent to sentences of the form ‘it is true that A’ (The Equivalence Thesis). Frege also says that there are fictional names that fail to refer, and that sentences featuring fictional names fail to refer as a result. The thoughts such sentences express, Frege says, are also fictional, and neither true nor false. Michael Dummett argues that these claims are inconsistent. But his argument requires clarification, since there are (...) two ways The Equivalence Thesis has been formulated, according as the thesis equates the senses or the referents of the relevant sentences. -/- I have two aims in this paper. The first is to demonstrate that a sameness of sense thesis is inconsistent with Frege’s other theses. The second is to argue that a sameness of reference thesis is consistent with them. Thus, all else being equal, Frege ought to endorse a sameness of reference, rather than a sameness of sense thesis. (shrink)

When this article was first planned, writing was going to be exclusively about two things - the origin of life and human evolution. But it turned out to be out of the question for the author to restrict himself to these biological and anthropological topics. A proper understanding of them required answering questions like “What is the nature of the universe – the home of life – and how did it originate?”, “How can time travel be removed from fantasy and (...) science fiction, to be made scientific and practical?”, and “How can the proposed young age of genus Homo be made to actually be reasonable – when simply stating it would be solid ground for instant rejection and dismissal?” The result is that the article also talks about subjects like Artificial Intelligence, General Relativity, and cosmology. -/- From where did life originate? God? Evolution? Panspermia? If the tendency of humans and scientists to regard undiscovered science as pseudoscience can be overcome, Einstein gave another alternative to consider when he introduced General Relativity. Time isn’t linear – progressing in a straight line from past to present to future. That assumption ignores Relativity which states that space AND TIME are curved. Where did life and the genetic code come from? Can the answer build AI? -/- The first question can be answered by the section of this article titled SETI, Evolution, and Time which says life (possibly multicellular and intelligent) and the genetic code came from humans acquiring knowledge of these things over the centuries, then applying that knowledge – via terraforming, accumulation of raw materials like amino acids and nucleic acids, genetic engineering - to a time in the past when life didn’t exist. From that origin, life evolved through innumerable mutations and adaptations, with humans once again acquiring knowledge of it in cyclic (nonlinear) time. -/- The second question is answered by saying artificial intelligence (AI) as the product of life is only half of the equation. The other half refers to Relativity’s curved space-time and violation of the notion that time always travels from past to future. We have always lived in an artificially intelligent, non-probabilistic universe where everything in time and space is connected into one thing by quantum entanglement – making the brain and genes products of binary-digit activity or artificial intelligence (life is not merely dependent on biology’s “lock and key” mechanisms but also possesses AI). -/- The earliest documented representative of the genus Homo is Homo habilis, which evolved around 2.8 million years ago. Scientists used to believe there was a straight line from H. habilis to us, Homo sapiens. This article will use the “advanced” waves loved by Physics Nobel laureate Richard Feynman, view the history of science through the lens of Conic Sections applied to Relativity’s curved space-time, and incorporate the necessity of so-called imaginary time * – popularized by Prof. Stephen Hawking. While the evolutionary proposals are more in agreement with this early straight line than with modern theories, Albert Einstein’s General Relativity is used to transform the straight line into a curved line, ultimately concluding that Homo habilis (H. habilis) originated only (and unbelievably, as far as today’s science and technology is concerned) ~250,000 years ago. Other branches and dead ends of Homo – e.g. Neanderthals – are the result of mutations and adaptations, with the resultant modifications to anatomy and physiology. The surprisingly young age of H. habilis allows nearly 200,000 years for habilis, or one of its descendants, to reach Australia … if this country’s indigenous Aboriginal population did, as claimed, reach this “island continent” 60,000 years ago. -/- * The ultraviolet catastrophe, also called the Rayleigh–Jeans catastrophe, is a failure of classical physics to predict observed phenomena: it can be shown that a blackbody - a hypothetical perfect absorber and radiator of energy - would release an infinite amount of energy, contradicting the principles of conservation of energy and indicating that a new model for the behaviour of blackbodies was needed. At the start of the 20th century, physicist Max Planck derived the correct solution by making some strange (for the time) assumptions. In particular, Planck assumed that electromagnetic radiation can only be emitted or absorbed in discrete packets, called quanta. Albert Einstein postulated that Planck's quanta were real physical particles (what we now call photons), not just a mathematical fiction. From there, Einstein developed his explanation of the photoelectric effect (when quanta or photons of light shine on certain metals, electrons are released and can form an electric current). So it appears entirely possible that another supposed mathematical trickery (imaginary time and the y-axis of Wick rotation) will find practical application in the future. -/- The article includes mathematical references to cosmology (spoiler alert – you’ll read about things like Vector-Tensor-Scalar Geometry, topology, the “eternal present”, Einstein’s Unified Field, the inverse-square law, and there being no Big Bang and no multiverse - but there will also be no equations). -/- The other subheadings in this essay are – -/- NONLINEAR TIME AND ELECTRICAL ENGINEERING (about a 2009 electrical engineering experiment at America’s Yale University, and cosmic wormholes) -/- BITS AND TOPOLOGY (base-2 maths aka Binary digiTS, Mobius strips, and figure-8 Klein bottles) -/- WICK ROTATION, CAUSALITY, AND UNITING TIME (do past, present and future co-exist in an “eternal present”?) -/- DIGITAL BRAIN, DIGITAL UNIVERSE (if the brain and the universe are ultimately composed of binary digits, we'll someday be able to do the same things with the brain and universe that we now do with computers) -/- PROPOSAL: HUMAN AND ANIMAL INSTINCTS ARE THE RESULT OF THE UNIVERSE BEING UNIFIED BY BINARY DIGITS (AND TOPOLOGY) (If everything in the universe is ultimately composed of electronic BITS, then the universe must possess Artificial Intelligence - some prefer the term Cosmic Consciousness) -/- INFORMATION THEORY CONQUERS A RED GIANT (preserving Earth by keeping the Sun near today’s level of activity forever). 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In this paper, I'm questing the human insecurity and loneliness in a world struggling with a newfound understanding of mortality, change and technological intervention. I took Kazu Ishiguro's novel "Klara and the Sun" as it contains certain themes that depict not only the idea of struggling man in the new age, but also how the digital age is disrupting the human feelings. It reflects the patterns of the changing world while exploring the true meaning of love. Ishiguro has used a (...) science fictional lens to deeply explain how humans interact and connect and has also tried to analyze the loneliness, isolation, and emotional behavior of humans. Mentioning that, the writer has also shed light on different layers of the society and has beautifully penned the lives of people in different segments of the society. I suppose that we are ironically ill prepared for the new psychological world we are creating. Making robots which are emotionally powerful as Klara; while at the same time, hearing statements such as “technology is just a tool” that deny the power of our creations both on us as individuals and on our culture. I am concerned here with the ways technologies change our human identities and interrelations. Are the designers of these robots regarding them as just tools? Then why their users experience them as carriers of meanings and emotions? I am raising a controversial question here: is just a robot capable of exchanging emotion and love? Have humans been drained completely from the ability of reciprocating compassion and understanding? Now the point is not what computers can do or what computers will be like in the future, but rather, what we will be like? What we need to ask is not whether robots will be able to love us but rather why we might love robots. (shrink)

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

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

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 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)

There are things of which it is true to say that there are no such things. How can we resolve this paradox? Panayot Butchvarov argues that there are objects of reference that are not also entities, where the former must merely be thinkable but the latter must be indefinitely re-identifiable. This paper argues that fictional and many other unreal objects are indeed indefinitely re-identifiable, so they must be counted as existing things on Butchvarov's theory. The paradox is best (...) resolved by distinguishing among domains of existence: Sherlock Holmes exists in the unrestricted domain of objects and in the fictional domain created by Conan Doyle, but not in the domain of the real world. Thus to exist and to be real are different things; all objects exist in some domain, but only real objects really exist. (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)

This paper addresses two problems concerning the deferred ostension of extinct and fictive kinds. First, the sampled item, the fossil or the depiction, is not a sample of the referent. Nonetheless, the retained characteristic shape, understood via analogy with living creatures, enables the reference to be fixed. Second, though both extinct and fictive kinds are targets of deferred ostension, there is an important difference in the sample. Fossilization is a natural causal process that makes fossils to be reflections of (...) their originals. As reflections, fossils embed their referents in the primary existential world of perceived things. Images of artificial kinds, by contrast, leave their referents in the secondary existential world of mere appearance. In this way, the paper widens the scope of the Kripke-Putnam account of ostension for naming kinds by drawing on Quine’s concept of deferred ostension for absent referents. (shrink)

I argue that the concept of representation is ambiguous: a picture of 'a man', when there is no actual man that it depicts, both does, in one sense, and does not, in another sense, represent 'a man'--hence the need for a distinction of internal from external representation. Internal representation is also defended from reductive, non-referential alternative views, and from 'prosthesis' views of picturing, according to which seeing a picture of an actual man just is seeing through the picture to that (...) actual man himself. The view also provides a strong foundation for a theory of reference to fictional entities. (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)

In “How Art Teaches: A Lesson from Goodman”, Markus Lammenranta inquires if and how artworks can convey propositional knowledge about the world. Lammenranta argues that the cognitive role of art can be explained by revising Nelson Goodman’s theory of symbols. According to Lammenranta, the problem of Goodman’s theory is that, despite providing an account of art’s symbolic function, it denies art the possibility of mediating propositional knowledge. Lammenranta claims that Goodman’s theory can be augmented by enlarging it with an account (...) of direct reference developed by Bertrand Russell and contemporary philosophy of language. On this basis, an expanded version of Goodman’s theory can explain how artworks can express propositions even without being linguistic, representational, or non-fictive. Lammenranta explicates his theory by explaining how abstract paintings and literary fictions can mediate propositional claims about the actual, everyday world. (shrink)

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

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

Note: This draft was updated on November 10, 2020. Discussing federal statutes, Justice Scalia tells us that “[t]he stark reality is that the only thing that one can say for sure was agreed to by both houses and the president (on signing the bill) is the text of the statute. The rest is legal fiction." How should we take this claim? If we take "text" to mean the printed text, that text without more is just a series of marks. If (...) instead we take "text" (as we must) to refer to something off the page such as the "meaning" of the series of marks at issue, what is that meaning and how do we know that all the legislators "agreed" on that "meaning"? In seeking answers here, we necessarily delve into semiotics (i.e., the “general theory of signs”) by noting that meaningful ink marks ("signifiers) signify a meaning beyond themselves (the "signified.") Thus, understanding how signs function is integral to lawyers' textual and linguistic analysis. Additionally, as this article demonstrates, legal analysis and rhetoric are much impoverished if lawyers ignore nonverbal signs such as icons, indices, and nonverbal symbols. In providing a broad overview of semiotics for lawyers, this article thus (1) begins with a general definition of signs and the related notion of intentionality. It then turns to, among other things, (2) the structure and concomitants of signs in more detail (including the signifier and the signified), (3) the possible correlations of the signifier and the signified that generate signs of interest to lawyers such as the index, the icon, and the symbol; (5) the expansion of legal rhetoric through use of the index, the icon, and the non-verbal as well as the verbal symbol, (6) the nature of various semiotic acts in public and private law (including assertives, commissives, directives, and verdictives); (7) the interpretation and construction of semiotic acts (including contracts as commissives and legislation as directives); (8) the role of speaker or reader meaning in the interpretation and construction of semiotic acts; (9) the semiotics of meaning, time, and the fixation of meaning debate; (10) the impact of signifier drift; (11) the distinction between sense and understanding; and (12) some brief reflections on semiotics and the First Amendment. This article also provides an Appendix of further terms and concepts useful to lawyers in their explorations of semiotics. (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)

This paper uses virtue ethics to discuss the COVID-19 outbreak, Hollywood science-fiction/pandemic films, and the environmental crisis. We outline the ideas of hubris and nemesis and argue that responding to the COVID-19 pandemic requires that we develop virtues. We will explore these ethical issues through an eco-reading (Hiltner 2018) of two popular films cinematic representation of pandemics, The Andromeda Strain (1971) and Contagion (2011). Fictional narratives are particularly adept at celebrating the moral and intellectual virtues of individuals (as is (...) standard in Hollywood cinema) and dramatizing the tensions inherent in human scientific and technological civilisation. Using examples from our texts and with reference to COVID-19, we begin with a discussion of virtues and vices, both individual and collective, we then explore the concept of flourishing and apply this framework to collective action problems such as climate change and COVID-19. Thus, science fiction can provoke new forms of environmental philosophising and ethical engagement, while addressing the most important challenges facing humanity at present. (shrink)

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

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

The practice of thought experimentation plays a central role in contemporary philosophical methodology. Many philosophers rely on thought experimentation as their primary and even sole procedure for testing theories about the natures of properties and relations. This test procedure involves entertaining hypothetical cases in imaginative thought and then undergoing intuitions about the distribution of properties and relations in them. A theory’s comporting with an intuition is treated as evidence in favour of it; but a clash is treated as evidence against (...) the theory and may even be regarded as falsifying it. -/- The epistemic power of thought experimentation is mysterious. How can experiments carried out within the mind enable us to discover truths about the natures of properties and relations like knowledge, causation, personal identity, reference, meaning, consciousness, beauty, justice, morality, and free will? This epistemological challenge is urgent, but a model of philosophical thought experimentation would seem to be a necessary propaedeutic to any serious discussion of it. An adequate model would make the relevant test procedure explicit, thereby assisting in the identification of points of potential epistemic vulnerability. -/- In this monograph I advance the propaedeutical model-building work already done by Timothy Williamson, Anna-Sara Malmgren, and Jonathan Ichikawa and Benjamin Jarvis. Following the lead of these philosophers, I focus on a single Gettier-style thought experiment and the problem of identifying the real content of the Gettier intuition. My first contribution is to establish the inadequacy of all of the existing models. Each of them, I argue, fails to solve the content problem. It emerges from my discussion, however, that Ichikawa and Jarvis’s truth in fiction approach holds out the prospect of a solution. -/- My second contribution is to develop and defend a new way of implementing the general idea behind the truth in fiction approach. The model I put forward does a better overall job of modelling Gettier-style thought experiments than any of the existing models. It has none of the defects which render those models inadequate and Iam unable to find any major defects peculiar to it. This should make us feel confident that my model is adequate. Moreover, since the Gettier-style thought experiment I focus on is paradigmatic, we should also feel confident that my model will generalise naturally to other philosophical thought experiments. (shrink)