For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is (...) implied by Ingarden’s approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

Logic is useful as a neutral formalism for expressing the contents of mental representations. It can be used to extract crisp conclusions regarding the higher-order theory of phenomenal consciousness developed in (McDermott 2001, 20007). A key aspect of conscious perceptions is their connection to the distinction between appearance and reality. Perceptions must often be corrected. To do so requires that the logic of perception be able to represent the logical structure of judgment events, that is, to include the (...) formulas of the logic as objects to be reasoned about. However, there is a limit to how finely humans can examine their own representations. Terms representing primary and secondary qualities seemed to be _locked,_ so that the numbers (or levels of neural activation) that are their essence are not directly accessible. Humans feel a need to invoke ``intrinsic,'' ``nonrelational'' properties of many secondary qualities --- their _qualia_ --- to ``explicate'' how we compare and discriminate among them, although this is not actually how the comparisons are accomplished. This model of qualia explains several things: It accounts for the difference between ``normal'' and ``introspective'' access to a perceptual module in terms of quotation. It dissolves Jackson's knowledge argument by explaining what Mary learns as a fictional but undoubtable belief structure. It makes spectrum inversion logically impossible by providing a degree of freedom between the physical structure of the brain and the representations it contains that redescribes putative cases of spectrum inversion as alternative but equivalent ways of mapping physical states to representational states. (shrink)

This article reviews John Wood’s Truth in Fiction: Rethinking its Logic.

In, Kosterec attempts to provide ``model-theoretic proofs'' of certain theses involving the normal modal operators $\Diamond$ and $\square$ and the truth-in-fiction operator $F$ which he then goes on to show have counterexamples in Kripke models. He concludes from this that the embedding of modal logic under the truth-in-fiction operator is unsound. We show instead that it is the ``model-theoretic proofs'' that are themselves unsound, involving illicit substitution, a subtle error that nevertheless allows us to draw an important (...) conclusion about intensional contexts and semantic equivalences. (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)

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)

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)

The aim of this paper is to explore what insights relevant logics may provide for the understanding of literary fictional narrative. To date, hardly anyone has reflected on the intersection of relevant logics and narratology, and some could think that there is good reason for it. On the one hand, relevance has been a prominent issue in pragmatics, in the tradition of Grice, and Sperber and Wilson; thus framed, relevance is highly context-sensitive, so it seems unsuitable for formal analysis. On (...) the other hand, the very idea of a logic of narrative has been criticized, arguing that logic brings to a stasis the time of human action (Ricœur, II: 29-60), or that its emphasis on rules misses the creative, unpredictable character of literature (De Man)... First, I will briefly introduce relevant logics, with an eye to showing their interest for narratological concerns, rather than to here providing a coherent (let alone comprehensive) survey. Secondly, lest I get drawn into purely abstract discussion, I will analyse several stories in order to give some instances of the kind of topics congenial to narratology that may be addressed with a relevantist toolkit. Thirdly (and lastly), I will expand in more theoretical fashion on certain issues raised in the second section and bring them into connection with pragmatic relevance theory. (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)

A review of John Woods, Truth in Fiction: Rethinking its Logic. Cham: Springer, 2018.

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 book deals with conceptualization of time in different languages and in different kinds of discourse (folklore, poetry, fiction). Special attention is paid to some culture-specific models of time as well as to linguistic means related to temporal semantics: nouns, adjectives, adverbs, prepositions, prefixes, particles, and other temporal modifiers. The concept of time is also considered in its logical, axiological and historical aspects.

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)

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.

: For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which (...) is implied by Ingarden’s approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

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

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

Hyperlogic is a hyperintensional system designed to regiment metalogical claims (e.g., “Intuitionistic logic is correct” or “The law of excluded middle holds”) into the object language, including within embedded environments such as attitude reports and counterfactuals. This paper is the first of a two-part series exploring the logic of hyperlogic. This part presents a minimal logic of hyperlogic and proves its completeness. It consists of two interdefined axiomatic systems: one for classical consequence (truth preservation under a classical (...) interpretation of the connectives) and one for “universal” consequence (truth preservation under any interpretation). The sequel to this paper explores stronger logics that are sound and complete over various restricted classes of models as well as languages with hyperintensional operators. (shrink)

The Logic of Analogy is a study of the valid logical forms of qualitative and quantitative analogical argument, and the rules pertaining to them. It investigates equally valid conflicting arguments, statistics-based arguments and their utility in science, arguments from precedent used in law-making or law-application, and examines subsumption in analogical terms. Included for purposes of illustration is a large section on Talmudic use of analogical reasoning.

This paper aims at developing a logical theory of perspectival epistemic attitudes. After presenting a standard framework for modeling acceptance, where the epistemic space of an agent coincides with a unique epistemic cell, more complex systems are introduced, which are characterized by the existence of many connected epistemic cells, and different possible attitudes towards a proposition, both positive and negative, are discussed. In doing that, we also propose some interesting ways in which the systems can be interpreted on well known (...) epistemological standpoints. (shrink)

Recent work in formal semantics suggests that the language system includes not only a structure building device, as standardly assumed, but also a natural deductive system which can determine when expressions have trivial truth-conditions (e.g., are logically true/false) and mark them as unacceptable. This hypothesis, called the `logicality of language', accounts for many acceptability patterns, including systematic restrictions on the distribution of quantifiers. To deal with apparent counter-examples consisting of acceptable tautologies and contradictions, the logicality of language is often paired (...) with an additional assumption according to which logical forms are radically underspecified: i.e., the language system can see functional terms but is `blind' to open class terms to the extent that different tokens of the same term are treated as if independent. This conception of logical form has profound implications: it suggests an extreme version of the modularity of language, and can only be paired with non-classical---indeed quite exotic---kinds of deductive systems. The aim of this paper is to show that we can pair the logicality of language with a different and ultimately more traditional account of logical form. This framework accounts for the basic acceptability patterns which motivated the logicality of language, can explain why some tautologies and contradictions are acceptable, and makes better predictions in key cases. As a result, we can pursue versions of the logicality of language in frameworks compatible with the view that the language system is not radically modular vis-a-vis its open class terms and employs a deductive system that is basically classical. (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)

In this paper I present a formalization of the theory of ideal concepts applied to the concept of God. It is done within a version of the Simplest Quantified Modal Logic (SQML) and attempts to solve three meta-problems related to the concept of God: the unicity of extension problem, the homogeneity/heterogeneity problem and the problem of conceptual unity.

In this paper I propose three steps to overcome the force-content dichotomy and dispel the Frege point. First, we should ascribe content to force indicators. Through basic assertoric and directive force indicators such as intonation, word order and mood, a subject presents its position of theoretical or practical knowledge of a state of affairs as a fact, as something that is the case, or as a goal, as something to do. Force indicators do not operate on truth- or satisfaction evaluable (...) entities as on the traditional view, but complete and unify them. Second, higher-level acts such as interrogative, logical and fictional acts create higher-level unities that may suspend commitment to the assertions and directions they operate on. But they do not cancel their force, but transfer the meaning of force indicators into the new unities they create. For example, in the context of asking a theoretical or practical question, the assertoric or directive force indicator now presents the kind of knowledge the subject is seeking. Third, the Frege point conflates different varieties of force. We neither need Frege’s assertion sign, nor Hare’s neustic, nor Hanks’s cancellation sign, but only ordinary force indicators and interrogative, logical and fictional markers. Propositions are not forceless contents to which a subject commits by forceful acts, but forceful acts put forward by higher-level acts which may suspend commitment to them. (shrink)

Abstract artifacts such as musical works and fictional entities are human creations; they are intentional products of our actions and activities. One line of argument against abstract artifacts is that abstract objects are not the kind of objects that can be created. This is so, it is argued, because abstract objects are causally inert. Since creation requires being caused to exist, abstract objects cannot be created. One common way to refute this argument is to reject the causal inefficacy of abstracta. (...) I argue that creationists should rather reject the principle that creation requires causation. Creation, in my view, is a non-causal relation that can be explained using an appropriate notion of ontological dependence. The existence and the creation of abstract artifacts depend on certain individuals with appropriate intentions, along with events of a certain kind that include but are not limited to creations of certain concrete objects. (shrink)

Milan Kundera is now perhaps the greatest living philosopher, but he suffers from logical problems. One might propose that since he is a person who works primarily in the medium of fiction, one should not be too harsh on him, rather find ways to make him more logical. The result may be rather chaste.

This paper introduces and discusses three models of future: a determinist model, a stochastic model, and the model of True Prophetic Knowledge. All three models coexist in natural languages and are represented both in their grammatical systems and in the text-building discourse strategies speakers and authors apply to.

My aim in this paper is to explore how we might understand the relation of Deleuze’s early works to ethics, and to develop the connections between this way of understanding Deleuze and the work of Søren Kierkegaard. I will claim that we can view both figures as arguing that the sense or meaning we take from the world, and the metaphysical structure we ascribe to it, is secondary to an ethical stance we take in the face of a world of (...) becoming. As such, the central preoccupation of both Kierkegaard and Deleuze is how we make sense of an existence which is necessarily temporal. As we shall see, recognizing the importance of temporality involves a move away from the traditional resolution of the problem of sense that operates by making temporality an accidental aspect of a world. In the first half of this paper, I want to explore this claim in relation to Deleuze’s reading of Plato, tying his claim that Plato is essentially developing an ethical rather than metaphysical doctrine with the claim that “the task of modern philosophy has been defined: to overturn [renversement] Platonism” (DR 59). My emphasis in this section is how Deleuze, rather than “overturning” Platonism by simply rejecting the priority it gives to Forms or essences over appearances, the renversement of Deleuze’s reading inverts the relation to show how the search for essence is in fact grounded in an ethical decision, or “selection,” in the world of appearances/simulacra itself. As such, both Plato and Deleuze can be seen as presenting different trajectories for making sense of a world of becoming, either by grounding it in a transcendent, atemporal realm, or by seeing it as an intensive field of processes. In the second half, I will argue that Kierkegaard’s philosophy rests on a claim, similar to the one we find in Deleuze’s work, that we need to develop a logic of sense in response to a world of becoming. I will conclude that Deleuze’s reading of Kierkegaard is limited by a focus on the theological aspects of his thought, and that Kierkegaard provides a sophisticated and complementary taxonomy of the ways in which we try to make sense of our existence in a world of becoming by developing diverse ethical postures. (shrink)

Drawing on the well-established understanding of the zombie as metaphor for the deadening effects of consumer capitalism, this chapter seeks to account for three distinct changes that contextualise 21st century zombie fiction. The first is situational: the global economic crisis has amplified the anxieties that inspired Romero's critique of consumer capitalism in Dawn of the Dead (1978). The second is intellectual: as Chapman and Anderson (2011) note, there has been an “explosion of research on all aspects of disgust” in (...) recent years. The third concerns the subgenre itself: zombies have become increasingly sexualised since the late 1990s. These issues intersect in a numerous recent zombie films - including Zombie Strippers! (2008), Zombies! Zombies! Zombies! (2008), Big Tits Zombie (2010), and Zombies Vs Strippers (2012) - that are centred around or within strip clubs. Stripping epitomises the logic of consumer capitalism, offering tantalising promises but little physical satisfaction. Stripping translates sexual desire into a voyeuristic transaction, evacuated of corporeal messiness. The zombie’s decomposing body epitomises disgust, and its presence in the strip-club disturbs the fantasy typically provided within that context. In the zombie infected strip-club, intimate contact is damaging rather than desirous. In these respects, zombies hypostatize numerous tensions that are usually masked by fantasy and financial exchange. In doing so, these zombies reify the horrors of late capitalism. Their disgusting bodies disrupt the foundational logic of consumerism qua desire. (shrink)

This paper discusses some key connexive principles construed as principles about reasons, that is, as principles that express logical properties of sentences of the form ‘_p_ is a reason for _q_’. Its main goal is to show how the theory of reasons outlined by Crupi and Iacona, which is based on their evidential account of conditionals, yields a formal treatment of such sentences that validates a restricted version of the principles discussed, overcoming some limitations that affect most extant accounts of (...) conditionals. (shrink)

The descriptions and theoretical laws scientists write down when they model a system are often false of any real system. And yet we commonly talk as if there were objects that satisfy the scientists’ assumptions and as if we may learn about their properties. Many attempt to make sense of this by taking the scientists’ descriptions and theoretical laws to define abstract or fictional entities. In this paper, I propose an alternative account of theoretical modelling that draws upon Kendall Walton’s (...) ‘make-believe’ theory of representation in art. I argue that this account allows us to understand theoretical modelling without positing any object of which scientists’ modelling assumptions are true. (shrink)

Cognitive dissonance is a kind of ambivalence in which your apprehension of the fact that you performed or want to perform an action of which you disapprove gives rise to psychological distress. This, in turn, causes you to solicit unconscious processes that can help you reduce the distress. Here we look at the role that cognitive dissonance plays in explaining the inner workings of racism. We distinguish between three types of racist acts: inadvertent bigotry, habitual racism, and explicit racism. Unlike (...) inadvertent bigots, habitual and explicit racists are racially motivated and they therefore are responsible for their racial acts. But unlike the explicit racists, habitual racists aren’t immediately aware of their racial motives. As habitual racists hold overt egalitarian attitudes, the conflict between their over attitudes and their covert racial motives are a potential source of distress. To avoid having to face their racial motives, they tend to turn to confabulation. While explicit racists aren’t bothered by a similar form of cognitive dissonance, their explicit racial attitudes and desires to cause black people to suffer are at odds with majority public opinion, which can be a source of shame. To escape this kind of negative self-realization, explicit racists seek to justify their actions as honorable or as necessary for the good of society. We conclude by briefly pondering how cognitive dissonance can be used as a strategy for transforming habitual and explicit racists. (shrink)

The topic of exemplarity has attracted considerable interest in philosophy, legal theory, literary studies and art recently. There is broad consensus that exemplary cases mediate between singular instances and general concepts or norms. The aim of this article is to provide an additional perspective on the logic of exemplarity. First, inspired by Jacques Derrida’s discussion of exemplarity, I shall argue that there is a kind of différance between (singular) examples and (general) exemplars. What an example exemplifies, the exemplarity of (...) the example, eludes any fixed identity and follows a logic of supplement. Second, I shall present the so-called logic of exemplarity. The received paraconsistent view has it that the exemplar of X is an X and, at the same time, is not an X. Inspired by Ludwig Wittgenstein’s discussion of the standard metre, I would like to present an alternative paracomplete view whereby we can say of an exemplar of X neither that it is an X nor that it is not an X. (shrink)

If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for scholars to (...) try to dismiss it using data and theories coming from psychology. In opposition to this trend, the present paper argues that the paradox of fiction cannot be dissolved in the ways recommended by the recent literature. We start by showing how contemporary attempts at dissolving the paradox assume that it emerges from theoretical commitments regarding the nature of emotions. Next, we argue that the paradox of fiction rather emerges from everyday observations, the validity of which is independent from any such commitment. This is why we then go on to claim that a mere appeal to psychology in order to discredit these theoretical commitments cannot dissolve the paradox. We bring our discussion to a close on a more positive note, by exploring how the paradox could in fact be solved by an adequate theory of the emotions. (shrink)

The majority of philosophers of religion, at least since Plantinga’s reply to Mackie’s logical problem of evil, agree that it is logically possible for an omnibenevolent, omniscient, and omnipotent God to exist who permits some of the evils we see in the actual world. This is conceivable essentially because of the possible world known as heaven. That is, heaven is an imaginable world in a similar way that logically possible scenarios in any fiction are imaginable. However, like some of (...) the imaginable stories in fiction where we are asked to envision an immoral act as a moral one, we resist. I will employ the works of Tamar Gendler on imaginative resistance and Keith Buhler’s Virtue Ethics approach to moral imaginative resistance and apply them to the conception of heaven and the problem of evil. While we can imagine God as an omnibenevolent parent permitting evil to allow for morally significant freedom and the rewards in heaven or punishments in hell (both possible worlds), we should not. This paper is not intended to be a refutation of particular theodicies; rather it provides a very general groundwork connecting issues of horrendous suffering and imaginative resistance to heaven as a possible world. (shrink)

Typically, if I understand a sentence, then it expresses a proposition that I entertain. Nonsensical sentences don’t express propositions, but there are contexts in which we talk about understanding nonsensical sentences. For example, we accept various kinds of semantically defective sentences in fiction, philosophy, and everyday life. Furthermore, it is a standard assumption that if a sentence is nonsensical, then it makes no sense to say that it implies anything or is implied by other sentences. Semantically uninterpreted sentences don’t (...) have logical characteristics. Hence, the riddle of understanding nonsense arises. We seem to use nonsensical sentences in reasoning, thinking, judging, and drawing conclusions, but they convey no propositions, which are the vehicles of their semantic properties. In this article, I propose the pretence theory of understanding nonsense to explain the riddle of understanding nonsense, and discuss alternative frameworks that are insufficient to solve it. -/- . (shrink)

In some recent works, Crupi and Iacona have outlined an analysis of ‘if’ based on Chrysippus’ idea that a conditional holds whenever the negation of its consequent is incompatible with its antecedent. This paper presents a sound and complete system of conditional logic that accommodates their analysis. The soundness and completeness proofs that will be provided rely on a general method elaborated by Raidl, which applies to a wide range of systems of conditional logic.

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 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)

We explore the view that Frege's puzzle is a source of straightforward counterexamples to Leibniz's law. Taking this seriously requires us to revise the classical logic of quantifiers and identity; we work out the options, in the context of higher-order logic. The logics we arrive at provide the resources for a straightforward semantics of attitude reports that is consistent with the Millian thesis that the meaning of a name is just the thing it stands for. We provide models (...) to show that some of these logics are non-degenerate. (shrink)

The dogma that the propositional logic of metaphysical modality is S5 is rebutted. The author exposes fallacies in standard arguments supporting S5, arguing that propositional metaphysical modal logic is weaker even than both S4 and B, and is instead the minimal and weak metaphysical-modal logic T.

One of the most expected properties of a logical system is that it can be algebraizable, in the sense that an algebraic counterpart of the deductive machinery could be found. Since the inception of da Costa's paraconsistent calculi, an algebraic equivalent for such systems have been searched. It is known that these systems are non self-extensional (i.e., they do not satisfy the replacement property). More than this, they are not algebraizable in the sense of Blok-Pigozzi. The same negative results hold (...) for several systems of the hierarchy of paraconsistent logics known as Logics of Formal Inconsistency (LFIs). Because of this, these logics are uniquely characterized by semantics of non-deterministic kind. This paper offers a solution for two open problems in the domain of paraconsistency, in particular connected to algebraization of LFIs, by obtaining several LFIs weaker than C1, each of one is algebraizable in the standard Lindenbaum-Tarski's sense by a suitable variety of Boolean algebras extended with operators. This means that such LFIs satisfy the replacement property. The weakest LFI satisfying replacement presented here is called RmbC, which is obtained from the basic LFI called mbC. Some axiomatic extensions of RmbC are also studied, and in addition a neighborhood semantics is defined for such systems. It is shown that RmbC can be defined within the minimal bimodal non-normal logic E+E defined by the fusion of the non-normal modal logic E with itself. Finally, the framework is extended to first-order languages. RQmbC, the quantified extension of RmbC, is shown to be sound and complete w.r.t. BALFI semantics. (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)

Modern categorical logic as well as the Kripke and topological models of intuitionistic logic suggest that the interpretation of ordinary “propositional” logic should in general be the logic of subsets of a given universe set. Partitions on a set are dual to subsets of a set in the sense of the category-theoretic duality of epimorphisms and monomorphisms—which is reflected in the duality between quotient objects and subobjects throughout algebra. If “propositional” logic is thus seen as (...) the logic of subsets of a universe set, then the question naturally arises of a dual logic of partitions on a universe set. This paper is an introduction to that logic of partitions dual to classical subset logic. The paper goes from basic concepts up through the correctness and completeness theorems for a tableau system of partition logic. (shrink)

In this article, I outline a logic of design of a system as a specific kind of conceptual logic of the design of the model of a system, that is, the blueprint that provides information about the system to be created. In section two, I introduce the method of levels of abstraction as a modelling tool borrowed from computer science. In section three, I use this method to clarify two main conceptual logics of information inherited from modernity: Kant’s (...) transcendental logic of conditions of possibility of a system, and Hegel’s dialectical logic of conditions of in/stability of a system. Both conceptual logics of information analyse structural properties of given systems. Strictly speaking, neither is a conceptual logic of information about the conditions of feasibility of a system, that is, neither is a logic of information as a logic of design. So, in section four, I outline this third conceptual logic of information and then interpret the conceptual logic of design as a logic of requirements, by introducing the relation of “sufficientisation”. In the conclusion, I argue that the logic of requirements is exactly what we need in order to make sense of, and buttress, a constructionist approach to knowledge. (shrink)

I explore the logic of ground. I first develop a logic of weak ground. This logic strengthens the logic of weak ground presented by Fine in his ‘Guide to Ground.’ This logic, I argue, generates many plausible principles which Fine’s system leaves out. I then derive from this a logic of strict ground. I argue that there is a strong abductive case for adopting this logic. It’s elegant, parsimonious and explanatorily powerful. Yet, so (...) I suggest, adopting it has important consequences. First, it means we should think of ground as a type of identity. Second, it means we should reject much of Fine’s logic of strict ground. I also show how the logic I develop connects to other systems in the literature. It is definitionally equivalent both to Angell’s logic of analytic containment and to Correia’s system G. (shrink)

_Framing effects_ concern the having of different attitudes towards logically or necessarily equivalent contents. Framing is of crucial importance for cognitive science, behavioral economics, decision theory, and the social sciences at large. We model a typical kind of framing, grounded in (i) the structural distinction between beliefs activated in working memory and beliefs left inactive in long term memory, and (ii) the topic- or subject matter-sensitivity of belief: a feature of propositional attitudes which is attracting growing research attention. We introduce (...) a class of models featuring (i) and (ii) to represent, and reason about, agents whose belief states can be subject to framing effects. We axiomatize a logic which we prove to be sound and complete with respect to the class. (shrink)