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 paradox of fiction tackles how we can be considered as rational while having emotions towards fictional and thus non-existing events. I aim to show that the different philosophical positions on this issue can be reconciled within the emotion regulation framework. This approach refines the concept of emotion, defining it as a sequence of distinct regulated processes. I argue that the philosophical solutions that have been proposed to solve the paradox can be framed as different regulation mechanisms (...) occuring at each stage of the emotion sequence. Based on these results, I propose an original and unifying solution to the paradox of fiction which relies on the notion of quasi-belief. On one hand, this solution solves the paradox of fiction through rejecting each proposition of the paradox at different stages of the emotion process. On the other hand, it explains through the notion of rational appraisal why the question of the existence of emotions towards fictional events is bound to the question of their rationality. The functional roles of emotion towards fictional events are thus discussed, showing how rationality shapes emotions towards fictional events. (shrink)

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

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)

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)

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

The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...) have largely focussed on the problems fiction poses for traditional theories of rationality (as in the ‘Paradox of Fiction), challenging fiction’s wider epistemic value. The result has been a theoretical impasse in which the power of fiction to affectively ‘transport’ a reader is at once often lauded (by psychologists) as a privileged route to interpersonal understanding, and condemned (by philosophers) as an abdication of the authority of reason. This chapter surveys some of the central claims on both sides, tracing the source of the debate to competing conceptions of rationality. (shrink)

In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.

Imagination contributes to human agency in ways that haven't been well understood. I argue here that pathways from imagistic imagining to emotional engagement support three important agential capacities: 1. bodily preparedness for potential events in one's nearby environment; 2. evaluation of potential future action; and 3. empathy-based moral appraisal. Importantly, however, the kind of pathway in question (I-C-E-C: imagining-categorization-emotion-conceptualization) also enables engagement with fiction. So human enchantment with fiction is a consequence of imaginative pathways that make us the (...) kind of agents we are. Finally, I use this approach to address imaginative resistance and the paradox of fiction. [The version archived here is a penultimate draft. Please email me at neilvl@gmail.com to receive a pdf of the final in accordance with fair use.]. (shrink)

This paper’s main thesis is that in virtue of being believable, a believable novel makes an indirect transcendental argument telling us something about the real world of human psychology, action, and society. Three related objections are addressed. First, the Stroud-type objection would be that from believability, the only conclusion that could be licensed concerns how we must think or conceive of the real world. Second, Currie holds that such notions are probably false: the empirical evidence “is all against this idea…that (...) readers’ emotional responses track the real causal relations between things.” Third, responding with a full range of emotions to a novel surely requires that it be believable. Yet since we know the novel is fiction, we do not believe it. So in what does its believability consist? (shrink)

The outcomes of sports and competitive games excite intense emotions in many people, even when those same people acknowledge that those outcomes are of trifling importance. I call this incongruity between the judged importance of the outcome and the intense reactions it provokes the Puzzle of Sport. The puzzle can be usefully compared to another puzzle in aesthetics: the Paradox of Fiction, which asks how it is we become emotionally caught up with events and characters we know to (...) be unreal. In this article, I examine the prospects of understanding our engagement with competitive games on the model of our engagement with works of fiction, thus enabling analogous explanations for both puzzles. I show that there are significant problems with such an approach and offer an alternative, mobilizing ideas from David Velleman and Thomas Nagel, that appeals to the volatility of our motivational attitudes. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further (...) argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)

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

The canonical Bayesian solution to the ravens paradox faces a problem: it entails that black non-ravens disconfirm the hypothesis that all ravens are black. I provide a new solution that avoids this problem. On my solution, black ravens confirm that all ravens are black, while non-black non-ravens and black non-ravens are neutral. My approach is grounded in certain relations of epistemic dependence, which, in turn, are grounded in the fact that the kind raven is more natural than the kind (...) black. The solution applies to any generalization “All F’s are G” in which F is more natural than G. (shrink)

Tullmann et Buckwalter (2014) ont récemment soutenu que le paradoxe de la fiction tenait plus de l’illusion que de la réalité. D’après eux, les théories contemporaines des émotions ne fourniraient aucune raison d’adopter une interprétation du terme « existence » qui rende les prémisses du paradoxe incompatibles entre elles. Notre discussion a pour but de contester cette manière de dissoudre le paradoxe de la fiction en montrant qu’il ne prend pas sa source dans les théories contemporaines des émotions. (...) Bien plutôt, son origine se situe dans ce que Radford (1975) décrit comme une incohérence dans nos réactions émotionnelles aux évènements fictionnels et non fictionnels. Malgré ce désaccord, nous concédons à Tullmann et Buckwalter qu’une solution satisfaisante au paradoxe de la fiction doit s’appuyer sur les théories des émotions. Ainsi, en guise de conclusion, nous expliquons comment il convient de comprendre l’incohérence en question et comment les théories des émotions pourraient contribuer à la résolution du paradoxe de la fiction. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

The article uses Zeno’s metrical paradox of extension, or Zeno’s fundamental paradox, as a thought-model for the mind-body problem. With the help of this model, the distinction contained between mental and physical phenomena can be formulated as sharply as possible. I formulate Zeno’s fundamental paradox and give a sketch of four different solutions to it. Then I construct a mind-body paradox corresponding to the fundamental paradox. Through that, it becomes possible to copy the solutions to (...) the fundamental paradox on the mind-body paradox. Three of them fail. But one of them – the Aristotelian one – gives us an interesting hint. Finally, this hint is pursued somewhat further and through comparison with Zeno’s fundamental paradox, the impossibility of a solution to the mind-body problem is shown again. The main new point of this article is the comparison of the mind-body problem with Zeno’s fundamental paradox. The article is a revised english version of an article published in: Allgemeine Zeitschrift für Philosophie, 23, 1998, p. 61-75. (shrink)

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

This paper is concerned with the paradox of decrease. Its aim is to defend the answer to this puzzle that was propounded by its originator, namely, the Stoic philosopher Chrysippus. The main trouble with this answer to the paradox is that it has the seemingly problematic implication that a material thing could perish due merely to extrinsic change. It follows that in order to defend Chrysippus’ answer to the paradox, one has to explain how it could be (...) that Theon is destroyed by the amputation without changing intrinsically. In this paper, I shall answer this challenge by appealing to the broadly Aristotelian idea that at least some of the proper parts of a material substance are ontologically dependent on that substance. I will also appeal to this idea in order to offer a new solution to the structurally similar paradox of increase. In this way, we will end up with a unified solution to two structurally similar paradoxes. (shrink)

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)

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)

This paper uses a paradox inherent in any solution to the Hard Problem of Consciousness to argue for God’s existence. The paper assumes we are “thought machines”, reading the state of a relevant physical medium and then outputting corresponding thoughts. However, the existence of such a thought machine is impossible, since it needs an infinite number of point-representing sensors to map the physical world to conscious thought. This paper shows that these sensors cannot exist, and thus thought cannot come (...) solely from our physical world. The only possible explanation is something outside, argued to be God. (shrink)

David Builes presents a paradox concerning how confident you should be that any given member of an infinite collection of fair coins landed heads, conditional on the information that they were all flipped and only finitely many of them landed heads. We argue that if you should have any conditional credence at all, it should be 1/2.

According to the “paradox of knowability”, the moderate thesis that all truths are knowable – ... – implies the seemingly preposterous claim that all truths are actually known – ... –, i.e. that we are omniscient. If Fitch’s argument were successful, it would amount to a knockdown rebuttal of anti-realism by reductio. In the paper I defend the nowadays rather neglected strategy of intuitionistic revisionism. Employing only intuitionistically acceptable rules of inference, the conclusion of the argument is, firstly, not (...) ..., but .... Secondly, even if there were an intuitionistically acceptable proof of ..., i.e. an argument based on a different set of premises, the conclusion would have to be interpreted in accordance with Heyting semantics, and read in this way, the apparently preposterous conclusion would be true on conceptual grounds and acceptable even from a realist point of view. Fitch’s argument, understood as an immanent critique of verificationism, fails because in a debate dealing with the justification of deduction there can be no interpreted formal language on which realists and anti-realists could agree. Thus, the underlying problem is that a satisfactory solution to the “problem of shared content” is not available. I conclude with some remarks on the proposals by J. Salerno and N. Tennant to reconstruct certain arguments in the debate on anti-realism by establishing aporias. (shrink)

Moore’s paradox, the infamous felt bizarreness of sincerely uttering something of the form “I believe grass is green, but it ain’t”—has attracted a lot of attention since its original discovery (Moore 1942). It is often taken to be a paradox of belief—in the sense that the locus of the inconsistency is the beliefs of someone who so sincerely utters. This claim has been labeled as the priority thesis: If you have an explanation of why a putative content could (...) not be coherently believed, you thereby have an explanation of why it cannot be coherently asserted. (Shoemaker 1995). The priority thesis, however, is insufficient to give a general explanation of Moore-paradoxical phenomena and, moreover, it’s false. I demonstrate this, then show how to give a commitment-theoretic account of Moore Paradoxicality, drawing on work by Bach and Harnish. The resulting account has the virtue of explaining not only cases of pragmatic incoherence involving assertions, but also cases of cognate incoherence arising for other speech acts, such as promising, guaranteeing, ordering, and the like. (shrink)

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

Russell’s initial project in philosophy (1898) was to make mathematics rigorous reducing it to logic. Before August 1900, however, Russell’s logic was nothing but mereology. First, his acquaintance with Peano’s ideas in August 1900 led him to discard the part-whole logic and accept a kind of intensional predicate logic instead. Among other things, the predicate logic helped Russell embrace a technique of treating the paradox of infinite numbers with the help of a singular concept, which he called ‘denoting phrase’. (...) Unfortunately, a new paradox emerged soon: that of classes. The main contention of this paper is that Russell’s new conception only transferred the paradox of infinity from the realm of infinite numbers to that of class-inclusion. Russell’s long-elaborated solution to his paradox developed between 1905 and 1908 was nothing but to set aside of some of the ideas he adopted with his turn of August 1900: (i) With the Theory of Descriptions, he reintroduced the complexes we are acquainted with in logic. In this way, he partly restored the pre-August 1900 mereology of complexes and simples. (ii) The elimination of classes, with the help of the ‘substitutional theory’, and of propositions, by means of the Multiple Relation Theory of Judgment, completed this process. (shrink)

Next SectionThis article argues against two dominant accounts of the nature of nostalgia. These views assume that nostalgia depends, in some way, on comparing a present situation with a past one. However, neither does justice to the full range of recognizably nostalgic experiences available to us – in particular, ‘Proustian’ nostalgia directed at involuntary autobiographical memories. Therefore, the accounts in question fail. I conclude by considering an evaluative puzzle raised by Proustian nostalgia when it is directed at memories that the (...) nostalgist herself regards as non-veridical. (shrink)

This paper offers an analysis of a hitherto neglected text on insoluble propositions dating from the late XiVth century and puts it into perspective within the context of the contemporary debate concerning semantic paradoxes. The author of the text is the italian logician Peter of Mantua (d. 1399/1400). The treatise is relevant both from a theoretical and from a historical standpoint. By appealing to a distinction between two senses in which propositions are said to be true, it offers an unusual (...) solution to the paradox, but in a traditional spirit that contrasts a number of trends prevailing in the XiVth century. It also counts as a remarkable piece of evidence for the reconstruction of the reception of English logic in italy, as it is inspired by the views of John Wyclif. Three approaches addressing the Liar paradox (Albert of Saxony, William Heytesbury and a version of strong restrictionism) are first criticised by Peter of Mantua, before he presents his own alternative solution. The latter seems to have a prima facie intuitive justification, but is in fact acceptable only on a very restricted understanding, since its generalisation is subject to the so-called revenge problem. (shrink)

The aim of this paper is to offer a critical assessment of Buridan's proposed solution to the bridge-keeper paradox. First, I will outline his proposed solution to the paradox, and, second, carefully analyse each issue mentioned in the proposed solution. Finally, I will attempt to conclude that Burden has implicitly accepted a three-valued logic that does not allow him to conclude that Plato ought not do anything.

Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large influence (...) on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity. (shrink)

In this article, the concept of moralistic fallacy introduced by B. D. Davis is elaborated on in more detail. The main features of this fallacy are discussed, and its general form is presented. The moralistic fallacy might have some undesirable outcomes. Some of them might even be in direct conflict to the original moral position. If this occurs, it is possible to characterize it as a paradox of moralistic fallacy. The possibility of this paradox provides a further reason (...) not to prevent any scientific inquiries and not to depict any knowledge as dangerous. (shrink)

We provide a 'verisimilitudinarian' analysis of the well-known Linda paradox or conjunction fallacy, i.e., the fact that most people judge the probability of the conjunctive statement "Linda is a bank teller and is active in the feminist movement" (B & F) as more probable than the isolated statement "Linda is a bank teller" (B), contrary to an uncontroversial principle of probability theory. The basic idea is that experimental participants may judge B & F a better hypothesis about Linda as (...) compared to B because they evaluate B & F as more verisimilar than B. In fact, the hypothesis "feminist bank teller", while less likely to be true than "bank teller", may well be a better approximation to the truth about Linda. (shrink)

Le fameux paradoxe de la fiction (Radford 1975) a suscité maintes interprétations. L’une des distinctions importantes qui affleure bien souvent au sein de cette littérature, pour se voir presque aussitôt négligée, est celle entre les deux questions suivantes : « comment les émotions peuvent-elles être suscitées par des œuvres de fiction ? » et « les émotions suscitées par de telles œuvres peuvent-elles être rationnelles ? » Dans ce qui suit, je me concentrerai exclusivement sur la seconde de (...) ces questions et chercherai à montrer que la plupart de nos réponse affectives à la fiction ne sont pas irrationnelles. Ma discussion se structure de la manière suivante. La première section esquisse la nature du lien entre émotions et valeurs et introduit une conception selon laquelle les émotions sont des attitudes évaluatives. Au cours de la deuxième section, nous nous tournerons vers le problème de la rationalité des émotions pour mettre l’accent sur deux de ses aspects – celui qui regarde le rapport entre une émotion et sa base cognitive, d’un côté, et, de l’autre, celui entre l’émotion elle-même et les jugements et comportements auxquels elle peut donner lieu. La troisième section applique ces considérations à propos de la rationalité affective aux émotions suscitées par la fiction, dont je distingue trois types principaux : les émotions esthétiques, les émotions-blob et les émotions-pour. Une quatrième et dernière section explore quelques conséquences des conclusions auxquelles m’auront amené ce qui précède. (shrink)

Sometimes a fact can play a role in a grounding explanation, but the particular content of that fact make no difference to the explanation—any fact would do in its place. I call these facts vacuous grounds. I show that applying the distinction between-vacuous grounds allows us to give a principled solution to Kit Fine and Stephen Kramer’s paradox of ground. This paradox shows that on minimal assumptions about grounding and minimal assumptions about logic, we can show that grounding (...) is reflexive, contra the intuitive character of grounds. I argue that we should never have accepted that grounding is irreflexive in the first place; the intuitions that support the irreflexive intuition plausibly only require that grounding be non-vacuously irreflexive. Fine and Kramer’s paradox relies, essentially, on a case of vacuous grounding and is thus no problem for this account. (shrink)

Any theory of truth must find a way around Curry’s paradox, and there are well-known ways to do so. This paper concerns an apparently analogous paradox, about validity rather than truth, which JC Beall and Julien Murzi call the v-Curry. They argue that there are reasons to want a common solution to it and the standard Curry paradox, and that this rules out the solutions to the latter offered by most “naive truth theorists.” To this end they (...) recommend a radical solution to both paradoxes, involving a substructural logic, in particular, one without structural contraction. In this paper I argue that substructuralism is unnecessary. Diagnosing the “v-Curry” is complicated because of a multiplicity of readings of the principles it relies on. But these principles are not analogous to the principles of naive truth, and taken together, there is no reading of them that should have much appeal to anyone who has absorbed the morals of both the ordinary Curry paradox and the second incompleteness theorem. (shrink)

The current debates in social sciences show that the paradox of observing—the embeddedness of observer in the process of observing—is at the heart of the controversy about their cognitive status and future. Although the problem of observing has been addressed in numerous theoretical perspectives—some of which (Habermas, Leydesdorff, Maturana, and Luhmann) are examined in this article—the prospects for resolving this paradox remain problematic. Locating a point that allows reflection on the process of autopoiesis in general, not just the (...) operation of a particular autopoietic system, may be one condition for resolving this paradox. Such point will offer reflection on all autopoietic systems, including the observer. The dynamic balance between equilibrium and disequilibrium is the mechanism which regulates the process of autopoiesis. Since the function of regulation is essentially a reflective function, this equilibrium between equilibrium and disequilibrium, which can be identified with the concept of homeorhesis introduced by Conrad Waddington, may offer a possibility to reflect on the process of observing. (shrink)

Aside from bioethics, the main theme of Ronald Green's lifework has been an exploration of the relation between religion and morality, with special emphasis on the philosophies of Immanuel Kant and Søren Kierkegaard. This essay summarizes and assesses his work on this theme by examining, in turn, four of his relevant books. Religious Reason (1978) introduced a new method of comparative religion based on Kant's model of a rational religion. Religion and Moral Reason (1988) expanded on this project, clarifying that (...) religious traditions cannot be reduced to their moral grounding. Kierkegaard and Kant: The Hidden Debt (1992) offered bold new evidence that Kant, not Hegel, was the philosopher whose ideas primarily shaped Kierkegaard's overtly religious philosophy ; both philosophers focused on the problem of how to understand the relation between moral reasoning and historical religion. And Kant and Kierkegaard on Time and Eternity (2011) republished ten essays that explore various aspects of this theme in greater depth. I argue that throughout these works Green defends a " paradox of inwardness " : principles or ideals that are by their nature essentially inward end up requiring outward manifestation in order to be confirmed or fully justified as real. (shrink)

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

What José Luis Bermúdez calls the paradox of self-consciousness is essentially the conflict between two claims: (1) The capacity to use first-personal referential devices like “I” must be explained in terms of the capacity to think first-person thoughts. (2) The only way to explain the capacity for having a certain kind of thought is by explaining the capacity for the canonical linguistic expression of thoughts of that kind. (Bermúdez calls this the “Thought-Language Principle”.) The conflict between (1) and (2) (...) is obvious enough. However, if a paradox is an unacceptable conclusion drawn from apparently valid reasoning from apparently true premises, then Bermúdez’s conflict is no paradox. It is rather a conflict between the view that thought must be explained in terms of language, and the view that first person linguistic reference must be explained in terms of first-person thought. Neither view is immediately obvious, and nor is it obvious that the arguments for either are equally compelling. What we have here is a difference of philosophical opinion, not a paradox. (shrink)

Our evidence can be about different subject matters. In fact, necessarily equivalent pieces of evidence can be about different subject matters. Does the hyperintensionality of ‘aboutness’ engender any hyperintensionality at the level of rational credence? In this paper, I present a case which seems to suggest that the answer is ‘yes’. In particular, I argue that our intuitive notions of independent evidence and inadmissible evidence are sensitive to aboutness in a hyperintensional way. We are thus left with a paradox. (...) While there is strong reason to think that rational credence cannot make such hyperintensional distinctions, our intuitive judgements about certain cases seem to demand that it does. (shrink)

This paper shows that the knowability paradox isn’t a paradox because the derivation of the paradox is faulty. This is explained by showing that the K operator employed in generating the paradox is used equivocally and when the equivocation is eliminated the derivation fails.

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we (...) assign to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

The paradox of 'the One and the Many' might, more generally, be understood as the paradox of relationship. In order for there to be relationship there must be at least two parties in relation. The relation must, at once, hold the parties apart (otherwise they would collapse into unity) while holding them together (otherwise relationship itself would cease). It must do so, further, without itself becoming a third party which would then, itself, need to be related. This paper (...) considers this paradox as we find it manifest in the theories of quantum physics, the Socratic pursuit of universals, and, finally, at the very heart of human personhood - where we discover it at the core of interpersonal relationships, existential anxiety, and social distress. It is suggested, in the end, that though reason cannot resolve the terms of this paradox, there is a potential solution to the existential problems that spring from it, a solution lying in what Jesus calls, simply, 'faith.'. (shrink)

Given plausible assumptions about the nature of evidence and undercutting defeat, many believe that the force of the evidential problem of evil depends on sceptical theism’s being false: if evil is...

How is the problem of free will related to the problem of moral luck? In this essay, I answer that question and outline a new solution to the paradox of moral luck, the source-paradox solution. This solution both explains why the paradox arises and why moral luck does not exist. To make my case, I highlight a few key connections between the paradox of moral luck and two related problems, namely the problem of free will and (...) determinism and the paradox of self-creation. Piecing together intuitions, arguments, and insights from recent work on each of these three problems, I argue that the type of control necessary for moral responsibility can only be satisfied by someone who is a genuine source of his own actions, but the relevant notion of sourcehood admits no coherent characterization. If our commonsense view of moral responsibility is incoherent, it is unsurprising that our commitment to the existence of morally responsible agents commits us to some paradoxical things—e.g. to both the existence and impossibility of moral luck. (shrink)

Discussions of the implications of sexual reproduction have appeared throughout the history of evolutionary biology, from Darwin to Weismann, Fisher, Muller, Maynard Smith, and Williams. The latest of these appearances highlighted an evolutionary paradox that had previously been overlooked. In many animal and plant species reproduction is obligately sexual and also half the offspring are male, yet the males contribute nothing but genes to reproduction. If asexual mutants of such a species were to produce as many asexual offspring on (...) average as sexual females in that species produce daughters and sons, the growth rate of their population would be twice as large. Whereas half the offspring of sexual females are noncontributory males, all the offspring of such an asexual mutant would contribute to growth rate. Nevertheless, sexual reproduction prevails in most species and is not lost evolutionarily. (shrink)

Roger Swyneshed, in his treatise on insolubles (logical paradoxes), dating from the early 1330s, drew three notorious corollaries of his solution. The third states that there is a contradictory pair of propositions both of which are false. This appears to contradict the Rule of Contradictory Pairs, which requires that in every such pair, one must be true and the other false. Looking back at Aristotle's treatise De Interpretatione, we find that Aristotle himself, immediately after defining the notion of a contradictory (...) pair, gave counterexamples to the rule. Thus Swyneshed's solution to the logical paradoxes is not contrary to Aristotle's teaching, as many of Swyneshed's contemporaries claimed. Dialetheism, the contemporary claim that some propositions are both true and false, is wedded to the Rule, and in consequence divorces denial from the assertion of the contradictory negation. (shrink)

For each of the many goals of an agent it is true that the agent wants its realization. Given further very plausible assumptions, one can show that there is no good reason for an agent not to want the realization of all of his goals. However, it seems also true that reaching all of one’s goals would be extremely boring; most human beings would consider such a life not worth living. In this respect, leading a life is like playing some (...) game: A game loses its point if one always easily wins. Human agents not only pursue goals but they also have the second-order desire to lead the life of a goal-pursuer. More precisely, they want to be goal-pursuers such that many but not all of their goals are being realized. I argue here that they have a good reason not to want the realization of all of their goals. Now, all this constitutes an antinomy: Apparently, there are very plausible arguments both for affirming as well as denying that an agent has good reasons not to want the realization of his goals. This antinomy is similar to the preface-paradox about beliefs which has a convincing solution (due to Frank Ramsey). I argue, however, that there is no such solution in the case of goals. This leaves us with the question what a solution could look like. (shrink)