The depths of the sea, their obscure inhabitants and their mysteries have always been a rich source of myths and metaphors for authors and philosophers. Fables about giant squids and monstrous octopuses run through the history of literature and culture. The vampire squid is only a small phylogenetic relic, but it provides a useful model for Flusser's hybrid philosophical fiction Vampyroteuthis Infernalis. Flusser slips metaphorically into the creature’s gelatinous skin in order to speculate on the paradigms of postmodern life, measuring (...) the abyss from the inside and producing a very peculiar, experimental form of thinking and writing. In the present era of virtual reality and computer simulations, we experience fiction as the only reality. According to Vaihinger's definition, fiction is a useful construct that is precisely not real, but enables human beings to create and manipulate their environments. His philosophy of “as if” is perhaps the fullest expression of fictionalism and shows its ambivalent potential. (shrink)

Vaihinger... shows that thought is primarily a biological function turned into a conscious art. It is an art of adjustment, whose chief instrument is the construction of fictions by which men may manage to live. Thought is to be tested not by correspondence to an objective reality (that fiction is neatly disposed of) nor by its mirroring in consciousness an objective external world. Thought is to be tested by its fruits. The constructions of thought are not copies of or (...) transcripts of reality; they are programs, guess-work plans; possible programs for operation. Their validity is to be measured not by verisimilitude but by value. The fruits of thought are not "true," but especially where they are false, it may be important to act as if they were true... Vaihinger's chief originality consists in his defining of fictions and his distinction of fictions from hypotheses on the one hand, and from dogmatisms on the other. An hypothesis is a tentative discovery about the universe; a fiction is a deliberate, often clearly false and internally contradictory invention of thought... Evolution is the hypothesis that man is descended from the lower animals. We assume that we can indirectly turn to the remote facts which would justify that hypothesis. But the concept of infinity in the calculus, the atom and the ether in physics, the economic man in Adam Smith, are deliberate self-contradictory fictions, and fictions at variance with all experience. But though they are not only imaginary, false to the reality they allegedly represent and logically incoherent, they nevertheless facilitate thought and proper action. They are vital lies, human conveniences. They are the faiths, the palpably false faiths, the clearly useful falsities by which we live... The discovery that fictions were fictions has led, in the past, says Vaihinger, to an abandonment of them, and a turning to other fictions believed to be truer. Pathetic and foolish adventure! What the race needs is more faith in its own effective imaginations. The myths that it has told itself, the world pictures that it has made, are not to be dismissed because they are found to be creations of the imagination. They tally with no world and they carry the canker of logical inconsistency within them. The important thing is their utility; their human scope and mortal relevance. If we ceased making fictions, we should cease altogether to be. Let us beware to plunge from fruitful fictions to less fruitful ones that masquerade as truths and are really dogmatisms. (Review of As If by Irwin Edman, Saturday Review of Literature, 10 January, 1925) This is a well-formatted version of C.K. Ogden's translation of Philosophie des Als Ob, originally published in 1925 by Kegan Paul. (shrink)

Are fictional characters such as Sherlock Holmes real? What can fiction tell us about the nature of truth and reality? In this excellent introduction to the problem of fictionalism R. M. Sainsbury covers the following key topics: what is fiction? realism about fictional objects, including the arguments that fictional objects are real but non-existent; real but non-factual; real but non-concrete the relationship between fictional characters and non-actual worlds fictional entities as abstract artefacts fiction and intentionality and the problem of irrealism (...) fictionalism about possible worlds moral fictionalism. R. M. Sainsbury makes extensive use of examples from fiction, such as Sherlock Holmes, Anna Karenina and Madame Bovary and examines the work of philosophers who have made significant contributions to the topic, including Meinong, David Lewis, and Bas Van Fraassen. Additional features include chapter summaries, annotated further reading and a glossary of technical terms, making _Fiction and Fictionalism_ ideal for those coming to the issue for the first time. (shrink)

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Fictionalism plays a significant role in philosophy today, with defenses spanning mathematics, morality, ordinary objects, truth, modality, and more.1 Fictionalism in the philosophy of science is also gaining attention, due in particular to the revival of Hans Vaihinger’s work from the early twentieth century and to heightened interest in idealization in scientific practice.2 Vaihinger maintains that there is a ubiquity of fictions in science and, among other things, argues that Nietzsche supports the position. Yet, while contemporary commentators have (...) focused on fictionalism in Nietzsche’s moral philosophy, his view of fictions in science has remained largely unexamined.3 In this article, I begin... (shrink)

Hans Vaihinger was an important and fascinating figure in German philosophy in the early twentieth century, founding the well-known journal Kant-studien. Yet he was overshadowed by the burgeoning movements of phenomenology and analytical philosophy, as well as hostility towards his work because of his defense of Jewish scholars in a Germany controlled by Nazism. However, it is widely acknowledged today that The Philosophy of 'As If' is a philosophical masterwork. Vaihinger argues that in the face of an overwhelmingly (...) complex world, we produce a simpler set of ideas, or idealizations, that help us negotiate it. When cast as fictions, such ideas provide an easier and more useful way to think about certain subjects, from mathematics and physics to law and morality, than would the truth in all its complexity. Even in science, he wrote, we must proceed "as if " a material world exists independently of perceiving subjects; in behaviour, we must act "as if " ethical certainty were possible; in religion, we must believe "as if" there were a God. He also explores the role of fictions in the history of philosophy, going back to the ancient Greeks and the work of Leibniz, Adam Smith and Bentham. The Philosophy of 'As If' was a powerful influence on the emerging philosophical movement of pragmatism and was ground-breaking in its anticipation of the central role that model-building and simulation would come to play in the human sciences. This Routledge Classics edition includes a new foreword by Michael Rosenthal, which provides a fascinating and important background to Vaihinger's life and the legacy of The Philosophy of 'As If'. (shrink)

Fictionalism confronts the dual epistemological nature of education. In this book, Johan Dahlbeck argues that all education, at bottom, concerns a striving for truth initiated through fictions. This foundational aporia is then interrogated and made sense of via Hans Vaihinger’s philosophy of ‘as if’ and Spinoza’s peculiar form of exemplarism. Using a variety of fictional examples, Dahlbeck investigates the different dimensions of educational fictionalism, from teacher exemplarism to the basic educational fictions necessary for getting started in education in the (...) first place. Fictionalism will be a valuable resource for anyone interested in the philosophical foundations of education. (shrink)

Nous proposons une traduction française d’un extrait du chapitre XXVI de l’édition populaire de Die Philosophie des Als Ob de Hans Vaihinger (édition populaire, 1923). L’enjeu de ce texte est de manifester, d’une part, que l’utilisation de fictions est nécessaire au traitement de certains problèmes théoriques et pratiques. D’autre part, il montre qu’utiliser des fictions afin de résoudre certains problèmes théoriques (en l’occurrence, mathématiques) ne conduit pas à l’erreur, pourvu que l’on adopte “la méthode des erreurs antithétiques.”.

Nous proposons une traduction française d’un extrait du chapitre XXVI de l’édition populaire de Die Philosophie des Als Ob de Hans Vaihinger (édition populaire, 1923). L’enjeu de ce texte est de manifester, d’une part, que l’utilisation de fictions est nécessaire au traitement de certains problèmes théoriques et pratiques. D’autre part, il montre qu’utiliser des fictions afin de résoudre certains problèmes théoriques (en l’occurrence, mathématiques) ne conduit pas à l’erreur, pourvu que l’on adopte “la méthode des erreurs antithétiques.”.

There are things we routinely say that may strike us as literally false but that we are nonetheless reluctant to give up. This might be something mundane, like the way we talk about the sun setting in the west, or it could be something much deeper, like engaging in talk that is ostensibly about numbers despite believing that numbers do not literally exist. Rather than regard such behaviour as self-defeating, a "fictionalist" is someone who thinks that this kind of discourse (...) is entirely appropriate, even helpful, so long as we treat what is said as a useful fiction, rather than as the sober truth. "Fictionalism" can be broadly understood as a view that uses a notion of pretense or fiction in order to resolve certain puzzles or problems that otherwise do not necessarily have anything to do with literature or fictional creations. Within contemporary analytic philosophy, fictionalism has been on the scene for well over a decade and has matured during that time, growing in popularity. There are now myriad competing views about fictionalism and consequently the discussion has branched out into many more subdisciplines of philosophy. Yet there is widespread disagreement on what philosophical fictionalism actually amounts to and about how precisely it ought to be pursued. This volume aims to guide these discussions, collecting some of the most up-to-date work on fictionalism and tracing the view's development over the past decade. After a detailed discussion in the book's introductory chapter of how philosophers should think of fictionalism and its connection to metaontology more generally, the remaining chapters provide readers with arguments for and against this view from leading scholars in the fields of epistemology, ethics, metaphysics, philosophy of science, philosophy of language, and others. (shrink)

This paper attacks the modal ontological argument, as advocated by Plantinga among others. Whereas other criticisms in the literature reject one of its premises, the present line is that the argument is invalid. This becomes apparent once we run the argument assuming fictionalism about possible worlds. Broadly speaking, the problem is that if one defines “x” as something that exists, it does not follow that there is anything satisfying the definition. Yet unlike non-modal ontological arguments, the modal argument commits this (...) “existential fallacy” not in relation to the definition of ‘God’. Rather, it occurs in relation to the modal facts quantified over within a Kripkean modal logic. In brief, we can describe the modal facts by whichever logic we prefer—yet it does not follow that there are genuine modal facts, as opposed to mere facts-according-to-the-fiction. A broader consequence of the discussion is that the existential fallacy is an issue for many projects in “armchair metaphysics.”. (shrink)

Presentists deny that past or future things exist. Some presentists also deny that there are any underlying truths about the past or future. While this seems to conflict with our everyday tensed discourse, presentists might avoid conflict by adopting a theory of hermeneutic fictionalism about the non-present. Under such a theory, everyday utterances of non-present-tensed sentences are taken to engage with a fiction, rather than expressing truths about the past or future. In this paper I defend a specific version of (...) this view: meta-fictionalism about the non-present. Under this view there is a socially-understood non-present fiction, a 'story of history', derived from apparent records existing in the present. Meta-fictionalists take our everyday tensed discourse to involve assertions about the content of that fiction. I argue that this view is plausible, and that it fares better than pretence fictionalism, a competing view that has already seen discussion in the literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature, Imagination, and Human RightsWillie van Peer“the poet’s function is to describe, not the thing that has happened, but a kind of thing that might happen”Aristotle: Poetics, 1451aAristotle’s dictum has been of vital importance to the development of literary theory, and its significance can still be felt today. It is the foundation of the distinction we make between journalism and literature, between history and fiction. Literature, Aristotle proposes, is (...) about things that could happen, not about things that have taken place in reality. Literature is thus inscribed in the realm of the imagination. However, imagination does not operate in an epistemological vacuum. A fictional text entertaining no relation with the world would have no meaning. Perhaps giants, dragons and witches do not really exist, and perhaps it is not really possible to cover seven miles with each step of those wonderful boots that Tom Thumb discovered. But we have no difficulty in imagining those things, precisely because they entertain an intimate relationship with forms and things, events and actions that happen in daily life. The details of the relationship between reality and fiction are less important for the present argument than the fact that fiction is embedded in our pragmatic attitudes. 1 Ernst Bloch has given this human tendency a name: The Hope Principle. Our desire for a better world expresses itself in hope, a distinctive feature of the species Homo Sapiens. The importance of the imagination in the project of humanity has received eloquent and systematic treatment in the philosophical work of Hans Vaihinger and Helmuth Plessner. 2 Imagination also gives impetus to history, because it drives us toward the realization of aims and plans that initially lived only in our hearts and minds: “Someone dreaming never remains in the same place.” 3 [End Page 276]Similar things have been asserted about literature, by Horace, Sidney, Matthew Arnold, and others. Reading is supposed to make us better humans, heightening our awareness, increasing our sensibility, and thus indirectly guiding our actions toward the establishment of a better world. Sometimes noble motives are associated with this function. Reading literature, it is then assumed, makes the reader more socially tolerant, more perceptive about other humans, and more politically conscious. This is the so-called Edification Hypothesis. Anthony Savile sums up this view when he submits the thesis that literature has a unique power to make us understand the thoughts and feelings of other human beings. This ethical perspective on literature has been expressed since Greek Antiquity. 4 It will be remembered that Plato condemned literature precisely for this reason: because it diverts our attention from the real world, itself already an imperfect reflection of Pure Ideas. Aristotle rejects this view and develops a theory squarely opposed to that of his teacher. According to him, literature contributes to the elevation of mankind, to paideia. By showing us that which is possible, and by involving us in the inescapable passage of tragic events, readers and spectators are drawn into emotions of fear and compassion, emotions that lead to katharsis, a process that purifies us of megalomania (hubris), safeguarding democratic government and protecting us from unrestrained tyranny. 5The Aristotelian view that literature has an edifying effect had been generally present in Western tradition till about 1800. Until then literature was viewed almost universally as an ethical category. Consider, for instance, the self-evident way in which Richardson prefaces Pamela: “If to divert and entertain, and at the same time to instruct and improve the minds of the YOUTH of both sexes: If to inculcate religion and morality in so easy and agreeable a manner, as shall render them equally delightful and profitable: If to set forth in the most exemplary lights, the parental, the filial, and the social duties....” 6The embarrassment a modern reader may feel when confronted with such overt claims to morality is largely a product of the nineteenth century, when literature came to be seen as a predominantly aesthetic category, eluding all attempts at moral categorization. This movement has resulted in a liberation of literature from moralism. At the same time, it has created nontrivial difficulties in thinking about ethical and political issues, so... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature, Imagination, and Human RightsWillie van Peer“the poet’s function is to describe, not the thing that has happened, but a kind of thing that might happen”Aristotle: Poetics, 1451aAristotle’s dictum has been of vital importance to the development of literary theory, and its significance can still be felt today. It is the foundation of the distinction we make between journalism and literature, between history and fiction. Literature, Aristotle proposes, is (...) about things that could happen, not about things that have taken place in reality. Literature is thus inscribed in the realm of the imagination. However, imagination does not operate in an epistemological vacuum. A fictional text entertaining no relation with the world would have no meaning. Perhaps giants, dragons and witches do not really exist, and perhaps it is not really possible to cover seven miles with each step of those wonderful boots that Tom Thumb discovered. But we have no difficulty in imagining those things, precisely because they entertain an intimate relationship with forms and things, events and actions that happen in daily life. The details of the relationship between reality and fiction are less important for the present argument than the fact that fiction is embedded in our pragmatic attitudes. 1 Ernst Bloch has given this human tendency a name: The Hope Principle. Our desire for a better world expresses itself in hope, a distinctive feature of the species Homo Sapiens. The importance of the imagination in the project of humanity has received eloquent and systematic treatment in the philosophical work of Hans Vaihinger and Helmuth Plessner. 2 Imagination also gives impetus to history, because it drives us toward the realization of aims and plans that initially lived only in our hearts and minds: “Someone dreaming never remains in the same place.” 3 [End Page 276]Similar things have been asserted about literature, by Horace, Sidney, Matthew Arnold, and others. Reading is supposed to make us better humans, heightening our awareness, increasing our sensibility, and thus indirectly guiding our actions toward the establishment of a better world. Sometimes noble motives are associated with this function. Reading literature, it is then assumed, makes the reader more socially tolerant, more perceptive about other humans, and more politically conscious. This is the so-called Edification Hypothesis. Anthony Savile sums up this view when he submits the thesis that literature has a unique power to make us understand the thoughts and feelings of other human beings. This ethical perspective on literature has been expressed since Greek Antiquity. 4 It will be remembered that Plato condemned literature precisely for this reason: because it diverts our attention from the real world, itself already an imperfect reflection of Pure Ideas. Aristotle rejects this view and develops a theory squarely opposed to that of his teacher. According to him, literature contributes to the elevation of mankind, to paideia. By showing us that which is possible, and by involving us in the inescapable passage of tragic events, readers and spectators are drawn into emotions of fear and compassion, emotions that lead to katharsis, a process that purifies us of megalomania (hubris), safeguarding democratic government and protecting us from unrestrained tyranny. 5The Aristotelian view that literature has an edifying effect had been generally present in Western tradition till about 1800. Until then literature was viewed almost universally as an ethical category. Consider, for instance, the self-evident way in which Richardson prefaces Pamela: “If to divert and entertain, and at the same time to instruct and improve the minds of the YOUTH of both sexes: If to inculcate religion and morality in so easy and agreeable a manner, as shall render them equally delightful and profitable: If to set forth in the most exemplary lights, the parental, the filial, and the social duties....” 6The embarrassment a modern reader may feel when confronted with such overt claims to morality is largely a product of the nineteenth century, when literature came to be seen as a predominantly aesthetic category, eluding all attempts at moral categorization. This movement has resulted in a liberation of literature from moralism. At the same time, it has created nontrivial difficulties in thinking about ethical and political issues, so... (shrink)

At the beginning of the twentieth century, theorists developed approaches to Nietzsche’s philosophy that provided an alternative to the received view, some of them suggesting that his view of truth may be his most important and original contribution. It has further been argued that Vaihinger’s fictionalism is the paradigm within which Nietzsche’s view can be properly contextualized. As will be shown, this idea is both viable and fruitful for solving certain interpretive issues raised in recent Nietzsche scholarship.

This paper offers fictionalism as a new approach to the problem of reasonable disagreement discussed in social epistemology. The conciliationist approach to reasonable disagreement is defined, and three problems with it are posed: that it is destructive of inquiry, self-defeating, and unacceptably revisionary. Hans Vaihinger’s account of fictions is explained, and it is shown that if the intellectual commitments that are the subject of reasonable disagreements are treated as fictions rather than as beliefs, the three noted problems are avoided. (...) Whereas beliefs have a “rivalrous” relation to the source of their justification (evidence), fictions have a non-rivalrous relation to the source of their justification (expediency), meaning that disagreement over which fictions to employ is not problematic in the way that disagreement over what to believe is. Some objections to the fictionalist approach to reasonable disagreement are answered. (shrink)

Some authors defend literary cognitivism – the view that literary fiction is cognitively valuable – by drawing an analogy between cognitive values of thought experiments and literary fiction. In this paper my aim is to analyse the reasons for drawing this analogy and to see how far the analogy can be stretched. In the second part, I turn to the claim put forward by literary anti-cognitivists according to which literature can at best be the source of hypotheses, not of knowledge. (...) I challenge this claim by showing that hypotheses can have valuable cognitive benefits on their own, thus hoping to restore cognitive benefits readers get from literature.Neki autori brane književni kognitivizam – stajalište da književna fikcija ima spoznajnu vrijednost – povlačeći analogiju između spoznajne vrijednosti misaonih eksperimenata i književne fikcije. U ovome ću radu analizirati razloge za ovu analogiju te vidjeti koliko se njen doseg može proširiti. U drugome dijelu razmotrit ću tvrdnju književnih antikognitivista prema kojoj književnost u najboljem slučaju može biti samo izvor hipoteza, a ne znanja. Ovu ću tvrdnju dovesti u pitanje pokazujući da hipoteze same mogu imati vrijedne spoznajne koristi, u nadi da se na taj način mogu obnoviti spoznajne koristi koje čitatelji pronalaze u književnosti.Certains auteurs défendent le cognitivisme littéraire – position selon laquelle la fiction littéraire a une valeur cognitive – en établissant une analogie entre les valeurs cognitives de l’expérience mentale et la fiction littéraire. Dans cet article, j’analyserai les raisons de cette analogie et verrai jusqu’où cette analogie peut s’étendre. Dans la seconde partie, j’examinerai l’affirmation des anti-cognitivistes littéraires selon lesquels la littérature peut tout au plus être une source d’hypothèses et non pas du savoir. Je mets cette affirmation au défi en montrant que les hypothèses à elles seules peuvent avoir de précieux avantages cognitifs, dans l’espoir de restaurer ainsi les avantages cognitifs que les lecteurs tirent de la littérature.Einige Verfasser verteidigen den literarischen Kognitivismus – einen Standpunkt, nach welchem die literarische Fiktion erkenntnismäßig ersprießlich ist – indem sie eine Parallele zwischen den Erkenntniswerten der Gedankenexperimente und der Literaturfiktion ziehen. In dieser Schrift fasse ich den Vorsatz, die Ursachen für diese Parallelisierung auszukundschaften wie auch zu ermitteln, inwieweit sich diese Analogie ausdehnen lässt. In dem zweiten Teil wende ich mich der vonseiten der literarischen Antikognitivisten vorgebrachten Behauptung zu, welcher zufolge die Lieratur günsigstensfalls eine Hypothesen- und keineswegs eine Wissensquelle zu sein vermag. Ich hinterfrage diese These, indem ich die Anschauung erhärte, dass Hypothesen über eigene wertvolle erkenntnisbezogene Vorzüge verfügen können; all dies in der Hoffnung, kognitive Vorteile herzustellen, welche die Leserschaft aus der Literatur herausliest. (shrink)

I argue that fictionalism is an unpromising alternative to realism in two important respects. First, fictionalism offers a less satisfactory modal semantics because the incorporated fictive operator is itself modal and its results differ significantly from realism. Second, fictionalism struggles to provide us with a satisfactory account of the ontological grounding of modal truth and finds itself in opposition to several influential accounts of fictional objects which I discuss. I conclude by suggesting that, given the fictionalist’s motivation, a more promising (...) avenue of research would be the older and currently unfashionable fictionalism espoused by Vaihinger (1935). (shrink)

The rise of transrealism in the second half of the twentieth century embellished the literary landscape in America with a new mode of expression that offered new understanding of time, space, identity, and social values and norms. This study situates the American novelist Kurt Vonnegut’s Player Piano within this literary context to map out the qualities that distinguish it as a transrealistic fiction. We argue that through innovative coalescence of fantasy and realism, this postmodern novel provides a satirical commentary against (...) the incongruities of the contemporary American society. To analyse the novel, we employ Rudy Rucker’s theorisations of the movement that delineates the transrealist manifesto as a union of realism, fantasy, and science-fiction. The findings reveal that through a satirical representation of the current advancements in technology and their inevitably negative impact on human life and society, the novel provides a dystopian picture of modern life in America. This apocalyptic sentiment is reinforced through a creative convergence of the surreal features of science-fiction, the tropes of naturalistic realism, and the elements of satire that together help to accentuate the deficiencies and ironies of the modern American society as well as the rampant misuse of technology by both individuals and authorities. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to reconsider (...) the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

This paper is part of a larger philosophical project whose finality is to present the Kantian and Neokantian sources of what is now called "Theological fictionalism". In particular, it proposes to compare the "as-if religion" of the Neokantian Hans Vaihinger to William James's religious pragmatism, explaining a preference for the second.

Le present essai part du constat que, avant d'etre theorisee dans ses divers aspects et ses applications variees, la fiction a joue des roles importants dans les sciences, les philosophies et les pratiques classiques. C'est a la fin du XVIIIe siecle que l'on cherche non plus seulement a utiliser, mais a comprendre son fonctionnement dans tous les secteurs ou l'intelligence theorique et pratique est requise. A partir du XIXe siecle, on tient, avec la fiction, une notion dont la valeur de (...) transfert, de transfusion, de transformation, de transvaluation, est generale et tres forte: la position de servante et d'intermediaire qu'on lui connaissait s'est renversee en position de maitrise. L'auteur de cet Essai sur les fictions s'efforce de faire une pesee de la valeur heuristique et epistemologique de la fiction en divers domaines. Beaucoup plus independante du kantisme que ne l'avait ete en son temps la recherche de H. Vaihinger, la presente enquete sillonne des terres que l'on a coutume de designer par les memes mots de theorie, de morale, d'ethique, de droit, de politique, d'esthetique, avec les instruments nouveaux que les chercheurs ont pu forger depuis que la theorie des fictions a acquis quelque autonomie. Peut-etre vaut-il mieux, en philosophie, des incertitudes de position que des rentes de situation. (shrink)

David Hume's early philosophy appeals to fiction and artifice to explain several important features in our cognitive and social activity. In this dissertation, I develop a typology of Humean fictions and artifices to clarify and render his account consistent. In so doing, I identify a special class of fictions I divide into natural fictions and natural artifices. I argue that this special class of cognitive and social fictions represents a significant break with prior English-speaking philosophers, such as Francis Bacon and (...) John Locke, in so far as these fictions and artifices of the imagination are recognized as natural, irresistible, and pragmatically useful in human cognition and social activity. That fictions and artifices are naturally generated by the imagination in epistemic and moral contexts, I argue, is a watershed discovery in the history of philosophy. Indeed, it is a philosophical conclusion that poses serious, perhaps fatal, problems for philosophers who espouse thoroughgoing realist positions. More broadly, Hume's pursuit of applying the experimental method to the moral subject reveals that human nature is mightily governed by the imagination, and that fictions and artifices are ubiquitous across the domains of science, morality, theology, logic, mathematics, and philosophy. For that reason, I suggest Hume ought to be recognized as a central figure in the history of philosophical fictionalism. Specifically, via a comparative analysis of Hume and Hans Vaihinger, I make the case that Hume functions as a vital link between Hobbes, Berkeley, and Kant in the development of early modern fictionalism. (shrink)

The purpose of this article is to suggest that the fictionalist’s emotions toward religious discourse could be better supported than the current literature allows. By ‘fictionalist’ I mean those of whom interpret religious discourse as useful fiction. The threefold structure of the article will argue that: (1) the concept of aliefs has been falsely equated with the concept of imagining, (2) the fictionalist ought to adopt a hybrid theory of emotions rather than a cognitive appraisal and, (3) if (1) and (...) (2) are accepted, then key issues concerning the genuineness and appropriateness of emotions toward fictional entities can be overcome. I will conclude that something significant is at stake here, and that is whether or not the fictionalist’s emotions are deemed ‘real’ or not. Thus, to provide the best defence of the fictionalist’s emotions is to: (A) separate that which has been lumped together, that is: quasi emotions and alief-evoked emotions (B) argue for the hybrid account of emotions and, (C) defend the genuine and appropriate nature of fictional emotions. (shrink)

Der Band vereint aktuelle Beiträge zu den Themenschwerpunkten Fiktion, Wahrheit und Interpretation im Hinblick auf fiktionale literarische Texte. Im Einzelnen werden Fragen wie die folgenden diskutiert: In welchem Verhältnis stehen Literatur und Wahrheit? Welche Rolle spielen Intentionen für die Interpretation? Sind fiktionale Texte ausschließlich fiktional? Lässt sich die Sprechakttheorie für die Beschreibung der in fiktionalen literarischen Texten enthaltenen Sätze fruchtbar machen? Warum nehmen wir Anteil an fiktionaler Literatur, obwohl wir wissen, dass die beschriebenen Personen und Ereignisse nicht real sind? Die (...) Beiträger nehmen diese Problemfelder aus einer interdisziplinären Warte zwischen Literaturtheorie und analytischer Philosophie in den Blick. (shrink)

"Novels, movies, and lies - these are all fictions that provoke with their as ifs and what ifs. In response to the idea that fiction has somehow become an unfashionable topic in contemporary criticism, this volume argues that the question of fiction needs to be updated in the absence of a widely accepted theory of truth. This collection, dedicated to the noted scholar and literary critic Lubomir Dolezel, covers an extensive number of theoretical and historical issues relevant to our understanding (...) of the status of fictions - literary or not." "Fiction Updated offers approaches to fiction and poetics that, in an imaginary topography of contemporary humanities, dwell at a distance from both the mimetic theory of literature and deconstruction. The contributors introduce new perspectives to the problem of fictionality, or broaden the scope of its applications, by examining the works of such authors as Homer, Casanova, Aristotle, Woolf, Vaihinger, Borges, Kundera, Coetzee, and Bakhtin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

In this paper I demonstrate the connection between the single remark Wittgenstein made explicitly on Hans Vaihinger’s Die Philosophie des als ob and the remarks he made on Sir James George Frazer’s The Golden Bough. After a critical-genetic exposition of the relevant material, I offer an interpretation of that connection, which will require that I interpret the remark on the philosophy of “as if” relative to how Wittgenstein seems to regard Vaihinger’s fictionalism and relative to how Wittgenstein reads (...) Frazer. (shrink)

'Sound Effects' collects original articles on English and American prose fiction which analyse vocal phenomena by using the psychoanalytic concept of the object voice - introduced by J. Lacan and theorised by M. Dolar - as their interpretative tool.

From accounts of migration and stories of personal alienation, through the fragmented memories of former incarnations, to fable-like tales of half-breeds and species metamorphosis, Ying Chen's fiction evolves as it revolves around questions of difference, otherness and identity, which is never fixed or singular. While presenting the narrators' inner preoccupations and, in some cases, unreliable nature, the increasingly complex texts of this francophone-Chinese writer (1961-) also reveal larger concerns about dominant discourses, the limitations of social realities, survival, and the relationship (...) between beings, all framed within an aesthetics of non-belonging. Intriguingly, the author achieves this by consciously distancing her works, from 1998 onwards, from any categorisation by ethnicity. This engaging study considers Chen's writing from the contemporary perspective of the breakdown of traditional spatiotemporal experiences, the homogenization of places, the erasure of cultural differences, and the resulting tendency towards universalism. Rosalind Silvester is Senior Lecturer in French Studies and Director of Education in the School of Arts, English and Languages at Queen's University Belfast. (shrink)

The claim that theoretical entities are not real, that they are merely convenient fictions, has been defended and attacked in diverse ways. This paper is concerned with only one defense of the fictionalist thesis and with a certain realist attack on it. The defense in question is that theories which prima facie make reference to theoretical entities can be revised in such a way that no such apparent reference is made by eliminating all occurrences of theoretical expressions. It will be (...) argued here that there is a procedure for revising theories which meets certain minimal criteria of adequacy, contrary to arguments in the literature. Further, it will be argued that the existence of this procedure provides neither sufficient nor necessary support for the fictionalist thesis, that this procedure is not of significance in the dispute between the fictionalist and the realist. Whether or not the theoretical-nontheoretical distinction is viable is another story which will not be told here. It will be assumed for the sake of argument that such a distinction can be drawn. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PLATO'S STATESMAN STORY: THE BIRTH OF FICTION RECONCEIVED by John Tomasi In "Plato's Atlantis Story and the Birth of Fiction," Christopher Gill wants to distinguish the story ofAdantis in the Critias from Plato's earlier stories—like diat in the Statesman.1 These stories, Gill claims, belong to different literary genres. While the Statesman story is but another example of fable, the Adantis story of the Critias represents the first example—the first (...) in Plato and indeed the earliest in all Western written culture—of an exciting new literary genre: narrative fiction. Gill describes narrative fiction as a kind ofgame into which the author invites his audience to join. The invitation to play the game of fiction is an invitation "to share in the willing and conscious acceptance of the false as true" (p. 65). The audience is provided the opportunity to become "willfully self-deceived" about the story's truth. Perhaps the main constraint on a story's belonging to the genre of fiction is the author's ability to transmit this special invitation to his reader. Gill says one major way to do this is by a framework of introductory signals which are mixed in a certain way. The Adantis story, as Gill claims, seems to be framed with signals that a self-deception game is about to begin. Socrates says Critias is like a playwright competing in front of an audience (108a). Gill reads line 107 to mean that Critias is concerned direcdy with "the problem of giving his narrative the illusory realism which he says audiences require." Also, Gill says, "the fact that it is a game is signalled by the overt claim to historical truth in a context in which we are not disposed to accept the claim" (p. 72). Plato thus introduces the Adantis story with a delicate mixture ofconflictingclaims about the story's factual status. Gill suggests the reader should interpret this special mixture of signals as being a Philosophy and Literature, © 1990, 14: 348-358 John Tomasi349 sort of invitation to "make pretend," to play a pleasant game, to allow die reader to become willfully self-deceived. Within die Adantis story itself diere are further marks of die fiction genre. Narrative fiction can be a compelling game, and good fiction writers often slip into the game themselves, writing with a concern for detail and with a word choice so sensitive that the reader may feel that die writer too must believe in this fictional world. The Adantis story certainly exhibits this mark of fiction. As Gill puts it, in writing about Adantis Plato seems at times to have become "momentarily infatuated with the world he is creating."2 Such infatuation, exhibited especially perhaps in the detailed descriptions in the Critias of the splendors of the Adantean city and in the passionate portrayal of the growth of hubris in the citizens' hearts, is perhaps what gives the Adantis story some of its special potency, what makes it especially gripping to us (116c—ll7e; 121a-c). Clearly, it is a story with which writer as well as reader might develop an intimate relationship. In Plato's Atlantis story the framing signals are mixed with a deliberate subtlety, and the reader at times senses the writer's infatuation with his own tale. The Adantis story is thus crafted to get from the reader what Plato is after: "a willed self-deception, a chosen suspension ofincredulity for the duration of the story." Gill concludes, "This new element of intended complicity in the fictional game makes his work the first piece of deliberately fictional narrative in Greek literature" (p. 76). Gill's argumentthat the Adantis story belongs to the genre ofnarrative fiction is provocative and on the whole convincing. But is the Adantis story really the first Western instance of that genre? Is it even Plato's first attempt at fiction? I think it is not. I would like now to examine the storywithin the Statesman, a storywhich Gill says was probablywritten before the Adantis story. Might the Statesman story be a still earlier instance of narrative fiction? The signals framing the Statesman story are mixed indeed. At first, the Stranger tells young Socrates that... (shrink)

Foucault notoriously suggests that his historical analyses are fictions. Commentators typically interpret this claim in a negative light to mean that Foucault's works are not, strictly speaking, true. In this paper, I present a positive interpretation of Foucault's claim, basing my argument on a hitherto marginalized aspect of his work: the experience-book. An experience-book is defined as a use of fiction in the practice of critique with desubjectifying effects. My argument for this interpretation proceeds in three steps. First, to prepare (...) a preliminary account of Foucault's concept of fiction and its effects, I look at Blanchot's ontological interpretation of the work of literature in The Space of Literature. Blanchot, I suggest, provides a template for understanding Foucault's concept of the experience-book. Second, I identify traces of Blanchot's concept of fiction in Foucault's study of Jules Verne, Behind the Fable. I argue that Foucault's critique of fiction, in this paper, anticipates and prefigures his later use of fiction in the practice of critique. Third, pursuing this intuition, I develop an interpretation of Discipline and Punish understood as a use of fiction and experience-book. This interpretation provides a new, immanent perspective on Foucault's critique, and mitigates the epistemological skepticism of the claim that his works are fictions. (shrink)

"_Of Literature and Knowledge_ looks... like an important advance in this new and very important subject... literature is about to become even more interesting." – Edward O. Wilson, Pellegrino University Professor, Harvard University. Framed by the theory of evolution, this colourful and engaging volume presents a new understanding of the mechanisms by which we transfer information from narrative make-believe to real life. Ranging across game theory and philosophy of science, as well as poetics and aesthetics, Peter Swirski explains how literary (...) fictions perform as a systematic tool of enquiry, driven by thought experiments. Crucially, he argues for a continuum between the cognitive tools employed by scientists, philosophers and scholars or writers of fiction. The result is a provocative study of our talent and propensity for creating imaginary worlds, different from the world we know yet invaluable to our understanding of it. _Of Literature and Knowledge_ is a noteworthy challenge to contemporary critical theory, arguing that by bridging the gap between literature and science we might not only reinvigorate literary studies but, above all, further our understanding of literature. (shrink)

Framed by the theory of evolution, this volume offers a new understanding of the mechanisms by which we transfer information from narrative make-believe to real life. Ranging across game theory and philosophy of science, as well as poetics and aesthetics, Peter Swirski explains how literary fictions perform as a systematic tool of enquiry, driven by thought experiments. Crucially, he argues for a continuum between the cognitive tools employed by scientists, philosophers, and scholars or writers of fiction."--Jacket.

Dieser Band versammelt Aufsätze, die dem Verhältnis von Perspektive und Fiktion aus philosophischen sowie kunst-, literatur-, film- und musikwissenschaftlichen Blickwinkeln nachgehen. Visuelle Perspektiven spielen für die Konstruktion fiktionaler Bildräume eine wesentliche Rolle. Und auch für die Konstruktion fiktionaler Erzählungen sind narrative Perspektiven entscheidend. Dies führt zu der Frage, ob Fiktionen immer perspektivische Konstruktionen sind. Was genau jedoch könnte es überhaupt bedeuten, eine Fiktion als perspektivische Konstruktion zu definieren? Welche Modelle von Wahrnehmung, Erkenntnis und Affekt müssen hinzugezogen werden, um das Verhältnis (...) von Fiktion und Perspektivität zu klären? Und welche Rolle spielen Perspektivierungen und Fiktionalisierungen für unsere ästhetischen sowie nicht-ästhetischen Erfahrungen und Handlungen?"--Back cover. (shrink)

How can literature and religion be understood together from a religious studies perspective? One possibility for a comparative basis is the social-ethical self-understanding that takes places within the literary medium. As an example of religious literature, the Book of Revelation is compared to Henning Mankell's contemporary crime fiction. The choice of,,apocalyptic" models in their literary and pragmatic form is suitable for religious and socio-crime literature to analyze the state of their respective periods and to socialize certain behavior through the reading (...) experience. Moreover, the essay provides an excurse on literature in European religious history and uses methodological theses to show interpretation as criminological,,investigation". (shrink)

Nach einer weit verbreiteten Überzeugung beruht der Wert von fiktionaler Literatur wenigstens zum Teil darauf, dass Leser durch sie zu Wissen gelangen. Warum aber kommt fiktionale Literatur für den Erwerb von Wissen in Frage? Einige Autoren verweisen darauf, dass Literatur zwar kein propositionales Wissen im Sinne des Überzeugungswissens, aber ein nicht-propositionales Wissen im Sinne des Wissens von subjektiven Perspektiven oder von Fertigkeiten vermittelt. Der Beitrag argumentiert dafür, dass sich zusätzlich zu nicht-propositionalem Wissen auch propositionales Wissen durch Literatur erwerben lässt. Leser (...) können ihr propositionales Wissen erweitern, weil literarische Werke Behauptungen über Allgemeines enthalten. Anhand impliziter und durch Interpretation erschließbarer allgemeiner Aussagen wird die Auffassung verteidigt, dass Literatur eine wahrheitssuchende Institution darstellt. (shrink)

An alarming number of philosophers and cognitive scientists have argued that mind extends beyond the brain and body. This book evaluates these arguments and suggests that, typically, it does not. A timely and relevant study that exposes the need to develop a more sophisticated theory of cognition, while pointing to a bold new direction in exploring the nature of cognition Articulates and defends the “mark of the cognitive”, a common sense theory used to distinguish between cognitive and non-cognitive processes Challenges (...) the current popularity of extended cognition theory through critical analysis and by pointing out fallacies and shortcoming in the literature Stimulates discussions that will advance debate about the nature of cognition in the cognitive sciences. (shrink)

Because of their vastness and rather fragmentary character, the writings of Leibniz leave the student unusually dependent on secondary literature for guidance. That the literature on Leibniz is exceptionally good is all the more reason to welcome the kind of orientation to the riches of both primary and secondary sources that this Companion aims to provide. Announcing itself as “the most accessible and comprehensive guide to Leibniz currently available” for nonspecialists and “a conspectus of recent developments in the interpretation of (...) Leibniz” for specialists, it lives up to both aspirations remarkably well. (shrink)

Any comprehensive interpretation of the "Theaetetus" has to provide answers to, among others, two very general questions concerning that dialogue: "What is Plato's relation to the problems faced in the "Theaetetus"?" and "What is the significance of the absence of the Forms from the discussion of the "Theaetetus", given their undoubted relevance to the topic of the dialogue, i.e. knowledge?" Predominantly, the answer given to the first question in the literature has been that the problems are those that Plato is (...) trying to tackle and the one to the second question, when it has been addressed at all, that the Forms are left out of the discussion because Plato no longer thought them relevant, either for having abandoned or seriously revised them, by the time of writing the "Theaetetus". In this study of the Wax Block and the Aviary models of judgment that occur in the second part of the "Theaetetus" as part of its discussion of the problem of false judgment, I argue that the problems faced there actually arise because of the neglect of Forms. The discussion of the second part is, I contend, carried out on a materialist ontology, an ontology assumed because it suits the definition of knowledge as true judgment which inaugurates that part of the dialogue, an ontology in no way subscribed to by Plato. The Wax Block is, I explain, a materialist model and fails in the case of judgments about numbers for treating them on a par with material subjects, ignoring their intelligible status. In particular, it fails to distinguish judging 5 and 7 to be 11 from judging 12 to be 11 because of its neglect of Forms; Plato would distinguish those judgments by distinguishing 5 and 7 from 12 with help from his part-whole analysis, to which the Forms are essential. (shrink)

This essay contends that reality is a creative evolutionary process by which the virtual is transformed into the actual and argues that our critical conception of realism in literature needs to be altered to reflect this purposive and progressive living reality in contrast to the static and dead actuality assumed by the conventional notion of realism as mimesis. Realist fiction writers who are profound creators have strategically employed metaphysically dipolar and ethically earnest literary genres in tandem with mimetic realism, resulting (...) in complexly interactive alternative and prophetic realisms that function as catalytic agents for progressive change in our world. (shrink)

Christian theology is one of the most neglected areas of Leibniz’s thought. It is a subject that engaged his attention throughout his intellectual career. He seems to have been very well informed about the main currents of theological opinion in his own time, and to have had an extensive knowledge of historic doctrinal positions. He left behind a wealth of letters and unpublished papers discussing topics in revealed theology; but this resource for understanding both his own thought and the history (...) of theology at the dawn of the Enlightenment remains largely unmined. The Academy edition of Leibniz’s works includes as yet no systematic project for the publication of his theological papers—the largest class of his papers—although important treatments of theological subjects are finding their way into series I and VI. Gaston Grua surveyed and assembled a large quantity of theological texts, but these are organized around Grua’s interest in Leibniz’s theodicy, so that Leibniz’s views on topics such as grace, predestination, and theological method are represented much more richly than other topics in revealed theology. Another topic much discussed in the secondary literature is Leibniz’s treatment of eucharistic theology, which has attracted attention because it is involved both in his negotiations about reunion of the churches and in some of his major discussions of issues about corporeal substance. But other central topics of Christian theology have received much less attention in the secondary literature; and this is true in particular of the doctrines of the Trinity and the Incarnation, even though they are rich in metaphysical resonance and Leibniz had quite a lot to say about them. (shrink)