According to many realist philosophers of fiction, one needs to posit an ontology of existing fictional characters in order to give a correct account of discourse about fiction. The realists' claim is opposed by pretense theorists for whom discourse about fiction involves, as discourse in fiction, pretense. On that basis, pretense theorists claim that one does not need to embrace an ontology of fictional characters to give an account of discourse about fiction. The ontolog-ical dispute between realists and pretense theorists (...) is mainly a dispute in the realm of the phi-losophy of language concerning the status relative to pretense of discourse about fiction. Realists are persuaded that there is a sharp line between discourse in fiction and discourse about fiction while pretense theorists deny there exists such a line. I suggest that realists may have a wrong picture of discourse in fiction since, in many cases, discourse in fiction already contains many occurrences of discourse about fiction. Consequently, discourse about fiction, instead of ending fiction, should be regarded, following pretense theorists, as adding extra lay-ers of fiction. (shrink)

The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book's first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays discuss the notion (...) of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics. (shrink)

The nonexistence of fictional entities does not seem incompatible with their possible existence. The aim of this paper is to give an account of the intuitive truth of statements of possible existence involving fictional proper names in an actualist framework. After having clarified the opposition between a possibilist and an actualist approach of possible wolds, I distinguish fictional individuals from fictional characters and the fictional use of fictional proper names from their metafictional use. On that basis, statements of possible existence (...) involving fictional proper names literally say of fictional characters conceived as abstract objects that they might have been exemplified. (shrink)

Analogical counterfactuals such as “If I were you, I would do so and so...” create a puzzle for philosophical semantics. Whereas the ‘received view' in philosophical semantics has it that the first person pronoun always refers to its utterer, one may wonder whether this is still the case when the first person pronoun is embedded in analogical counterfactuals such as “If I were you, I would stay away from me”. I suggest that the intelligibility of lies in the fact that (...) the token of the expression ‘I' in the consequent of the counterfactual does not refer to its utterer. Should one then conclude, following the ‘anaphoric theory' that the second occurrence of ‘I' in does refer to its addressee? For the ‘anaphoric theory', ‘I' in ‘I would stay away from me' refers anaphorically, thanks to the linguistic context, to the referent of ‘you' in ‘If I were you'. On the basis of an analysis of the imaginative project involved in uttering a practical advise in the form of, I suggest contra the ‘anaphoric theory' that the first pronoun ‘I' in the consequent of behaves as an indexical and that its content is obtained by the application of its character to a pretend context differing from the context of its utterance. According to the so-called ‘pretence theory', the first person pronoun in its second occurrence in pretends to refer to a fictional composite of the utterer and the addressee. (shrink)

I discuss two ways one may explain how we interpret the content of a fictional. In the first, the interpreter’s task aims at deciding what is true in a fictional story by figuring out the narrative intentions behind its production. Narrative interpretation is a matter of figuring out the story-telling intentions of the (implied) author of the work. This is Currie’s intentionalist model of narrative interpretation, a conception I present and discuss on the basis of experimental results in the psychology (...) of language. In the second, narrative interpretation is explained by reference to the emotions of the reader or the viewer of the fictional narrative. It is on the basis of his emotional sensibility, of how things feel to him that the reader or the viewer is led to understand the narrated events. This is Velleman’s emotional theory of narrative understanding. Finally, I compare both conceptions. (shrink)

I make a few comments concerning the way Recanati analyses imaginary situations in two realms : : the realm of the fictional and the realm of the ascription of beliefs.