Fictional Characters

According to what has long been the dominant school of thought in analytic meta-ontology––defended not only by W. V. O. Quine, but also by Bertrand Russell, Alvin Plantinga, Peter van Inwagen, and many others––the meaning of ‘there is’ is identical to the meaning of ‘there exists.’ The most (in)famous aberration from this view is advanced by Alexius Meinong, whose ontological picture has endured extensive criticism (and borderline abuse) from several subscribers to the majority view. Meinong denies the identity of being (...) and existence. That is, he denies that ‘there is’ and ‘there exists’ are semantically equivalent, and espouses a theory according to which there are things that do not exist. Here I defend a revised version of this view, which I call “Noncontradictory Neo-Meinongianism.” Focusing primarily on van Inwagen’s arguments in “Meta-Ontology” (1998), I argue that Noncontradictory Neo-Meinongianism is, on commonsensical grounds, preferable to the meta-ontological theories of van Inwagen and Meinong. (shrink)

This paper deals with the identity problems of fictional objects, focusing on Anthony Everett's and Stuart Brock's leading criticisms against fictional creationism, the view that fictional objects are abstract objects created by our acts involving literary practices. My primary aim is to argue that creationism based on referentialism has enough resources to individuate fictional objects and hence can address the alleged identity problems: every alleged problematic case regarding the identity of fictional objects is well explained in terms of the notions (...) of authorial intention, gappy proposition, inadvertent creation, and reference shift. (shrink)

In recent metaphysics, the questions of whether fictional entities exist, what their nature is, and how to explain truths of statements such as “Sherlock Holmes lives at 221B Baker Street” and “Holmes was created by Arthur Conan Doyle” have been subject to much debate. The main aim of my thesis is to wrestle with key proponents of the abstractionist view that fictional entities are abstract objects that exist (van Inwagen 1977, 2018, Thomasson 1999 and Salmon 1998) as well as Walton’s (...) (1990) pretense view, which denies the existence of such entities. In the process, I propose modifications to these views to deal with problems they face and show how the modifications better account for the philosophical data. -/- Key abstractionists (van Inwagen 1977, Thomasson 1999) make a strict distinction between discourse within fiction, in which statements about literary characters cannot be literally true, and discourse about fiction, as it occurs in literary criticism, where statements about fictional characters can be literally true. Fictional objects are postulated to account for the truth of the latter. This runs into trouble because statements thought to be literally true are not literal. (Yagisawa 2001, Friend 2002) I provide a uniform analysis to account for the truth of statements involving fictional characters by appealing to a presupposition involving a metaphor in both contexts. The presupposition is that there is an x such that x is fictional; x is likened to a real person; and x is and ought to be treated/counted as a real person for all relevant intents and purposes. -/- More generally, I adopt Everett and Schroeder’s (2015) realist view that fictional characters are ideas constituted by mental representations. This, to me, better accounts for how fictional characters are created within the world’s causal nexus (unlike non-spatiotemporal entities in abstractionism), among other things. One key challenge they face is to explain how ideas can possess properties such as being a detective. I present a fine-grained version of their view, according to which the mental representations constituting fictional entities encode mind-dependent properties. Moreover, I explain how reference to such representations is possible, using Bencivenga’s (1983) Neo-Kantian view of reference and Karttunen’s (1976) view on discourse referents. Finally, I suggest that the identity of fictional characters is interest-relative. The constant, and sometimes radical, change of properties that, fictional characters can undergo is taken to be a consequence of the fact that unified mental representations are bundles of simpler mental representations. As change occurs, simpler representations are replaced by others. -/- A key theme that runs through the thesis is that neither fictionality nor pretense is relevant to the semantics of fictional sentences—a claim bolstered by Matravers’ (2014) arguments. Whether or not my account works, this claim, as well as the new philosophical data I bring up, are some of the challenges I pose to the heart of established views. (shrink)

Role realism is a promising realist theory of fictional names. Different versions of this theory have been suggested by Gregory Currie, Peter Lamarque, Stein Haugom Olsen, and Nicholas Wolterstorff. The general idea behind the approach is that fictional characters are to be analysed in terms of roles, which in turn can be understood as sets of properties. I will discuss several advantages and disadvantages of this approach. I will then propose a novel hyperintensional version of role realism, according to which (...) fictional names are analysed in terms of individual concepts that cannot be matched by a reference. I will argue that this account avoids the main disadvantages of standard role realism. (shrink)

Fictional Discourse: A Radical Fictionalist Semantics By PredelliStefanoOxford University Press, 2020. viii + 184 pp.

This volume brings together new research on fiction from the fields of philosophy and linguistics. Fiction has long been a topic of interest in philosophy, but recent years have also seen a surge in work on fictional discourse at the intersection between linguistics and philosophy of language. In particular, there has been a growing interest in examining long-standing issues concerning fiction from a perspective that is informed both by philosophy and linguistic theory. -/- Following a detailed introduction by the editors, (...) The Language of Fiction contains 14 chapters by leading scholars in linguistics and philosophy, organized into three parts. Part I, 'Truth, Reference, and Imagination', offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, 'Storytelling', deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, 'Perspective Shift', focuses on an alleged key characteristic of fictional narratives, namely how we get access to the fictional characters' inner lives, through a variety of literary techniques for representing what they say, think, or see. The volume will be of interest to scholars from graduate level upwards in the fields of discourse analysis, semantics and pragmatics, philosophy of language, psychology, cognitive science, and literary studies. -/- Table of Contents 1:Introduction, Emar Maier and Andreas Stokke Part I: Truth, Reference, and Imagination 2:Fictional reference as simulation, François Recanati 3:Sharing real and fictional reference, Hans Kamp 4:Fictional truth: In defense of the reality principle, Nils Franzén 5:On the generation of content, Sandro Zucchi 6:Do the imaginings that fictions invite have a direction of fit?, Manuel García-Carpintero Part II: Storytelling 7:In search of the narrator, Regine Eckardt 8:Extracting fictional truth from unreliable sources, Emar Maier and Merel Semeijn 9:Narrative and point-of-view, Samuel Cumming 10:A puzzle about narrative progression and causal reasoning, Daniel Altshuler 11:Isomorphic mapping in fictional interpretation, Matthias Bauer and Sigrid Beck Part III: Perspective Shift 12:Metalinguistic acts in fiction, Nellie Wieland 13:Computing perspective shift in narratives, Márta Abrusán 14:Derogatory terms in free indirect discourse, Isidora Stojanovic 15:Protagonist projection, character-focus, and mixed quotation, Andreas Stokke. (shrink)

I shall elaborate in this article on the connection between ficta and metaontological pluralism, i.e., the view according to which there are irreducibly many dependence relations. More precisely, I shall consider the main tenets of an artifactualist theory of ficta and show how they can be expressed from the standpoint of a pluralist theory of dependence that accepts irreducibly many Respect-of-Dependence relations (in short, RD-relations). In Section 2, I shall introduce the artifactualist theory at stake and, in Section 3, I (...) shall recall my theory of RD-relations. In Section 4, I shall show how ficta identity-depend, origin-depend and sustenance-depend on further entities. In Section 5, I shall anticipate and solve three problems. In Section 6, I shall briefly compare my account with other accounts. Finally, in Section 7, I shall draw some conclusions. (shrink)

The main aim of this dissertation is to model the different ways in which we use language when we engage with fiction. This main aim subdivides itself into a number of puzzles. We all know that dragons do not exist. Yet, when I read the Harry Potter novels, I do accept the existence of dragons. How do we keep such fictional truths separate from ‘ordinary’ non-fictional truths? What is the difference between Tolkien writing down all sorts of falsities, and a (...) liar who also says all sorts of untrue things? How can it be true that Frodo was born in the Shire while it is also true that he was invented by Tolkien? Given that a fiction such as Pride and Prejudice is not about the actual world, how can I learn things about 19th century etiquette in England by reading this novel? -/- I develop a coherent semantic analysis of these different puzzles: the ‘workspace account’. This theory is an extension of Stalnaker’s famous pragmatic ‘common ground’ framework. In this framework, assertions are modelled as proposals to update the ‘common ground’ (the set of shared assumptions) between conversational interlocutors. (shrink)

Catholics normally approach the Eucharist with great love and devotion. The paper looks at how, through the character, Papa, the reality of this love and devotion to the Eucharist is captured by the Nigerian writer, Chimamanda Adichie, in her novel, Purple Hibiscus . The novel reveals that while Papa, in various ways, shows great love and devotion to Christ in the Eucharist, his devotion remains inauthentic: it does not lead him to a love of this same Christ in his neighbour. (...) The work, therefore, underscores not only the nexus between theology and creative literature, but also, in a special way, the social implications of the Eucharist. (shrink)

We reply to various arguments by Otavio Bueno and Edward Zalta against Modal Meinongianism, including that it presupposes, but cannot maintain, a unique denotation for names of fictional characters, and that it is not generalizable to higher-order objects. We individuate the crucial difference between Modal Meinongianism and Object Theory in the former’s resorting to an apparatus of worlds, possible and impossible, for the representational purposes for which the latter resorts to a distinction between two kinds of predication, exemplification and encoding. (...) We show that encoding has fewer forerunners in the history of philosophy than Bueno and Zalta want, and that there’s a reason why the notion has been found baffling by some. (shrink)

Currie’s (2010) argument that “i-desires” must be posited to explain our responses to fiction is critically discussed. It is argued that beliefs and desires featuring ‘in the fiction’ operators—and not sui generis imaginings (or "i-beliefs" or "i-desires")—are the crucial states involved in generating fiction-directed affect. A defense of the “Operator Claim” is mounted, according to which ‘in the fiction’ operators would be also be required within fiction-directed sui generis imaginings (or "i-beliefs" and "i-desires"), were there such. Once we appreciate that (...) even fiction-directed sui generis imaginings would need to incorporate ‘in the fiction’ operators, the main appeal of the idea that sui generis imaginings (or "i-beliefs" or "i-desires") are at work in fiction-appreciation dissipates. [This is Chapter 10 of Explaining Imagination (OUP, 2020)]. (shrink)

Why does someone reach for beauty in circumstances of adversity when it is usually presumed that staying alive presupposes all else?

This paper aspires to meet a philosophical challenge posed to the author to give treatment to what was seen as a particularly nice Meinongian case1; namely the case of Galician Meigas. However, through the playful footpaths of enchanted Galician Meigas, I rehabilitate some relevant discussion on the justification of belief formation and come to some poignant philosophical insights regarding the understanding of possibilities. I hope both the leading promoter of the challenge and, of course, other philosophical readers are satisfied with (...) the outcome. (shrink)

Как насчет другого взять на богатых и знаменитых? Во-первых, очевидное - романы о Гарри Поттере - это примитивные суеверия, которые побуждают детей верить в фантазию, а не брать на себя ответственность за мир - норма, конечно. JKR как раз как clueless о себе и мире как большинств люди,но около 200 времен как разрушительно как средний американец и около 800 времен больше чем средний китаец. Она несет ответственность за уничтожение, может быть, 30000 гектаров леса для производства этих романов мусора и все (...) эрозии последующем (не тривиально, как этопо крайней мере 6 и, возможно, 12 тонн / год почвы в океан для всех на земле или, может быть, 100 тонн на американских, и так около 5000 тонн / год для книг Роулинг и movies иее 3 детей). Земля теряет по крайней мере 1% своего верхнего слоя почвы каждый год, так как она приближается к 2100, большая часть его потенциала выращивания продуктов питания исчезнет. Тогда есть огромное количество горючего сжигается и отходов, чтобы сделать и распространять книги и фильмы, пластиковые куклы и т.д. Она показывает ее отсутствие социальной ответственности, производя детей, а не использовать ее миллионы для поощрения планирования семьи или скупить тропический лес, а также путем поощрения обычных либеральной глупости 3-го мирового превосходства, что разрушает Великобритании, Америки, мира и будущего ее потомка. Конечно, она не сильно отличается от остальных 7. 8 миллиардов невежественных - просто шумнее и более разрушительным. Это - не бесплатная проблема обеда, большая. Толпа просто не может видеть, что нет такого понятия, как помогать одному человеку, не причиняя вреда другим. Права или привилегии, предоставленные новым абитуриентам в переполненном мире, могут лишь приглушить правадругих. Несмотря на массовые экологические катастрофы, происходящие перед ними повсюду каждый день, они не могут приколоть их к безудержной материнства "разнообразных", что составляет большую часть прироста населения в прошлом веке, и все это в этом. Им не хватает определенного сочетания интеллекта, образования, опыта и здравомыслия, необходимых для экстраполирования ежедневных посягательств на ресурсы и функционирование общества на возможный крах индустриальной цивилизации. Каждая еда, каждая поездка на машине или автобусе, каждая пара обуви является еще одним гвоздем в гроб земли. Он, вероятно, никогда не приходило ей в голову, что одно место на самолете из Лондона в Сан-Франциско производит около одной тонны углерода, который тает около 3 квадратных метров морского льда и в качестве одного из перепривилегированных она, вероятно, пролетел сотни таких рейсов. Не только богатые и известные, но почти любой общественный деятель на всех, в том числе практически все учителя, давление, чтобы быть политически корректным, что в западных демократиях, в настоящее время означает социал-демократической(неомарксистской т.е. разбавленный коммунист) третьего мира превосходства, работающих на уничтожение своих собственных обществ и их собственных потомков. Таким образом, те, у кого не хватаетобразования, опыта, интеллекта (и основного здравого смысла), которые должны запрещать им делать какие-либо публичные заявления вообще, полностью доминируют во всех средствах массовой информации, создавая впечатление, что умные и цивилизованные должны способствовать демократии, разнообразию и равенству, в то время как истина заключается в том, что это проблемы, а не решения, и что они сами являются главными врагами цивилизации. Смотрите мой Самоубийство демократии 2nd ed (2019) и другие. (shrink)

We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

In recent work, Walton has abandoned his very influential account of the fictionality of p in a fictional work in terms of prescriptions to imagine emanating from it. He offers examples allegedly showing that a prescription to imagine p in a given work of fiction is not sufficient for the fictionality of p in that work. In this paper, both in support and further elaboration of a constitutive-norms speech-act variation on Walton’s account that I have defended previously, I critically discuss (...) his objections. In addition to answering his concerns and developing the account further, I provide additional abductive support for its explanatory virtues vis-à- institutional accounts like Walton’s, and Gricean speech-act proposals. (shrink)

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

The text aims to explain Radichkov's special magical capaЬility of creating imaginary worlds. His words do not mean any external reality to which they refer. Тhеу themselves are reality. Radickov's language consists of "ontological quanta". Any ontological quantum means both reality and а certain image of it, indivisiЫe and indistinguishaЫe from each other. Here we сап also involve non-Saussurean semiotics. The signifier and the signified are indivisiЫe and complementary in any sign. The meanings are areas of agreement between human beings. (...) Language generates that agreement between people. Its uncertainness and unclearness are not disadvantages. They allow for the people to agree with each other. The opacity of language is not Iess important than its transparency. The opacity means its aЬility to create fictions and literature and to replace reality with them. The basis of that opacity is ontological quanta: they allow апу average human being to use language successfully. Saussurean semiology considers Ianguage as а "Ыасk Ьох" averaged Ьу huge ensemЫes ofuses and only in terms ofthe past: language as well-ordered in ideality. The semiotics of ontological quanta is temporal: it сап refer both to the past and future oflanguage as well as to its present. lt describes how the indistinguishaЫe signs ofthe future are transformed in the well-ordered signs ofthe past Ьу means of choices in the present. The semiotics of ontological quanta сап Ье presented as that modification of the classical semiotic scheme where the signified and the signifier are complementary. (shrink)

In her 1890 short story “Louisa,” Mary Wilkins Freeman explores nepotistic interference with female mate selection. Twenty-five-year-old Louisa Britton is pressured by her mother to marry against her inclinations, that is, to accept a suitor whom she does not “like.”1 The focal point of Freeman’s plot is the ensuing mother-daughter conflict, an evolutionarily significant issue that invites readers to consider the questions it raises in larger terms: What motivates parents to interfere with a daughter’s mating decisions? Is a parent’s assessment (...) of potential mates likely to be more accurate than that of the young woman herself? Is parental advice typically helpful—and, if so, helpful to whom? What are the potential... (shrink)

Fictional characters are awkward creatures. They are described as being girls, detectives, and cats; as being famous, based on real people, and well developed, and as being paradigmatic examples of things that don’t exist. It’s not hard to see that there are tensions between these various descriptions—how can something that is a detective not exist?—and there is a range of views designed to make sense of the pre-theoretical data. Fictional realists hold that we should accept that fictional characters are part (...) of ‘the furniture of our world’. Others are fictional anti-realists, who hold instead that our world does not contain any such things. In this article, I deploy an independently motivated metaontology to defend a novel version of fictional anti-realism. On the view I develop and defend, the central task we face is that of explaining facts concerning fictional characters, where the relevant notion of explanation is distinctively metaphysical in character. Fictional anti-realism emerges as the plausible thesis that facts about fictional entities can be completely explained in terms of the existence and features of other things. (shrink)

Our moral lives are replete with acts of autobiographical story-telling. The stories we tell are intended to help others understand what we do by helping them understand “who we are” in a practical or normative sense. The act of addressing one’s stories to an audience, however, is as likely to destabilize as it is to confirm one’s understanding of “who one is”. Drawing on themes in Wally Lamb’s novel I Know This Much is True, I offer a dialogical account of (...) narrative self-transformation, and articulate a conception of forgiveness understood as compassionate acceptance of ourselves (and others) as fallible self-narrators. (shrink)

Ever since Jonathan Bennett wrote about Huckleberry Finn's conscience in 1974, Mark Twain's young hero has played a small but noteworthy role in the moral philosophy and moral psychology literature. Following Bennett, philosophers read Huck as someone who consistently follows his heart and does the right thing in a pinch, firmly believing all the while that what he does is morally wrong.1 Specifically, according to this reading, Huck has racist beliefs that he never consciously questions; but in practice he consistently (...) defies those beliefs to do the right thing in the context of his relationship with his Black companion, Jim. Because of this, Huck is morally admirable, but unusual. Perhaps he is an "inverse... (shrink)

Are there fictional characters? Realists suggest that there are such entities, but these are non-concrete, non-actual or non-existent. Antirealists avoid this assumption by suggesting that fictional discourse is not to be taken at face value. However, any of these camps faces some serious troubles. This paper proposes a hybrid account that combines features of realism with features of antirealism. In particular, the semantic distinction between de dicto and de re is employed, and the resulting view suggests de dicto (role) realism (...) and de re antirealism. (shrink)

Conversational exculpature is a pragmatic process whereby information is subtracted from, rather than added to, what the speaker literally says. This pragmatic content subtraction explains why we can say “Rob is six feet tall” without implying that Rob is between 5'0.99" and 6'0.01" tall, and why we can say “Ellen has a hat like the one Sherlock Holmes always wears” without implying Holmes exists or has a hat. This article presents a simple formalism for understanding this pragmatic mechanism, specifying how, (...) in context, the result of such subtractions is determined. And it shows how the resulting theory of conversational exculpature accounts for a varied range of linguistic phenomena. A distinctive feature of the approach is the crucial role played by the question under discussion in determining the result of a given exculpature. (shrink)

“It was a peculiarly beautiful book. its smooth creamy paper, a little yellowed by age, was of a kind that had not been manufactured for at least forty years past. . . . Even with nothing written in it, it was a compromising possession. The thing that he was about to do was to open a diary. This was not illegal (nothing was illegal, since there were no longer any laws), but if detected it was reasonably certain that it would (...) be punished by death, or at least by twenty-five years in a forced-labour camp.” The Party fears blank paper. On every street corner, you can find newspapers printed With propaganda but blank paper, now that’s nearly impossible to find. For nearly half a century no more notebooks were produced, no blank papers allowed to touch the hands of the masses. This restriction seems odd. Why is blank paper dangerous? What is treacherous about a nice leather-bound book With creamy pages? The very act of Writing on a blank paper is thoughtcrime and Winston knows it. The intriguing question for us is: What’s at stake in the potential of a blank page? There is political potential in a blank page, it could contain a subversive message that could be passed on to others, yet blank paper to Write on is much Weaker than owning a manual printing press hidden in a basement. If Winston Wanted to instigate rebellion against the Party, he Would not handwrite manifestos, he should print them somehow. There’s something else going on with Writing your thoughts in a notebook, and that is related to Newspeak. (shrink)

Fictional ersatz realism is the metaphysical stance that abstract fictional entities exist and are dependent on fiction and literary practices. Everett tackled the position of ersatz realism by claiming that the ersatz realist cannot provide an identity criterion for fictional entities that does not imply a contradiction. Although Woodward proposed a defense to Everett's argument, I will argue that ersatz realism is no tenable position, as it still cannot provide an adequate identity criterion. To establish this result, I will provide (...) a base frame for identity criteria available to the ersatz realist. Afterwards, I will show that to any identity criterion the ersatz realist may propose there is a story such that a fictional entity corresponding to this story is not self-identical, imposing a contradiction to the metaphysical account of ersatz realism. (shrink)

My title question has something of the feel of a book club discussion starter, but it has further-reaching implications for understanding Mrs. Dalloway than might first appear. Consider two more mainstream interpretive questions. First, Virginia Woolf's novel places extensive cognitive and aesthetic demands on its readers and thereby participates in the famous "difficulty" of much high-modernist literature. Any interpretation should explain why Woolf thought such a challenge to the capacities and expectations of the reader was necessary or conducive to her (...) purposes. Second, it is an obvious, perhaps the most obvious, feature of the work that it takes the name of a character for its title. That puts Clarissa... (shrink)

Fictional realists maintain that fictional characters are part of the world’s ontology. In an influential article, Anthony Everett argues that the fictional realist is thereby committing herself to problematic entities. Among these are entities that are indeterminately identical. Recently, Ross Cameron and Richard Woodward have answered Everett’s worry using the same strategy. They argue that the fictional realist can bypass the problematic identities by contending that they are merely semantically indeterminate. This paper concisely surveys Everett’s original argument, Cameron’s and Woodward’s (...) responses, and then argues that the strategy employed by Cameron and Woodward fails to satisfactorily answer Everett’s worries. (shrink)

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

Nosso trabalho pretende traçar um percurso teórico sobre a referência de objetos fictícios. Para tanto, apresentamos o tratamento de Frege, Russell e Meinong com o intuito de fornecer o pano de fundo clássico sobre o qual nosso tema se encontra. Tentamos mostrar a insuficiência desse quadro clássico de teses tendo em vista suas soluções para a referência de objetos fictícios e o resultado esperado por nós. Por isso, sugerimos a linha argumentativa delineada por Kripke a partir de Naming and Necessity, (...) passando por Vacuous Names and Fictional Entities até Reference and Existence: The John Locke Lectures, como uma alternativa para o estudo desses objetos. Não obstante, a despeito de sua faceta inovadora, tornou-se evidente o caráter incompleto das teses lançadas por Kripke. Todavia, a importância do arranjo kripkeano é claramente percebida a partir do estudo de perspectivas artefactuais da ficção que se baseiam em muitas das teses apresentadas. Nesse sentido, utilizamos a obra Fiction and Metaphysics da filósofa norte-americana Amie Thomasson com o intuito de mostrar os resultados dessa perspectiva para o problema da referência de objetos fictícios. Após analisarmos o aparato artefactual que a autora apresenta na obra, consideramos que a teoria thomasiana oferece as soluções que melhor se conectam com as nossas práticas linguísticas sobre objetos fictícios e a forma como lidamos com o problema da sua referência. (shrink)

In this reply I defend Kripke’s creationist thesis for mythical objects against Jeffrey Goodman’s counter-argument to the thesis, 35–40, 2014). I argue that Goodman has mistaken the basis for when mythical abstracta are created. Contrary to Goodman I show that, as well as how, Kripke’s theory consistently retains the analogy between creation of mythical objects and creation of fictional objects, while also explaining in what way they differ.

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

Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...) the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (shrink)

Realists about fictional entities often distinguish the properties that a fictional character has and the properties a character holds. Roughly, this is the distinction between the properties that a character really possesses and the properties it fictionally possess. But despite the popularity of this distinction in realist circles, it gives rise to a number of subtle issues about which fictional realists can and do disagree. In this paper, we aim to clarify these issues and defend three related theses. One: that (...) to say that Hermione holds the property of being female is just to say that the singular proposition ⟨Hermione, being female⟩ is true according to Harry Potter. Two: that ordinary objects can hold properties insofar as propositions like ⟨Napoleon, being French⟩ can be true according to fictions like War and Peace. Three: that the distinction between having and holding should not be thought to play any semantic role within the context of fictional realism. (shrink)

Anthony Everett () argues that those who embrace the reality of fictional entities run into trouble when it comes to specifying criteria of character identity. More specifically, he argues that realists must reject natural principles governing the identity and distinctness of fictional characters due to the existence of fictions which leave it indeterminate whether certain characters are identical and the existence of fictions which say inconsistent things about the identities of their characters. Everett's critique has deservedly drawn much attention and (...) a number of defensive moves have been made by, or on the behalf of, fictional realists. My goal in this paper is to move this debate on a further step. I have three goals: to clarify the importance of Everett's discussion of identity criteria within the context of fictional realism, to reassess Everett's objections to realism in light of the resultant literature, and to develop a novel strategy for responding to Everett's concerns. On the approach to be developed, the problems emerge due to an indeterminacy inherent in the concept of a fictional character itself. (shrink)

Статтю присвячено феномену Інтернет-фольклору, який розглядається на прикладі візуального образу персонажа «бітард». Наведено деякі аргументи для обґрунтування доцільності вживання поняття «Інтернет-фольклор», описано особливості комунікації через специфічний тип анонімних форумів – іміджборд, а також процес формування фольклору іміджборд. Проаналізовано один із елементів цього фольклору – персонаж «бітард», як відображення досвіду користувачів форумів. Описано його визначальні риси та головні характеристики.

Fictionalism about fictional characters is a view according to which all claims ostensibly about fictional characters are in fact claims about the content of a story. Claims that appear to refer to or quantify over fictional objects contain an implicit prefix of the form “according to such-and-such story. In "Fictionalism about Fictional Characters", I defended this kind of view. Over the last fourteen years, a number of criticisms have been leveled against this variety of fictionalism. This paper reconsiders the initial (...) position in light of those criticisms and attempts to answer the most trenchant of them. (shrink)

In an addendum to Naming and Necessity, Saul Kripke argues against his earlier view that Sherlock Holmes is a possible person. In this paper, I suggest a nonstandard interpretation of the addendum. A key feature of this non-standard interpretation is that it attempts to make sense of why Kripke would be rejecting the view that Sherlock Holmes is a possible person without asserting that it is not the case that Sherlock Holmes is a possible person.