About this topic
Summary Harry Potter is a wizard. But there aren't any wizards. Of course, Harry Potter is a fictional wizard. How are we to account for such fictional truths? Two apparent constraints are that fictions can be impossible, so that it can be fictionally true that something impossible happened, and they can be incomplete, so that neither P nor not-P are true according to the fiction. Some fictional truths seem to be told to us by the narrator, but others are left implicit. How are the implicit truths generated? And do we want to count everything told to us by a narrator as true in the fiction; can't there be unreliable narrators? Finally, is it correct to speak of truth here at all? This depends on substantive assumptions in the philosophy of language.
Key works Lewis 1978 defends a possible worlds semantics of truth in fiction. It is not clear whether Lewis's account provides and adequate treatment of impossible fictions (see Priest 1997 ). Moreover, his account seems to overgenerate fictional truths. In response to these and other problems, Currie 1990 develops an account in terms of a fictional narrator. It is not straightfoward to apply Currie's account to non-literary fictions. Further, Currie provides no explicit account of how the fictional truths are generated. Walton 1990 thinks that we can provide rules of thumb, but is sceptical that we can provide a systematic account of truth in fiction.
Introductions Woodward 2011 provides a short overview. Sainsbury 2009 is a book-length introduction to a variety of issues in the philosophy of fiction.
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  1. Coping with Imaginative Resistance.Daniel Altshuler & Emar Maier - manuscript
    Philosophers have argued there is a particular kind of jarring effect in certain types of narrative fiction that prevents readers from imaginative engagement and/or detracts from the author’s authority over what’s fictionally true. In this paper we argue that this so-called imaginative resistance effect does not usually prevent readers from engaging imaginatively, nor does it detract from the author’s authority over what’s fictionally true. We distinguish three possible interpretation strategies that readers can follow to overcome an initial resistance: Face Value, (...)
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  2. How to Make-Believe: The Fictional Truths of the Representational Arts.Alexander Bareis & Lene Nordrum (eds.) - forthcoming - De Gruyter.
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  3. Not by Imaginings Alone: On How Imaginary Worlds Are Established.Alon Chasid - forthcoming - Journal of the American Philosophical Association:1-18.
    This article explores the relation between belief-like imaginings and the establishment of imaginary worlds (often called fictional worlds). After outlining the various assumptions my argument is premised on, I argue that belief-like imaginings, in themselves, do not render their content true in the imaginary world to which they pertain. I show that this claim applies not only to imaginative projects in which we are instructed or intend to imagine certain propositions, but also to spontaneous imaginative projects. After arguing that, like (...)
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  4. A New Class of Fictional Truths.Hannah H. Kim - forthcoming - The Philosophical Quarterly.
    It is widely agreed that more is true in a work of fiction than explicitly said. In addition to directly stipulated fictional content (explicit truth), inference and background assumptions give us implicit truths. However, this taxonomy of fictional truths overlooks an important class of fictional truth: those generated by literary formal features. Fictional works generate fictional content by both semantic and formal means, and content arising from formal features such as italics or font size are neither explicit nor implicit: not (...)
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  5. Is There Such A Thing As Quixotic Virtue?Vicky Roupa - forthcoming - In Garry L. Hagberg (ed.), Fictional Worlds and the Moral Imagination. London:
    Quixote is a caricature of a knight errant; steeped into his fictional heroes, he undertakes to revive a tradition long dead, and in the process leaves behind some unforgettable images of knightly virtue turned sour. This caricature, however, is not simply a ploy meant to arouse laughter, but also an occasion to revisit the emphasis on knowledge and good sense with which virtue has been aligned in the Socratic/Platonic tradition. The challenge Quixote represents concerns the relation between reasoning and the (...)
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  6. Fiction and Political Theory.Roger D. Spegele - forthcoming - Social Research: An International Quarterly.
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  7. Interactivity, Fictionality, and Incompleteness.Nathan Wildman & Richard Woodward - forthcoming - In Grant Tavinor & Jon Robson (eds.), The Aesthetics of Videogames. Routledge.
  8. Truth in Fiction: Rethinking its Logic, by John Woods, Springer, 2018. [REVIEW]Andrew Aberdein - 2021 - Philosophia 49 (2):873-881.
    A review of John Woods, Truth in Fiction: Rethinking its Logic. Cham: Springer, 2018.
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  9. Truth in Fiction: Rethinking its Logic, by John Woods, Springer, 2018. [REVIEW]Andrew Aberdein - 2021 - Philosophia 49 (2):873-881.
    A review of John Woods, Truth in Fiction: Rethinking its Logic. Cham: Springer, 2018.
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  10. Ontological Pluralism About Non-Being.Sarah Bernstein - 2021 - In Sara Bernstein & Tyron Goldschmidt (eds.), Non-being: New Essays on the Metaphysics of Nonexistence. Oxford University Press. pp. 1-16.
    I develop ontological pluralism about non-being, the view that there are multiple ways, kinds, or modes of non-being. I suggest that the view is both more plausible and defensible than it first seems, and that it has many useful applications across a wide variety of metaphysical and explanatory problems. After drawing out the relationship between pluralism about being and pluralism about non-being, I discuss quantificational strategies for the pluralist about non-being. I examine historical precedent for the view. Finally, I suggest (...)
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  11. Truth in Fiction, Underdetermination, and the Experience of Actuality.Mark Bowker - 2021 - British Journal of Aesthetics 61 (4):437-454.
    It seems true to say that Sherlock Holmes is a detective, despite there being no Sherlock Holmes. When asked to explain this fact, philosophers of language often opt for some version of Lewis’s view that sentences like ‘Sherlock Holmes is a detective’ may be taken as abbreviations for sentences prefixed with ‘In the Sherlock Holmes stories …’. I present two problems for this view. First, I provide reason to deny that these sentences are abbreviations. In short, these sentences have aesthetic (...)
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  12. Belief-Like Imagining and Correctness.Alon Chasid - 2021 - American Philosophical Quarterly 58 (2):147-160.
    This paper explores the sense in which correctness applies to belief-like imaginings. It begins by establishing that when we imagine, we ‘direct’ our imaginings at a certain imaginary world, taking the propositions we imagine to be assessed for truth in that world. It then examines the relation between belief-like imagining and positing truths in an imaginary world. Rejecting the claim that correctness, in the literal sense, is applicable to imaginings, it shows that the imaginer takes on, vis-à-vis the imaginary world, (...)
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  13. Learning From Fiction to Change Our Personal Narratives.Andrew J. Corsa - 2021 - Croatian Journal of Philosophy 21 (61):93-109.
    Can fictional literature help us lead better lives? This essay argues that some works of literature can help us both change our personal narratives and develop new narratives that will guide our actions, enabling us to better achieve our goals. Works of literature can lead us to consider the hypothesis that we might beneficially change our future-oriented, personal narratives. As a case study, this essay considers Ben Lerner’s novel, 10:04, which focuses on humans’ ability to develop new narratives, and which (...)
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  14. “Did This Really Happen?”: Amit Chaudhuri’s Acknowledgement of the Autobiographical.Paul Deb - 2021 - Journal of Comparative Literature and Aesthetics, 44 (4):194-203.
    In a recent online lecture, the acclaimed novelist Amit Chaudhuri responded to an accusation that has greeted his fiction since the start of his literary career: that since, as he openly admits, his novels contain people and events that are drawn from his own life, they are better thought of as thinly disguised memoirs—as not really novels at all. In this paper, I discuss this charge by drawing on an account by the philosopher Stephen Mulhall of the work of another (...)
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  15. Revising Fiction, Fact, and Faith: A Philosophical Account.Nathaniel Goldberg & Chris Gavaler - 2021 - New York: Routledge.
    This book addresses how our revisionary practices account for relations between texts and how they are read. It offers an overarching philosophy of revision concerning works of fiction, fact, and faith, revealing unexpected insights about the philosophy of language, the metaphysics of fact and fiction, and the history and philosophy of science and religion. It will be of interest to a wide range of scholars and advanced students working in philosophy of language, metaphysics, philosophy of literature, literary theory and criticism, (...)
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  16. Fictional Discourse: A Radical Fictionalist Semantics By Stefano Predelli. [REVIEW]Thomas Hodgson - 2021 - Analysis.
    Fictional Discourse: A Radical Fictionalist Semantics By PredelliStefanoOxford University Press, 2020. viii + 184 pp.
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  17. Extracting Fictional Truth From Unreliable Sources.Emar Maier & Merel Semeijn - 2021 - In Emar Maier & Andreas Stokke (eds.), The Language of Fiction. Oxford: Oxford University Press.
    A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we are (...)
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  18. The Language of Fiction.Emar Maier & Andreas Stokke (eds.) - 2021 - Oxford University Press.
    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, (...)
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  19. Blurred Lines: How Fictional is Pornography?Aidan McGlynn - 2021 - Philosophy Compass 16 (4):e12721.
    Many pornographic works seem to count as works of fiction. This apparent fact has been thought to have important implications for ongoing controversies about whether some pornography carries problematic messages and so influences the attitudes (and perhaps even the behaviour) of its audience. In this paper, I explore the claim that pornographic works are fictional and the significance that this claim has for these issues, with a particular focus on pornographic films. Two related morals will emerge. First, we need to (...)
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  20. Impossible Fictions Part I: Lessons for Fiction.Daniel Nolan - 2021 - Philosophy Compass 16 (2):1-12.
    Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our understanding of unreliable narrators and unreliable narration (...)
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  21. Impossible Fiction Part II: Lessons for Mind, Language and Epistemology.Daniel Nolan - 2021 - Philosophy Compass 16 (2):1-12.
    Abstract Impossible fictions have lessons to teach us about linguistic representation, about mental content and concepts, and about uses of conceivability in epistemology. An adequate theory of impossible fictions may require theories of meaning that can distinguish between different impossibilities; a theory of conceptual truth that allows us to make useful sense of a variety of conceptual falsehoods; and a theory of our understanding of necessity and possibility that permits impossibilities to be conceived. After discussing these questions, strategies for resisting (...)
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  22. Truth in Fiction & Natural Stories: About an Argument.Guillaume Schuppert - 2021 - Debates in Aesthetics 1 (17):31-49.
    The nature of fiction is commonly understood in terms of make-believe. Within this framework, there has been a debate between fictive intentionalism and fictive anti-intentionalism. In this paper, my purpose is to make a case for the latter. To do so, I reassess the debate over Kendall Walton’s (1990) ‘Cracks in a Rock’ thought experiment. I put forward a careful reconstruction of its most popular reply, namely Gregory Currie’s (1990) pseudofiction counterargument, and argue that it is either incomplete or unsound. (...)
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  23. Fiction and Common Ground.Merel Semeijn - 2021 - Dissertation,
    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 (...)
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  24. Glitches as Fictional (Mis)Communication.Nele Van de Mosselear & Nathan Wildman - 2021 - In Timothy Barker & Maria Korolkova (eds.), Miscommunication: Error, mistakes, media. Bloomsbury. pp. 300-315.
    Here, we focus on the underexplored fictional relevance of videogame glitches. For this purpose, we will make use philosophical theories on fiction, as well as standard suggestions about how best to deal with unintended errors within fiction. Focusing on glitches like that of Red Dead Redemption’s "manimals", we argue that glitches, more than any kinds of mistakes in traditional, non-interactive fictions, can actually have a significant influence on the fictional worlds of the work in which they appear. In particular, we (...)
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  25. Exploding Stories and the Limits of Fiction.Michel-Antoine Xhignesse - 2021 - Philosophical Studies 178 (3):675-692.
    It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...)
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  26. Fictional Reports.Pål Fjeldvig Antonsen - 2020 - Synthese:1-14.
    This paper outlines a bicontextual account of fictional reports. A fictional report is a report on something that happens in a fiction, and a bicontextual account is an account that relativizes truth to two contexts. The proposal is motivated by two considerations. First, it explains the intuitive truth conditions of fictional reports without postulating hidden fiction operators. Second, it handles the problem of indexicals in fictional reports better than the standard accounts.
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  27. Close Reading, Epistemology, and Affect: Nabokov After Rorty.Doug Battersby - 2020 - Philosophy and Literature 44 (2):323-349.
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  28. Taxonomía e incorporación de la violencia en la novela policial peruana contemporánea.Jesús Miguel Delgado Del Aguila - 2020 - Cuadernos de Literatura Del Caribe E Hispanoamérica (32):92-118 (1-27).
    Este artículo periodiza y desarrolla los paradigmas concomitantes de la novela policial, para extrapolarlos en un contexto peruano incipiente con textos que cumplen con los requisitos indispensables denominarse de ese modo. La violencia resulta un elemento inexorable para la eficacia receptiva y su tratamiento creativo, además del conocimiento de tópicos afines, como Derecho, Política, Sociología, Fuerzas Policiales, etc. Para ello, se corroborará con la definición de este género (como lo fundamenta principalmente Tzvetan Todorov) y la taxonomía hegemónica de sus subgéneros: (...)
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  29. A Family Meal as Fiction.Josep E. Corbi - 2020 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 27:82-105.
    at seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flex- ible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and (...)
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  30. Apt Imaginings: Feelings for Fictions and Other Creatures of the Mind.Jonathan Gilmore - 2020 - Oxford University Press.
    How do our engagements with fictions and other products of the imagination compare to our experiences of the real world? Are the feelings we have about a novel's characters modelled on our thoughts about actual people? If it is wrong to feel pleasure over certain situations in real life, can it nonetheless be right to take pleasure in analogous scenarios represented in a fantasy or film? Should the desires we have for what goes on in a make-believe story cohere with (...)
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  31. Sherlock Is Law Abiding.Dominic McIver Lopes - 2020 - Journal of Applied Logics 7 (2):171-176.
    An approach to the semantics of fiction that uses the tools of truth relativism provides an alternative to Meinongian and pretence-based approaches. The approach is consistent with the deep motivations of John Wood's Truth in Fiction.
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  32. Ordinary Unhappiness: The Therapeutic Fiction of David Foster Wallace. By Jon Baskin. Pp. Ix, 179, Stanford, CA, Stanford University Press, 2019, $22.00/£17.99. [REVIEW]Patrick Madigan - 2020 - Heythrop Journal 61 (3):584-584.
  33. Imaginative Resistance and Modal Knowledge.Daniel Nolan - 2020 - Res Philosophica 97 (4):661-685.
    Readers of fictions sometimes resist taking certain kinds of claims to be true according to those fictions, even when they appear explicitly or follow from applying ordinary principles of interpretation. This "imaginative resistance" is often taken to be significant for a range of philosophical projects outside aesthetics, including giving us evidence about what is possible and what is impossible, as well as the limits of conceivability, or readers' normative commitments. I will argue that this phenomenon cannot do the theoretical work (...)
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  34. Weird Fiction: A Catalyst for Wonder.Jan B. W. Pedersen - 2020 - Wonder, Education and Human Flourishing: Theoretical, Emperical and Practical Perspectives.
    One of the vexed questions in the philosophy of wonder and indeed education is how to ensure that the next generation harbours a sense of wonder. Wonder is important, we think, because it encour- ages inquiry and keeps us as Albert Einstein would argue from ‘being as good as dead’ or ‘snuffed-out candles’ (Einstein 1949, 5). But how is an educator to install, bring to life, or otherwise encourage a sense of wonder in his or her stu- dents? Biologist Rachel (...)
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  35. How Literature Delivers Knowledge and Understanding, Illustrated by Hardy’s Tess of the D’Urbervilles and Wharton’s Summer.Rik Peels - 2020 - British Journal of Aesthetics 60 (2):199-222.
    Some philosophers, like Alex Rosenberg, claim that natural science delivers epistemic values such as knowledge and understanding, whereas, say, literature and, according to some, literary studies, merely have aesthetic value. Many of those working in the field of literary studies oppose this idea. But it is not clear exactly how works of literary art embody knowledge and understanding and how literary studies can bring these to the light. After all, literary works of art are pieces of fiction, which suggests that (...)
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  36. Review of John Woods, Truth in Fiction: Rethinking its Logic. [REVIEW]Gilbert Plumer - 2020 - Informal Logic 40 (1):147-156.
  37. JK Rowling est-il plus diabolique que Me? (révisé en 2019).Michael Richard Starks - 2020 - In Bienvenue en Enfer sur Terre : Bébés, Changement climatique, Bitcoin, Cartels, Chine, Démocratie, Diversité, Dysgénique, Égalité, Pirates informatiques, Droits de l'homme, Islam, Libéralisme, Prospérité, Le Web, Chaos, Famine, Maladie, Violence, Intellige. Las Vegas, NV USA: Reality Press. pp. 247-250.
    Que diriez-vous d’une autre prise sur les riches et célèbres? Tout d’abord l’évidence - les romans de Harry Potter sont la superstition primitive qui encourage les enfants à croire en la fantaisie plutôt que d’assumer la responsabilité du monde - la norme bien sûr. JKR est tout aussi désemparé sur elle-même et le monde que la plupart des gens, mais environ200 fois plus destructeur que l’Américain moyen et environ 800 fois plus que le Chinois moyen. Elle a été responsable de (...)
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  38. Imagining Fictional Contradictions.Michel-Antoine Xhignesse - 2020 - Synthese 199 (1-2):3169-3188.
    It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...)
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  39. Inheriting the World.Michel-Antoine Xhignesse - 2020 - Journal of Applied Logics 7 (2):163-70.
    A critical reflection on John Woods's new monograph, Truth in Fiction – Rethinking its Logic. I focus in particular on Woods’s world-inheritance thesis (what others have variously called ‘background,’ ‘the principle of minimal departure,’ and ‘the reality assumption,’ and which replaces Woods’s earlier ‘fill-conditions’) and its interplay with auctorial say-so, arguing that world-inheritance actually constrains auctorial say-so in ways Woods has not anticipated.
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  40. Truth in Fiction, Impossible Worlds, and Belief Revision.Francesco Berto & Christopher Badura - 2019 - Australasian Journal of Philosophy 97 (1):178-193.
    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.
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  41. Genocide, Memory, and the Difficulties of Forgiveness in Card’s Ender Saga and Ishiguro’s The Buried Giant.Elizabeth Burow-Flak - 2019 - Renascence 71 (4):247-267.
    Orson Scott Card’s Ender Saga and Kazuo Ishiguro’s The Buried Giant explore the role of memory in aftermath of genocide; both authors employ fantasy and the metaphor of the buried giant to represent past slaughters. Although distinct in genre, the novels together demonstrate the tension between forgiving and forgetting in memory studies following the atrocities of the twentieth century. Forgiveness in the Ender saga falls short of the accountability embedded in “difficult forgiveness” as defined by Paul Ricoeur, as does the (...)
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  42. Value Realism and Moral Psychology: A Comparative Analysis of Iris Murdoch and Fyodor Dostoevsky.Nathan P. Carson - 2019 - Philosophy and Literature 43 (2):287-311.
    In his book Iris Murdoch: The Saint and the Artist, Peter J. Conradi suggests that “a task for critics today would seem to be to understand the indebtedness of her demonic, tormented sinners and saints and of the curious coexistence in her work of malevolence and goodness, to the dark tragi-comedies of Dostoevski.”1 In his 1986 essay “Iris Murdoch and Dostoevskii,” Conradi goes even further to argue that Fyodor Dostoevsky has been “unnoticed by commentators, a hovering or brooding presence for (...)
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  43. Imagining in Response to Fiction: Unpacking the Infrastructure.Alon Chasid - 2019 - Philosophical Explorations 23 (1):31-48.
    Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive (...)
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  44. Patchwork Puzzles and the Nature of Fiction.Patrik Engisch - 2019 - Estetika 56 (1):28-47.
    Kathleen Stock has recently argued that Gregory Currie’s account of fiction is beset by two patchwork puzzles. According to the first, Currie’s account entails that works of fiction end up being implausible heterogenous complexes of utterances that furnish a fictional world and utterances that aim at representing the actual world. According to the second, competent engagement with a fiction can implausibly result in switching from one mental attitude to another – namely, belief and make-belief. In this paper, I argue for (...)
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  45. Reason, Feeling, and Happiness: Bridging an Ancient/Modern Divide in The Plague.Gene Fendt - 2019 - Philosophy and Literature 43 (2):350-368.
    Camus is defined by many as an absurdist philosopher of revolt. The Plague, however, shows him working rigorously through a well-known division between ancient and modern ethics concerning the relation of reason, feeling and happiness. For Aristotle, the virtues are stable dispositions including affective and intellectual elements. For Kant, one’s particular feelings are either that from which we must abstract to judge moral worth, or are a constant hindrance to proper moral activity. Further, Kant claims “habit belongs to the physical (...)
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  46. On the Nature of Fiction-Making: Austin or Grice?Manuel García-Carpintero - 2019 - British Journal of Aesthetics 59 (2):203-210.
    Only Imagine is a wonderful book. Clear and tersely written, it provides a compelling defence of a rather unpopular view : namely, extreme intentionalism about the determination of fictional content and the nature of fictionality. It thus unquestionably advances the philosophical debate. It is also a pleasure to read for those of us who like fictions and not just the philosophy thereof: Stock discusses for her arguments many examples from real fictions, systematically making perceptive remarks. Here I will respond to (...)
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  47. Assertions in Fictions.Manuel García-Carpintero - 2019 - Grazer Philosophische Studien 96 (3):445-462.
    The author of this paper contrasts the account he favors for how fictions can convey knowledge with Green’s views on the topic. On the author’s account, fictions can convey knowledge because fictional works make assertions and other acts such as conjectures, suppositions, or acts of putting forward contents for our consideration; and the mechanism through which they do it is that of speech act indirection, of which conversational implicatures are a particular case. There are two potential points of disagreement with (...)
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  48. Why the Epistemic Value of Fictional Literature Does Not Depend Crucially on Its Fictionality.Kerstin Gregor & Steffen Neuß - 2019 - Grazer Philosophische Studien 96 (3):463-475.
    Mitchell Greenʼs conception of the thesis of Literary Cognitivism states that literary fiction can be a source of knowledge that depends crucially on its being fictional. By a modal argument the authors show that the criterion of fictionality cannot be crucial to the epistemic value of literary fiction. Rather, it lays in a certain kind of distance, e.g. a temporal, cultural, or interpersonal one. This will be motivated by drawing parallels to Gadamerʼs hermeneutics, especially his conception of fusion of horizons. (...)
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  49. Engaging with Works of Fiction.Wolfgang Huemer - 2019 - Rivista di Estetica 70 (1/2019):107-124.
    The contemporary debate in the philosophy of literature is strongly shaped by the anticognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this challenge by pointing (...)
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  50. Only Imagine? Not Necessarily.Ruth Lorand - 2019 - British Journal of Aesthetics 59 (2):211-214.
    In her recent book, Only Imagine, Kathleen Stock promotes extreme intentionalism with respect to fictional content. She writes, ‘the fictional content of a particular text is equivalent to exactly what the author of the text intended the reader to imagine’. There are at least three separate points here: the author’s intentions determine the fictional content; the fictional content is identical with the content of what the reader imagines; reading fiction necessarily entails imagining. The first two points are normative; they are (...)
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