In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...) prior to any other philosopher of art of the period. Despite this, Macdonald’s contribution is nowhere to be found in the subsequent literature on the definition of art. In closing, I raise the prospect that Macdonald was in fact the primary influence on the development of Weitz’s critique of the definitional project. (shrink)

The aim of this paper is an ontological clarification of the concept of artefact. The following questions are addressed: 1. Do artefacts constitute an ontological category of objects in its own right, and if so, how could this category be characterized? 2. How do artefacts come into existence? 3. What kind of artefacts are there, and in which relations do they stand to each other? It is argued that artefacts are characterized essentially through their genesis and that they owe their (...) existence to mental acts of a particular kind, which I call “acts of creation”. It is maintained that there are not only concrete, material artefacts, but also abstract artefacts, that is, artefacts that cannot be perceived through the senses and are not located in space. Furthermore, it shall be claimed that in a sense those abstract artefacts are even primary to the concrete, material artefacts. (shrink)

Can fictions make genuine assertions about the actual world? Proponents of the ‘Assertion View’ answer the question affirmatively: they hold that authors can assert, by means of explicit statements that are part of the work of fiction, that something is actually the case in the real world. The ‘Nonassertion’ View firmly denies this possibility. In this paper, I defend a nuanced version of the Nonassertion View. I argue that even if fictions cannot assert, they can indirectly communicate that what is (...) recounted as fictional is actually true. I show that this view is supported by independent linguistic data, and that it is able to defuse the objections that are typically raised against the Nonassertion View. I conclude by showing that this position has some interesting implications for testimonial cognitivism about fiction. (shrink)

Sentimentality is usually thought of as a mild vice. Unlike such vices as cruelty, dishonesty, or contemptuousness, sentimentality appears to affect only the individuals who have it, and then, not very adversely. So what if we indulge our taste for prematurely dying heroines or stoic, sweet-natured children? Shedding a tear or feeling a diffuse affection does not seem to hurt anyone, not even ourselves. But because of its impact on the self, sentimentality is a more serious vice than might be (...) suspected.Regardless of the immediate object of our sentimental gaze, the self is also sentimentalized. The self is not only the subject engaged in sentimentalizing activity, but also its mediated object. A sentimentalized sense of self discourages activity and keeps us from dealing with the world directly. The distortion of and absorption in the self is dangerous for sentimental individuals and those with whom they interact. To see why, we must examine the structuring of perception, thought, and emotion which makes up sentimentality. Our inquiry will be sharpened by reference to literary depictions which reflect or encourage sentimental response. Versing us in the ways of sentimentality, some literature may generate our everyday patterns of sentimentalized thought and feeling. (shrink)

The paper reviews proposals by Abell, Predelli, and others on the semantics of fiction, focusing on the discourse through which fictions are created. Predelli develops the radical fictionalism of former writers like Kripke and van Inwagen, on which that discourse is contentless and does not express propositions. This paper offers reasons to doubt these claims. It then explores realist proposals like Abell’s in which singular terms in fictions refer to fictional characters, understood as socially created representational artifacts, and irrealist alternatives (...) in which the discourse is fully meaningful even though those terms fail to refer. (shrink)

The paper surveys recent appraisals of David Lewis’s seminal paper on truth in fiction. It examines variations on standard criticisms of Lewis’s account, aiming to show that, if developed as Lewis suggests in his 1983 Postscript A, his proposals on the topic are—as Hanley puts it—‘as good as it gets’. Thus elaborated, Lewis’s account can resist the objections, and it offers a better picture of fictional discourse than recent resurrections of other classic works of the 1970s by Kripke, van Inwagen (...) and Searle. The turn that Lewis suggests and the paper recommends draws on the remaining outstanding contribution from that time: Walton’s. (shrink)

John Searle argues that fictions are constituted by mere pretense—by the simulation of representational activities like assertions, without any further representational aim. They are not the result of sui generis, dedicated speech acts of a specific kind, on a par with assertion. The view had earlier many defenders, and still has some. Stefano Predelli enlists considerations derived from Searle in support of his radical fictionalism. This is the view that a sentence of fictional discourse including a prima facie empty fictional (...) name like “Emma Woodhouse” in fact “is not a sentence, and it encodes no proposition whatsoever.” His argument is broadly abductive; he claims that this view affords compelling explanations of features of fictions he finds well-established, among them that fictions without explicit narrators nonetheless have covert ones. Here I take up his arguments, in defense of the dedicated speech act view. I thus address pressing issues about the status of fictional names and the nature and ubiquity of narrators in fictions. (shrink)

Some things that we take to be the case in a fictional work are never made explicit by the work itself. For instance, we assume that Sherlock Holmes does not have a third nostril, that he wears underpants and that he has never solved a case with a purple gnome, even though neither of these things is ever mentioned in the narration. This article argues that examples like these can be accounted for through the same content-enriching reasoning that we employ (...) when confronted with non-fictional discourse, with the important difference that fictional discourse essentially involves pretence. Fictional discourse works in much the same way as non-fictional discourse, and what is conveyed without being stated can accordingly be explained through familiar pragmatic mechanisms. It is argued that this account carries some distinct advantages over competing views. (shrink)

La réflexion philosophique sur la non-existence est une thématique qui a été abordée au commencement même de la philosophie et qui suscite, depuis la publication en 1905 de « On Denoting » par Russell, les plus vifs débats en philosophie analytique. Cependant, le débat féroce sur la sémantique des noms propres et des descriptions définies qui surgirent suite à la publication du « On Referring » par Strawson en 1950 n’engagea pas d’étude systématique de la sémantique des fictions. En fait, (...) le développement systématique d’un lien qui articule approches logiques, philosophiques et littéraires de la fiction devait attendre les travaux de John Woods publiés en 1974 dans son livre The Logic of Fiction : A Philosophical Sounding of Deviant Logic. Un des enjeux les plus excitants du livre de Woods se situe au niveau de l’interaction entre les points de vue internalistes ou interne-à-l’histoire (principalement pragmatiques) et les points de vue externalistes ou externe-à-la-fiction (principalement sémantiques). Sur ce point, Woods fut le premier à formuler une sémantique pour l’opérateur de fiction à lire comme « selon l’histoire… » en relation à la notion logique de portée, ce qui permettait l’étude de l’internalisme et de l’externalisme. Suite au livre de Woods, loin de s’essouffler, les débats trouvaient une nouvelle impulsion. Le fait pertinent pour notre article est que la tradition phénoménologique également, l’étude de la fiction a joué un rôle central. En effet, l’une des problématiques les plus sujettes à controverses dans l’intentionnalité est celle de l’indépendance à l’existence, c’est-à-dire le fait que les actes intentionnels n’ont pas besoin d’être forcément dirigés vers un objet existant. Influencée par les travaux de Roman Ingarden (1893-1970), l’un des plus importants disciples de Husserl, Amie L. Thomasson développe le concept phénoménologique de dépendance ontologique en vue d’expliquer les processus de références inter- et transfictionnels – dans le contexte de l’interprétation littéraire par exemple. L’enjeu essentiel de cet article est de proposer une reconstruction multimodale bi-dimensionnelle de la théorie des personnages fictionnels de Ingarden-Thomasson. Cette théorie qui entend prendre au sérieux le fait que les fictions sont des créations montre la voie pour une articulation entre les approches internalistes et externalistes. Nous motivons certains changements quant à l’approche artéfactuelle - incluant une sémantique appropriée pour l’opérateur de fictionalité qui, nous l’espérons, éveillera l’intérêt des théoriciens de la littérature. L’article est à d’autres égards un panorama de la façon dont différents concepts d’intentionnalité pourraient fonder différentes sémantiques formelles pour la fictionalité. Nous proposerons enfin un cadre dialogique qui est une extension modale d’un certain système de preuve développé par Matthieu Fontaine et Juan Redmond. Le cadre dialogique développe la contrepartie inférentielle de la sémantique bi-dimensionnelle introduite par Shahid Rahman et Tero Tulenheimo dans un article récent. (shrink)

It is acknowledged by proponents of the Artifactual Theory of Fiction that literary works sometimes involve real or immigrant characters. However, their conception of cross-fictional identity faces serious difficulties. In this paper, we set the problem in the context of a modal framework, in relation to quantification across a plurality of possible worlds. Quantification is explained in terms of Hintikka’s notion of world lines; i.e. the possible values of bound variables are individuals that are not reduced to their manifestations. We (...) finally offer another understanding of identity across weakly impermeable domains, in a way compatible with the Artifactual Theory of Fiction. (shrink)