Creationism with respect to fictional entities, i.e., the position according to which ficta are creations of human practices, has recently become the most popular realist account of fictional entities. For it allows one to hold that there are fictional entities while simultaneously giving such entities a respectable metaphysical status, that of abstract artifacts. In this paper, I will draw what are the ontological and semantical consequences of this position, or at least of all its forms that are genuinely creationist. For (...) some people, these consequences will sound as plagues against the position; for some others, especially realists on ficta, they are welcome results. Although I hold that all forms of genuine creationism have these consequences, I will conclude by explaining why I take moderate creationism, according to which ficta are created by means of a reflexive stance on the make-believe practice grounding them, to be the best of these forms. (shrink)

Abstract:In this paper I will first contend that semantically based arguments in favour of or against problematic entities—like those provided, respectively, in a realist Meinongian and in an antirealist Russellian camp—are ultimately inconclusive. Indeed, only genuinely ontological arguments, specifically addressed to prove (or to reject) the existence of entities of a definite kind, suit the purpose. Thus, I will sketch an argument intended to show that there really are entities of an apparently specific kind, i.e. intentionalia, broadly conceived as things (...) that may actually exist as well as actually not exist. Finally, I will try to explain why that argument proves the existence of only some sorts of intentionalia, by showing how this is related to the fact that, as some have correctly maintained, intentionalia have no intrinsic nature. (shrink)

The most obvious varieties of mental phenomena directed to non- existent objects occur in our experiences of works of art. The task of applying the Meinongian ontology of the non-existent to the working out of a theory of aesthetic phenomena was however carried out not by Meinong by his disciple Stephan Witasek in his Grundzüge der allgemeinen Ästhetik of 1904. Witasek shows in detail how our feelings undergo certain sorts of structural modifications when they are directed towards what does not (...) exist. He draws a distinction between genuine mental phenomena and what he calls `phantasy-material', asserting that `the job of the aesthetic object, whether it is a work of art or a product of nature, is to excite and support the actualisation of phantasy-material in the experiencing subject'. We might think of such phantasy-material as a matter of Ersatz-emotions or emotional `slop'. We could then see Witasek's aesthetics as an elaborate taxonomy of the various different sorts of Ersatz-emotions which the subject allows to be stimulated within himself in his intercourse with works of art, and see works of art themselves as machines for the production of ever more subtle varieties of such phantasy-material in the perceiving subject. (shrink)

It will be the thesis of this paper that there are among our mental acts some which fall into the category of real material relations. That is: some acts are necessarily such as to involve a plurality of objects as their relata or fundamenta. Suppose Bruno walks into his study and sees a cat. To describe the seeing, here, as a relation, is to affirm that it serves somehow to tie Bruno to the cat. Bruno's act of seeing, unlike his (...) feeling depressed, his putative thinking-about-Santa-Claus or his musing, abstractedly, about the tallest spy, has at least two fundamenta: it is, as a matter of necessity, dependent for its existence upon both Bruno himself and the cat that he sees. This idea will naturally raise echoes of Russell's doctrine of knowledge by acquaintance. 'I am acquainted with an object', Russell tells us, 'when I have a direct cognitive relation to that object, i. e. when I am directly aware of the object itself' (1918, p. 209). And indeed a distinction in many ways like that between acquaintance and description will find a place within the theory here projected, but there are crucial differences. (shrink)