The distinction between a type and its tokens is a useful metaphysical distinction. In §1 it is explained what it is, and what it is not. Its importance and wide applicability in linguistics, philosophy, science and everyday life are briefly surveyed in §2. Whether types are universals is discussed in §3. §4 discusses some other suggestions for what types are, both generally and specifically. Is a type the sets of its tokens? What exactly is a word, a symphony, a species? (...) §5 asks what a token is. §6 considers the relation between types and their tokens. Do the type and all its tokens share the same properties? Must all the tokens be alike in some or all respects? §7 explains some problems for the view that types exist, and some problems for the view that they don't. §8 elucidates a distinction often confused with the type-token distinction, that between a type (or token) and an occurrence of it. It also discusses some problems that occurrences might be thought to give rise to, and one way to resolve them. (shrink)

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...) folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

Austrian economics starts out from the thesis that the objects of economic science differ from those of the natural sciences because of the centrality of the economic agent. This allows a certain a priori or essentialistic aspect to economic science of a sort which parallels the a priori dimension of psychology defended by Brentano and his student Edmund Husserl. We outline these parallels, and show how the theory of a priori dependence relations outlined in Husserl’s Logical Investigations can throw light (...) on the Austrian account of entrepreneurship. (shrink)

The subject matter of this work covers the issues or problems listed below: * The problem of the ontological status of language signs and a more general philosophical problem connected with it: * What is language as a system of signs, which – on the one hand – serves to: 1) represent our knowledge about the reality which is being recognized, and, on the other one to: 2) a. explore and better cognize or discover it, b. describe it in an (...) adequate manner, and c. enable users to make interpersonal communication? All the pragmatic functions of language require carrying out its logical-philosophical analysis, and this means both regarding its syntax and semantics. Such an analysis is not possible without determining the following: How are signs perceived and what is their ontological nature in the so-called functional approach towards logical semiotics of natural language, founded on two ways of their usage: either as signs which we use in concrete situational or situational-language contexts or as isolated signs detached from such contexts? In the first case, they are language tokens (concretes), existing material objects perceived through the senses, with a fixed temporal-spatial location, in the other one – they are non-concretes and as such (as the majority of researchers in the field of philosophy and linguistics accept) – abstract objects, language types. The type-token distinction (differentiation between abstract and concrete) has already acquired a certain status in contemporary philosophy and is of considerable importance to metaphysics and epistemology in particular. Indeed, it is most often illustrated with reference to language signs (words, expressions) as the distinction type/token of a sign, introduced into semiotics by Ch. S. Peirce. In the semiotic analysis, and also in the linguistic one, there are used both types and tokens of signs, however, often without paying due attention to when it is said about types and when about tokens. This is related to the problems which are still considered by the philosophy of language: What is the type? What is the token (specimen)? What are the mutual relations between the type and the token? Disputes concerning providing answers to these questions are related to existential issues dealing with the ontological status of these language signs and two currents within the ontology of language, remaining under the influence of two fundamental concepts formed in the debate: nominalism and realism. The author presents in brief different stances on the above-mentioned issues or problems, as well as argues that from the logical point of view: 1) working out any theoretical conception of language must take into account its bi-aspectual characteristics: as a language of expression-tokens and as a language of expression-types; 2) advocating either of the standpoints: (a) types exist independent of their tokens, or (b) it is not so, can be omitted in syntactic considerations on language; 3) mutual relations between sign-tokens differ from the mutual relations between sign-types, yet; 4) determination of the mutual relation between sign-types and sign-tokens depends on accepting either of the standpoints: (a) or (b); 5) semantic or semantic-pragmatic concepts of language, such as meaning, denotation, interpretation should be defined exclusively for types of tokens, but their definitions require certain reference to the functions which sign-tokens perform in the language (words, expressions), or to relations between them; 6) The concept of an act of language communication differs from general language communication: the first one is defined by means of sign-tokens, whereas the other one – with the use of sign-types. (shrink)

Recently, Xhignesse has argued that the principle of poetic licence, which roughly states that any class of propositions is true in some possible fiction, ought to be rejected. Here, we defend PPL from Xhignesse’s objection by demonstrating that, properly understood, his purported counter-example case is either irrelevant or unproblematic. The upshot is that Xhignesse has given us no reason to reject PPL.

Is arguing over ontology a mistake? A recent proposal by Karen Bennett suggests that some metaphysical disputes, such as those over constitution and composition, can be dismissed on epistemic grounds. Given that both sides in a dispute try to minimize the differences between them, there are no good metaphysical grounds for choosing between them. In this paper, I expand on her epistemic dismissivism, arguing that given the Quinean conception of the task and method of metaphysics, we are warranted in believing (...) that all ontological disputes will end in a draw, even if they have not yet done so. By a draw, I mean that while both sides in a dispute are genuinely disagreeing about what there is and there are still moves open to them, there are no moves remaining that will advance the discourse further. (shrink)

The various aesthetic phenomena found repeatedly in the scientific enterprise stem from the role of God as artist. If the Creator is an artist, how and why natural scientists study the divine art work can be understood using theological aesthetics and the philosophy of art. The aesthetic phenomena considered here are as follows. First, science reveals beauty and the sublime in natural phenomena. Second, science discovers beauty and the sublime in the theories that are developed to explain natural phenomena. Third, (...) the search for beauty often guides scientists in their work. Fourth, where beauty is perceived, feelings of the sublime often also follow upon further contemplation. This linkage of beauty in science with truth and the sublime runs counter to most aesthetic theory since Kant. Scholarship in theological aesthetics has recently argued that the modern and postmodern elevation of the sublime over beauty is merely a preference that reveals a bias against transcendence—against God. If doing and understanding science can show this sundering of the sublime from the beautiful to be in error, science also gives evidence of transcendence. (shrink)

In this paper, I set out to answer two foundational questions concerning our psychological engagements with fictions. The first is the question of fictional transformation: How we can see fictional media while also ‘seeing’ those objects as fictional ones? The second is the question of fictional response: How and why we take the objects of fiction to be the types of things that we can respond to and judge? Standard responses to these questions rely on distinct cognitive attitudes like pretense, (...) imagination, and make-believe. I call this position the distinct attitude view. I argue against the DAV, arguing instead that a psychological framework of fiction can answer the two questions without appealing to distinct mental attitudes. Hence, I call my position the standard attitude view. The challenge for the SAV is to explain the two questions in terms of everyday mental states and the intentional content of those states. I do so by appealing to the concept of taking the fictional stance.... (shrink)

In this article, I assume that musical works are abstract types, and I raise and address a new question concerning musical ontology that may take the types view at least a step further: When do musical works cease to exist? I then propound my view about musical works as types, which is somewhat like the Aristotelian Realist position concerning universals. Next, I address some objections to that view. Finally, I provide some grounds for rejecting alternative views that see Western classical (...) musical works before 1950 (the sorts of musical works the discussion here is restricted to) either as classes or else as kinds. (shrink)

Fictional truth, or truth in fiction/pretense, has been the object of extended scrutiny among philosophers and logicians in recent decades. Comparatively little attention, however, has been paid to its inferential relationships with time and with certain deliberate and contingent human activities, namely, the creation of fictional works. The aim of the paper is to contribute to filling the gap. Toward this goal, a formal framework is outlined that is consistent with a variety of conceptions of fictional truth and based upon (...) a specific formal treatment of time and agency, that of so-called stit logics. Moreover, a complete axiomatic theory of fiction-making TFM is defined, where fiction-making is understood as the exercise of agency and choice in time over what is fictionally true. The language \ of TFM is an extension of the language of propositional logic, with the addition of temporal and modal operators. A distinctive feature of \ with respect to other modal languages is a variety of operators having to do with fictional truth, including a ‘fictionality’ operator \ . Some applications of TFM are outlined, and some interesting linguistic and inferential phenomena, which are not so easily dealt with in other frameworks, are accounted for. (shrink)

There are compelling reasons to believe that musical works are abstract. However, this hypothesis conflicts with the platitude that musical works are appreciated by means of audition: the things that enter our ear canals and make our eardrums vibrate must be concrete, so how can musical works be listened to if they are abstract? This question constitutes the audibility problem. In this paper, I assess Julian Dodd’s elaborate attempt to solve it, and contend that Dodd’s attempt is unsuccessful. Then I (...) discuss what I take to be the ideal response to the audibility problem, and show that it ultimately fails. I contend, consequently, that the project of construing musical works as audible is disheartening. Accordingly, in my last section, I will argue the audibility problem may be satisfactorily resolved without ascribing audibility to musical works. (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)

This book is a survey of the most important developments in Austrian philosophy in its classical period from the 1870s to the Anschluss in 1938. Thus it is intended as a contribution to the history of philosophy. But I hope that it will be seen also as a contribution to philosophy in its own right as an attempt to philosophize in the spirit of those, above all Roderick Chisholm, Rudolf Haller, Kevin Mulligan and Peter Simons, who have done so much (...) to demonstrate the continued fertility of the ideas and methods of the Austrian philosophers in our own day. For some time now, historians of philosophy have been gradually coming to terms with the idea that post-Kantian philosophy in the German-speaking world ought properly to be divided into two distinct traditions which we might refer to as the German and Austrian traditions, respectively. The main line of the first consists in a list of personages beginning with Kant, Fichte, Hegel and Schelling and ending with Heidegger, Adorno and Bloch. The main line of the second may be picked out similarly by means of a list beginning with Bolzano, Mach and Meinong, and ending with Wittgenstein, Neurath and Popper. As should be clear, it is the Austrian tradition that has contributed most to the contemporary mainstream of philosophical thinking in the Anglo-Saxon world. For while there are of course German thinkers who have made crucial contributions to the development of exact or analytic philosophy, such thinkers were outsiders when seen from the perspective of native German philosophical culture, and in fact a number of them found their philosophical home precisely in Vienna. When, in contrast, we examine the influence of the Austrian line, we encounter a whole series of familiar and unfamiliar links to the characteristic concerns of more recent philosophy of the analytic sort. As Michael Dummett points out in his Origins of Analytic Philosophy, the newly fashionable habit of referring to analytic philosophy as "Anglo-American" is in this light a "grave historical distortion". If, he says, we take into account the historical context in which analytic philosophy developed, then such philosophy "could at least as well be called "Anglo-Austrian" (1988, p. 7). Much valuable scholarly work has been done on the thinking of Husserl and Wittgenstein, Mach and the Vienna Circle. The central axis of Austrian philosophy, however, which as I hope to show in what follows is constituted by the work of Brentano and his school, is still rather poorly understood. Work on Meinong or Twardowski by contemporary philosophers still standardly rests upon simplified and often confused renderings of a few favoured theses taken out of context. Little attention is paid to original sources, and little effort is devoted to establishing what the problems were by which the Austrian philosophers in general were exercised -- in spite of the fact that many of these same problems have once more become important as a result of the contemporary burgeoning of interest on the part of philosophers in problems in the field of cognitive science. (shrink)

The aim of this paper is to explore the possibility that, at least, some metaphysical debates are ‘metalinguistic negotiations’. I will take the dispute between the dominant approaches of realism and the anti-realism ones about the ontological status of scientific models as a case-study. I will argue that such a debate may be better understood as a disagreement, at bottom normatively, motivated, insofar as a normative and non-factual question may be involved in it: how the relevant piece of language ought (...) to be used. Even though I will generally assess the prospects for a broadly deflationist approach, I shall outline a sense in which the dispute can be recast as ‘minimally substantive’. (shrink)

The problem of intersubjective identification arises from the difficulties of explaining how our thoughts and discourse about fictional characters can be directed towards the same (or different) characters given the assumption that there are no fictional entities. In this paper I aim to offer a solution in terms of participation in a practice of thinking and talking about the same thing, which is inspired by Sainsbury's name-using practices. I will critically discuss a similar idea that was put forward by Friend (...) in terms of participation in what Perry calls a notion-network. I will then argue in favor of Sainsbury's baptism-based approach against Perry's information-based approach and I will answer some recent objections that Friend put forward against the former. (shrink)

In 1907, Alfred Stieglitz took what was to become one of his signature photographs, The Steerage. Stieglitz stood at the rear of the ocean liner Kaiser Wilhelm II and photographed the decks, first-class passengers above and steerage passengers below, carefully exposing the film to their reflected light. Later, in the darkroom, Stieglitz developed this film and made a number of prints from the resulting negative. The photograph is a familiar one, an enduring piece of social commentary, but what exactly is (...) The Steerage which Stieglitz has given us? It is clearer what The Steerage is not. It is distinct from each of its prints and from its negative. These may be dusty or torn without The Steerage being so, and any one of these could be destroyed without thereby destroying The Steerage itself. Nor is The Steerage the set of its prints. The set could not have had different members, while The Steerage could have had more, fewer, or different prints.1 Similar reasoning rules out the mereological sum of parts of its actual prints, for The Steerage’s prints might not have comprised just these parts. We are left with a puzzle, what sort of thing is a photograph? This puzzle is not unique to photography. Similar reasoning generates an analogous puzzle for any repeatable work of art. Novels, poems, plays, symphonies, songs, and the rest share an ontological predicament and create a 1 general puzzle concerning the ontological status of repeatable works of art. It is widely held that the puzzle has an equally general solution, one which I will argue fails for systematic reasons. Although my target here is the supposed solution to the general problem, photography will remain the central case under scrutiny. I offer it as a model for our thinking about the wider class in order to reap the benefits of thinking in terms of concrete cases. Although this risks a trade-off with the generality of my conclusions—there are important differences of detail between the cases—I hope it is clear that the considerations I appeal to in photography are not idiosyncratic but shared by the wider class.. (shrink)

The general topic of this paper is the ontological commitment to so-called "fictitious objects", that is, things and characters of fictional stories, like Sherlock Holmes and Pegasus. Discourse about fiction seems to entail an ontological commitment to fictitious entities, a commitment that is often deemed inconsistent with empirical facts. For instance, "Pegasus is a flying horse" seems to entail "There are flying horses" as well as "Pegasus exists" (according to some widely accepted logical principles). I discuss two solutions that have (...) been proposed in the literature. The first one amounts to rejecting sentences like "Pegasus is a flying horse" as false, at least if they are taken at face value. This solution is called the "story operator strategy". It consists in paraphrasing sentences like "Pegasus is a flying horse" by means of the expression "according to a story" such that they are interpreted as an elliptic formulation of, e.g., "According to a story, Pegasus is a flying horse". I spell out the difficulties of the story operator strategy and opt for a realist ontology of fiction. A novel interpretation of the story operator "according to a story" is given, which is not only consistent with but even sheds new light on such a realist ontology. In particular, it is shown how the story operator can be used as a tool to introduce the so-called "modes of predication distinction" (which is an essential ingredient of many realist ontologies of fiction) in a commonsensical way. (shrink)

The canonical version of possible worlds semantics for story prefixes is due to David Lewis. This paper reassesses Lewis's theory and draws attention to some novel problems for his account.

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)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. (...) A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

In a recent article, Caterina Moruzzi (2018) develops and defends her musical stage theory. This discussion response supposes that Moruzzi's development and def.

This paper wants to know whether it would exist, or could exist, in worlds in which I didn't write it. Before we can answer this question, we first of all have to inquire as to what, exactly, this paper is. After exploring two forms of Platonism, and a theory that defines literary works in terms of events, I shall argue that the term ‘this paper’ is actually infected with ambiguity. Does this paper need me? It depends upon what you mean (...) by ‘this paper’. I lay out the options for what you might mean, and answer the question for each of the options. (shrink)

The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...) a version of such an analysis in line with a broad commitment to philosophical naturalism. (shrink)

A widespread intuition is that words, musical works, and flags are intentionally produced and that they’re abstract types that can have incorrect tokens. But some philosophers, notably Julian Dodd and Nicholas Wolterstorff, think intention-dependence isn’t necessary; tokens just need to have certain relevant intrinsic features to be tokens of a given type. I show how there’s an unappreciated puzzle that arises from these two views: if tokens aren’t intention-dependent and types can admit of correct and incorrect tokens, then some driftwood (...) that washes up and forms what seems like the word ‘cat’ may simultaneously be a misspelling of ‘act’ and innumerable other misspelt words. I consider various ways Dodd and Wolterstorff can respond to this counterintuitive result and argue that biting the bullet, as well as nearby views, are implausible. Thus, they need to give up one of the two commitments, and I argue that requiring the intention-dependence of tokens, rather than the mere possession of certain intrinsic properties, is the best option. (shrink)

Husserl’s allegiance to realism came under attack following his Ideas. Ingarden was a fierce critic of his teacher’s turn to transcendental idealism and provided compelling arguments both for his idealist reading of Husserl and for his rejection of idealism. One of the main arguments Ingarden devised against Husserl’s turn was based on his aesthetics. Against Husserl, Ingarden established literary works and fictional objects as purely intentional objects that are (1) doubly structured, vis-à-vis their formal ontology, and (2) endowed with spots (...) of indeterminacy. These facts, Ingarden argues, necessitate the transcendence of the purely intentional object. In this paper, I explore his argument, while establishing the ontological foundation on which it rests. (shrink)

In this paper, I argue that the theory of mental files can provide a unitary cognitive account of how names and singular terms work in fiction. I will suggest that the crucial notion we need is not the one of regular file, i.e., a file whose function is to accumulate information that we take to be about a single object of the outside world, but the notion of indexed file, i.e., a file that stands, in the subject’s mind, for another (...) subject’s file about an object. When we read a novel containing the name of an individual, we acquire (fictional) information about that individual and we store those pieces of information into an indexed file. If the name also refers to a real individual outside the context of fiction, the indexed file is linked with the pre-existing regular file that we have about such individual. Otherwise, the indexed file is linked to a regular file referring to an abstract object, namely the fictional entity itself. (shrink)

Repeatable artworks like musical works have presented theorists in the ontology of art with a puzzle. They seem in some respects like eternal, immutable objects and in others like created, historical objects. Creationists have embraced the latter appearances and attempted to compel Platonists to follow them. I examine in detail each argument in a cumulative case for Creationism, showing how the Platonist can respond. The conclusion is that the debate between Platonists and Creationists is a stalemate. In order for progress (...) to be made in the first-order debate, second-order progress on the metaontology of art needs to come first. (shrink)

I develop and defend the following functional view of art: a work of art typically possesses as an essential feature one or more points, purposes, or ends with reference to the satisfaction of which that work can be appropriately evaluated. This way of seeing a work’s artistic value as dependent on its particular artistic ends (whatever they may be) suggests an answer to a longstanding question of what sort of internal relation, if any, exists between the wide variety of values (...) (moral, cognitive, aesthetic, etc.) that may be possessed by works of art and their value qua works of art. (shrink)

This paper argues for a version of metalinguistic descriptivism, the Mill-Frege view, comparing it to a currently popular alternative, predicativism. The Mill-Frege view combines tenets of Fregean views with features of the theory of direct reference. According to it, proper names have metalinguistic senses, known by competent speakers on the basis of their competence, which figure in ancillary presuppositions. In support of the view the paper argues that the name-bearing relation—which predicativists cite to account for the properties that they take (...) names to express—depends on acts of naming with a semantic significance. Acts of naming create particular words specifically designed for referential use, which they perform whether or not the language has other words articulated with the same sound or orthography. Like other forms of metalinguistic descriptivism, the Mill-Frege view affords responses to Kripke’s semantic and epistemic arguments against descriptivism. The view is prima facie more complex than predicativism; but the additional complexity is independently attested in natural languages and well-motivated. Finally, the Mill-Frege proposal deals well with Kripke’s modal argument, and accounts for modal intuitions about names, both issues that pose serious trouble to predicativism. (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)

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)

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)

Philosophy and Phenomenological Research, EarlyView.

I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability to (...) understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (shrink)

In ‘Against fictional realism’ Anthony Everett argues that fictional realism leads to indeterminate identity. He concludes that we should reject fictional realism. Everett’s paper and much of the ensuing literature does not discuss what exactly fictional characters are. This is a mistake. I argue that some versions of abstract creationism about fictional characters lead to indeterminate identity, and that some versions of Platonism about fictional characters lead only to indeterminate reference. In doing so I show that Everett’s argument poses a (...) more pressing problem for abstract creationism than for Platonism. The general lesson is that fictional realists should think more about the ontology of fictional characters in order to discern whether they are committed to indeterminate identity. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...) provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the abstract/concrete distinction, time, causation, vague (...) existence, vague identity, and inadvertent creation. (shrink)

In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the best (...) version of Musical Aristotelianism identifies musical works with structural universals. I first motivate the view by outlining its explanatory benefits. I then argue that Musical Aristotelianism is preferable to Musical Platonism and present a novel account of musical works as structural universals by developing D. M. Armstrong’s theory of structural universals. I discuss the consequences of Musical Aristotelianism with respect to on-going issues in debates about musical works and defend the view against an influential objection, concluding that Musical Aristotelianism is a genuine competitor in debates about the nature of musical works. (shrink)

Kurt Gödel’s version of the Ontological Proof derives rather than assumes the crucial Possibility Claim: the claim that it is possible that something God-like exists. Gödel’s derivation starts off with a proof of the Possible Instantiation of the Positive: the principle that, if a property is positive, it is possible that there exists something that has that property. I argue that Gödel’s proof of this principle relies on some implausible axiological assumptions but it can be patched so that it only (...) relies on plausible principles. But Gödel’s derivation of the Possibility Claim also needs a substantial axiological assumption, which is still open to doubt. (shrink)

This paper argues that, within the Western ‘classical’ tradition of performing works of music, there exists a performance value of authenticity that is distinct from that of complying with the instructions encoded in the work's score. This kind of authenticity—interpretive authenticity—is a matter of a performance's displaying an understanding of the performed work. In the course of explaining the nature of this norm, two further claims are defended: that the respective values of interpretive authenticity and score compliance can come into (...) conflict; and that when this happens, compromising ideal score compliance for the sake of making the performance more interpretively authentic can make for a better performance. (shrink)

The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...) meta-ontological questions in the ontology of music. (shrink)

Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...) ontology of art: a form that does not quarrel with the possibility of revisionism in matters of ‘fundamental metaphysics’, but which argues that special features of the arts make descriptivism in this particular sphere obligatory. David Davies, Andrew Kania and Stephen Davies are local descriptivists in this sense. I argue that the burden of proof lies with the local descriptivist, but that this burden is too heavy for him to carry. Specifically, it emerges that the only way in which the local descriptivist can motivate his position is by arguing that our artistic practices determine the art ontological facts: a thesis that local descriptivists typically appeal to, but have not been able to argue for successfully. My conclusion is that the methodological debate in the ontology of art should now proceed by focussing on the case for global descriptivism: i.e. that form of descriptivism that opposes the possibility of revisionism in ontological matters across the board. (shrink)

The primary purpose of the performing arts is to prepare and present 'artistic performances', performances that either are themselves the appreciative focuses of works of art or are instances of other things that are works of art. In the latter case, we have performances of what may be termed 'performed works', as is generally taken to be so with performances of classical music and traditional theatrical performances. In the former case, we have what may be termed 'performance-works', as, for example, (...) in free improvisations. Where we have performances of performed works, a number of distinctive philosophical questions arise: What kind of thing is a performed work? How is it appreciated through its performances? Is 'authenticity' an artistically relevant quality of performances of performed works, and, if so, why? How much of what goes on in the performing arts is rightly viewed as the performance of performed works? Artistic performances, whether or not they are of performed works, raise philosophical questions of their own. Can a performance itself be rightly viewed as a work of art? How do improvisation and rehearsal enter into the performing arts, and how do they bear on the appreciation of artistic performances? What role does the audience play in such performances? Does the performer's use of her own body as an artistic medium, as for example in dance performance, generate special constraints on appreciation? How, finally, does what is usually classified as 'performance art' relate to activities in the performing arts more generally construed? I critically survey the ways in which these questions have been addressed by principal theorists in the field. (shrink)