Adi Da argues that no solutions currently proposed are sufficient to righten the present unsustainable trajectory of life on Earth, because there is no integrated approach to the ordering of society and use of the planet. The presumption of separateness—manifesting collectively as separate “tribes” vying for control—characterizes human affairs, rather than the prior (“a priori”) unity of existence. The struggle for dominance is the “stave in the wheels” of the Earth-system's inherent capacity to self-correct. A new institution, “the Global Cooperative (...) Forum,” is proposed—invoked by “everybody-all-at-once” (a global populace awakened as a single force, capable of cooperatively effecting global change). (shrink)

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)

Lewis’s original Best Systems Account of laws was not motivated much by pragmatics. But recent commentary on his general approach to laws has taken a ‘pragmatic turn’. This was initiated by Hall’s defence against the charge of ‘ratbag idealism’ which maintained that best systems accounts should be admired rather than criticised for the inherent pragmatism behind their choice of desiderata for what counts as ‘best’. Emboldened by Hall’s pragmatic turn, recent commentators have proposed the addition of pragmatically motivated desiderata to (...) complement or replace the canonical desiderata of strength and simplicity. This, they hope, will allow their revisionary BSAs to respond better to various counterexamples against the original account. While the pragmatic turn itself is well taken, here I problematise these revisionary approaches. First, there are reasonable responses to the counterexamples from within the canonical BSA. Second, while actual laws may satisfy the newly proposed desiderata, there are reasons to think these desiderata cannot be constitutive of laws. By comparison, the canonical desiderata appear to be relevant to explaining why and when the revisionary desiderata will reflect pragmatic features of the laws and better reflect the motives behind practitioners of fundamental physics. (shrink)

Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...) to imagine. Most other theories of thought and discourse about fictional characters either fail to capture the intentionality of our imaginings, or else obscure the differences between imaginings directed toward fictional characters and those directed toward real individuals. I argue that once we have an account of prescriptions to imagine about real individuals, we can adapt the same framework to specify the contents of prescriptions to imagine about fictional characters, and thereby to account for the truth (or falsity) of statements about fictional characters. (shrink)

A familiar question in the literature on emotional responses to fiction, originally put forward by Colin Radford, is how such responses can be rational. How can we make sense of pitying Anna Karenina when we know there is no such person? In this paper I argue that contrary to the usual interpretation, the question of rationality has nothing to do with the Paradox of Fiction. Instead, the real problem is why there is a divergence in our normative assessments of emotions (...) in different contexts. I argue that explaining this divergence requires a more nuanced account of the rationality of emotion than has previously been proposed. One advantage of my proposal over alternatives is that it helps to explain one way we can learn emotionally from fiction and imagination. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I further argue, against (...) (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)

Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...) truth or epistemic merit of these claims. (shrink)

There are three elements in this paper. One is what we shall call ‘the Hungarian project’. This is the collected work of Andréka, Madarász, Németi, Székely and others. The second is Molinini’s philosophical work on the nature of mathematical explanations in science. The third is my pluralist approach to mathematics. The theses of this paper are that the Hungarian project gives genuine mathematical explanations for physical phenomena. A pluralist account of mathematical explanation can help us with appreciating the significance of (...) the Hungarian project. The significance consists in the fruitfulness and spread of the project. The spread is wide because the explanations are written in the very familiar language of first-order logic with identity. For this reason, the explanation is understandable to many mathematicians. Because of the methodology adopted in the Hungarian project, the explanations are fruitful in another sense. In the Hungarian project certain questions are asked that would not be asked with a more usual methodology. The Hungarians are distinguished from other scientists in asking logical and mathematical questions, and these both deepen our understanding of the physical theories and induce further spread to mathematics and philosophy. (shrink)

It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes of guidingchildren’s (...) and adult’s preferences toward socially acceptable norms.The influencesdiscussed by marketers, psychologists, educators, and philosophers tend to be bothcognitive and affective. It seems that we can be “emotionally persuaded”: ourpreferences can be changed, our feelings about particular people or events can beinfluenced, and so forth. (shrink)

Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role in (...) the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model-systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model-systems is misguided. If model-systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model-systems. (shrink)

In this paper, I review developments in discussions of fiction and emotion over the last decade concerning both the descriptive question of how to classify fiction-directed emotions and the normative question of how to evaluate those emotions. Although many advances have been made on these topics, a mistaken assumption is still common: that we must hold either that fiction-directed emotions are (empirically or normatively) the same as other emotions, or that they are different. I argue that we should reject this (...) dichotomy. (shrink)

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

I present a formal language that imposes a structure on processes in macro-chemistry. Each symbol in the language invites a type of analysis that is carried out either by looking into the semantics if the language or by looking at the context. Every formal language has assumptions underlying it. The assumptions made in developing the formal language are meant to help with conceptual analysis by inviting certain types of question.

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)

I present a formal language that imposes a structure on processes in macro-chemistry. Each symbol in the language invites a type of analysis that is carried out either by looking into the semantics if the language or by looking at the context. Every formal language has assumptions underlying it. The assumptions made in developing the formal language are meant to help with conceptual analysis by inviting certain types of question.

Engagement with fiction often inspires emotional responses. We may pity Sethe while feeling ambivalent about her actions (in Beloved), fear for Ellen Ripley as she battles monstrous creatures (in Alien), get angry at Okonkwo for killing Ikemefuna (in Things Fall Apart), and hope that Kiyoaki and Satoko find love (in Spring Snow). Familiar as they are, these reactions are puzzling. Why do I respond emotionally if I do not believe that these individuals exist or that the events occurred? If I (...) merely imagine that my best friend has betrayed me, I do not become angry with him; if I did, I would be considered irrational. Yet although beliefs seem to be necessary for emotions in other contexts, we respond to fiction without the relevant beliefs. These observations prompt two questions about our emotional responses to fiction (henceforth: fictional emotions). The first is descriptive: Should fictional emotions be classified as the same kind of emotions we experience in other contexts? The second is normative: Are fictional emotions irrational or otherwise inappropriate? I take each of these debates in turn. (shrink)

I present a formal language that imposes a structure on processes in macro-chemistry. Each symbol in the language invites a type of analysis that is carried out either by looking into the semantics if the language or by looking at the context. Every formal language has assumptions underlying it. The assumptions made in developing the formal language are meant to help with conceptual analysis by inviting certain types of question.

While aestheticians have devoted substantial attention to the possibility of acquiring knowledge from fiction, little of this attention has been directed at the acquisition of factual information. The neglect traces, I believe, to the assumption that the task of aesthetics is to explain the special cognitive value of fiction. While the value of many works of nonfiction may be measured, in part, by their ability to transmit information, most works of fiction do not have this aim, and so many conclude (...) that the transmission of information is irrelevant to their value. I am skeptical of these claims. I doubt that there is any value, cognitive or otherwise, special to all and only works of fiction. Thus I see no reason to neglect the capacity to convey factual information—specifically, propositional knowledge about real individuals and events—when assessing the value of particular works. In this paper I consider the value of learning about history from a particular work of fiction, Gore Vidal’s Lincoln: A Novel. Drawing on recent work in cognitive psychology, I argue that narrative devices used by Vidal can enhance our ability to learn and retain factual information, despite also increasing the possibility that we will form false beliefs, and that acquiring propositional knowledge from fiction, far from being a process we can take for granted, constitutes a difficult achievement. (shrink)

Introduction.-- Metaphysical argument.-- The historical background.-- The testimony of modern physics.-- The argument from psychology.-- The forms of final causation.

As we understand them, dispositions are relatively uncontroversial 'predicatory' properties had by objects disposed in certain ways. By contrast, powers are hypothetical 'ontic' properties posited in order to explain dispositional behaviour. Chapter 1 outlines this distinction in more detail. Chapter 2 offers a summary of the issues surrounding analysis of dispositions and various strategies in contemporary literature to address them, including one of our own. Chapter 3 describes some of the important questions facing the metaphysics of powers including why they're (...) worth positing, and how they might metaphysically explain laws of nature and modality. (shrink)

A 1998 Cincinnati Enquirer investigation into the Central American labor practices of Chiquita Brands International was substantiated by the taped words of company officials themselves. Yet, soon after publication, the Enquirer ran a stunning front-page retraction and disavowed the report without challenging its claims. The Gannett Corporation, the paper's owner, paid Chiquita $14 million to avoid a suit. The resultant outcry by journalists was directed not at Gannett, but at lead reporter Michael Gallagher, who had surreptitiously accessed Chiquita voice mail (...) to support his allegations. Rather than being lauded as a tough investigative reporter serving a greater good, Gallagher was fired, convicted, sued by Chiquita, and vilified in the media. Was the backlash driven simply by higher ethical standards or also by anxieties about intrusive technology? A reexamination of the case suggests the latter explanation and helps frame an evolving debate about electronic eavesdropping by the media. (shrink)

Philosophers and other scholars have often claimed that the arts are not only cognitively valuable but also morally improving (e.g., Nussbaum, 1997). However, their arguments often proceed with little attention to empirical evidence. At the same time, filmmakers and media creators deliberately use devices to direct their audience’s attention, with the intention of impacting viewers’ cognitive, affective, and neurological responses in meaningful ways (Carroll & Seeley, 2013). Whether these devices have the desired effects, and on whom, also remains largely untested. (...) If we want to understand the ways that film and media can have moral impacts, we must step out of our disciplinary siloes. It is not enough for film experts, philosophers, and experimentalists to merely take note of each other’s work; collaborative interdisciplinary research is required, both to improve methods and to examine questions that have not yet been empirically explored. In this article we propose a model for this kind of research, focusing on how media can influence moral understanding. We first outline the challenges that must be met for such research to be successful, including clarifying and operationalizing concepts, measuring moral understanding, and applying empirical methods to media and the arts. We then describe the advantages of interdisciplinary collaboration for meeting these challenges, in the context of some recent examples of interdisciplinary projects on related themes. (shrink)

Book synopsis: New work on a hot topic by an outstanding team of authors At the intersection of several central areas of philosophy It is the linguistic job of singular terms to pick out the objects that we think or talk about. But what about singular terms that seem to fail to designate anything, because the objects they refer to don't exist? We can employ these terms in meaningful thought and talk, which suggests that they are succeeding in fulfilling their (...) representational task. A team of leading experts presents new essays on the much-debated problem of empty reference and thought. In the 1960s and 1970s Keith Donnellan, David Kaplan, Saul Kripke and Hilary Putnam initiated a revolution in the then standard conception of reference—a concept at the core of philosophical inquiry. The repercussions of the revolution, particularly felt in metaphysics and epistemology, were soon refined by other influential writers such as Tyler Burge, Gareth Evans, and John Perry. They argued that some linguistic and mental representations have contents individuated by what they are about—by ordinary referents of expressions such as proper names, indexicals, definite descriptions and common nouns, i.e. by planets, people or natural kinds. The view was at odds with a central philosophical presumption at that time: that cognitive and linguistic access to objective reality is indirect and accidental, mediated by general descriptive characterizations, the only constitutive semantic feature of the expressions; hence its ontological and epistemological repercussions. A turning-point in the debate about how linguistic and mental representation reach external contents concerned the nature of empty mental and linguistic representations, framed by means of the very same expressions crucially invoked in the Donnellan-Kaplan-Kripke-Putnam arguments. The papers in this volume address different aspects of reference and thought about the non-existent. (shrink)

The heroes and villains of the Star Wars saga are probably the most widely recognized fictional characters in the Western world. In particular, the saga is a celebration of friendship and family bonds. Though it is a story of conflict and warfare, grand political concerns about the fate of the galaxy are kept in the background, as the story focuses more on action and the relationships among the main characters. The overwhelming loyalty that the heroes of Star Wars feel for (...) friends and family is a traditional feature of heroes, from ancient history to today. Weighing the actions of fictional characters like Luke and his pals can help us reflect on how we should act in the real world. In some ways, the moral views of early philosophers move us too far toward civic duty and away from the traditional values of loyalty to friends and family. (shrink)

Through listening to the voices of students, educators and community members can begin to reconstruct the culture of urban schools that are often full of stories about student deficits, genetic explanations about achievement, and cultural mismatch theories that may be traced to historical and sociological ideologies. The purpose of this heuristic qualitative investigation was to explore the ways in which student voice can contribute to reculturing high schools in urban settings. Data sources for this study included videotaped interviews and observations (...) in two Midwestern urban high schools to explore the stories of 28 culturally and linguistically diverse students in grades 10 through 12. Findings suggested that the teens in these urban high schools want caring teachers who listen attentively, provide engaging learning opportunities, and who demonstrate high expectations for achievement. They did not want teachers who, in essence, perpetuate hegemonic discourses via pedagogical practices, and school environments that resemble prisons. At the same time, students wanted more structure to ?avoid chaos? and asked teachers to give attention to the paradigm of the personal within the school curriculum. We extend the meaning of the study to include student voice as a critical stance for reconstructing the cultural context of urban schools, which entails listening to students to identify complex and sensitive topics for dialogue and inquiry. (shrink)

Can the desire for efficiently systematised theories in science be explained from within a powers metaphysics? It is plausible that the traditional ‘Powers Theory of Laws’, endorsed by many friends of powers, does not alone provide such an explanation. This has led a number of recent authors to argue that a ‘Powers Best System Account’ of laws would be a preferable alternative. This account borrows a method for determining laws from the Humean and applies it to a reality of powers. (...) Here I claim, to the contrary, that this account is both internally unworkable and, anyway, completely undermotivated when compared with the traditional view. Apart from some brief suggestions for alternative accounts, I’ll conclude that the powers theorist still has their work cut out to explain systematising in science. (shrink)

Kendall Walton’s “Categories of Art” (1970) is one of the most important and influential papers in twentieth-century aesthetics. It is almost universally taken to refute traditional aesthetic formalism/empiricism, according to which all that matters aesthetically is what is manifest to perception. Most commentators assume that the argument of “Categories” applies to works of literature. Walton himself notes a word of caution: “The aesthetic properties of works of literature are not happily called ‘perceptual’ … (The notion of perceiving a work in (...) a category … is not straightforwardly applicable to literary works)” (335 n.5). However, he goes on to say that although he focuses “on visual and musical works … the central points I make concerning them hold, with suitable modifications, for novels, plays, and poems as well” (335 n.5). Here I consider what “suitable modifications” are required to extend the account to literature. (shrink)

The pluralist sheds the more traditional ideas of truth and ontology. This is dangerous, because it threatens instability of the theory. To lend stability to his philosophy, the pluralist trades truth and ontology for rigour and other ‘fixtures’. Fixtures are the steady goal posts. They are the parts of a theory that stay fixed across a pair of theories, and allow us to make translations and comparisons. They can ultimately be moved, but we tend to keep them fixed temporarily. Apart (...) from considering rigour of proof as a fixture, I discuss fixed models, invariant notions and fixed information about objects across theories. There are other fixtures, but it is enough to start with these. (shrink)

Book synopsis: The most debated issue in aesthetics today Written by an international team of leading experts Addresses growing methodological concerns in the field Includes an extensive introduction which illuminates key issues Through much of the twentieth century, philosophical thinking about works of art, design, and other aesthetic products has emphasized intuitive and reflective methods, often tied to the idea that philosophy's business is primarily to analyze concepts. This 'philosophy from the armchair' approach contrasts with methods used by psychologists, sociologists, (...) evolutionary thinkers, and others who study the making and reception of the arts empirically. How far should philosophers be sensitive to the results of these studies? Is their own largely a priori method basically flawed? Are their views on aesthetic value, interpretation, imagination, and the emotions of art to be rethought in the light of best science? The essays in this volume seek answers to these questions, many through detailed studies of problems traditionally regarded as philosophical but where empirical inquiry seems to be shedding interesting light. No common view is looked for or found in this volume: a number of authors argue that the current enthusiasm for scientific approaches to aesthetics is based on a misunderstanding of the philosophical enterprise and sometimes on misinterpretation of the science; others suggest various ways that philosophy can and should accommodate and sometimes yield to the empirical approach. The editors provide a substantial introduction which sets the scene historically and conceptually before summarizing the claims and arguments of the essays. (shrink)

Trust is morally basic. It makes cooperation between persons, to whatever degree, possible. In Chapter One, I define trust as being the relation between people bound by genuine goodwill, competency and vulnerability to each other. ;In Chapter Two, I criticize Thomas Hobbes's understanding of society as founded upon a social contract which exclusively self-interested persons have reason to make in order to escape from the state of nature. I argue that on Hobbes's assumptions about the nature of persons, such a (...) contract cannot be viable. Without the assumption that, prior to the contract, persons have some reason to trust one another, no contract can be expected to be made or survive. ;David Gauthier, who presents a contemporary version of Hobbesian social contract theory in his Morals by Agreement, is vulnerable to a similar argument. In Chapter Three, I argue that given Gauthier's description of persons there does not exist the trust necessary to construct, even hypothetically, the social contract. ;Chapter Four examines the very basic role which trust plays in both personal and civic friendship. I argue that trust is what distinguishes "end friendship" from the instrumental friendships in which we are "used" or taken advantage of by others. I discuss civic friendship and argue that the trust which is basic to it, namely social trust, is a form of trust which can exist between people who are otherwise strangers to one another. ;In Chapter Five I go on to prescribe trust. I argue first, that we should never be untrustworthy, as this implies treating people instrumentally, and hence violates Kant's Categorical Imperative. I argue, however, that we should not always trust, maintaining that trust, for normative purposes, is best understood as an Aristotelian mean, and can be described by the extremes of naivete and cynicism and that we should trust in a way which avoids both these extremes. (shrink)

I present a comparative and holistic method for qualitatively measuring sound ecological practice in chemistry. I consider chemicals developed and used by man from cradle to grave, that is, from the moment they are extracted from the earth, biomass, water or air, to their transportation, purification, mixing and elaboration in a factory, to their distribution by means of the market, to waste products both from the factory, packaging, transportations and by the consumer. I divide the locations of the ‘life’ of (...) the chemical into four spatio-temporal areas accordingly. I then use the ‘instituional compass’ method to determine a qualitative reading of the ecological soundness of the practice, where practice means the research, the adoption by industry and the distribution at scale on the market. The qualitative reading is in the form of an arrow on a trisected circle. The arrow holistically represents a table of data. The data can be economic, social or environmental. The arrow has a measurement: a degree and a length. The degrees, represent qualities spaning through: harmony, discipline and excitement. The length represents the importance, momentum or amplitude with which the quality is present. We use the compass method to compare the same product over time, or inter-substitutable, chemicals developed in different places, using different equipment or processes. In the conclusion, I discuss objectivity and science as they apply to the compass. (shrink)

Part–whole causation is the thesis that some causes are part of their effects. PWC has been objected to because of its incompatibility with the criterion that causes not be spatially included within their effects and the criterion that causes and effects are ontologically distinct in some sense. This paper serves to undermine the sufficiency of these ways of objecting to PWC by showing that for each criterion either cause-effect relationships need not satisfy it or part–whole relationships can. A case-study of (...) the collapse of Bridge 9340 is employed to facilitate the discussion. (shrink)

In the literature, there have been several methods and definitions for working out whether two theories are “equivalent” or not. In this article, we do something subtler. We provide a means to measure distances between formal theories. We introduce two natural notions for such distances. The first one is that of axiomatic distance, but we argue that it might be of limited interest. The more interesting and widely applicable notion is that of conceptual distance which measures the minimum number of (...) concepts that distinguish two theories. For instance, we use conceptual distance to show that relativistic and classical kinematics are distinguished by one concept only. (shrink)

The ubiquitous schema ‘All Fs are Gs’ dominates much philosophical discussion on laws but rarely is it shown how actual laws mentioned and used in science are supposed to fit it. After consideration of a variety of laws, including those obviously conditional and those superficially not conditional, I argue that we have good reason to support the traditional interpretation of laws as conditionals of some quantified form with a single object variable. I show how this conclusion impacts on the status (...) of ‘system laws’ and the significance of having only one object variable with regard to the relationship between laws and causal relations. (shrink)

If one has Humean inclinations, what account should one provide for idealization laws? I introduce the currently most popular Humean approach to laws of nature, the best systems account, along with some basic requirements for how to be Humean. I then show why idealization laws are unlikely to be accommodated within this account of laws. Finally, I offer an alternative approach that takes idealization laws to be meta-laws, placing requirements on the theorems of the best system.

We are told that there are standards of rigour in proof, and we are told that the standards have increased over the centuries. This is fairly clear. But rigour has also changed its nature. In this paper we as-sess where these changes leave us today.1 To motivate making the new assessment, we give two illustra-tions of changes in our conception of rigour. One, concerns the shift from geometry to arithmetic as setting the standard for rig-our. The other, concerns the notion (...) of effective proof or compu-tations. To make the assessment, we look at one motivation for increasing the rigour of a mathematical argument: explicitness and honesty. We then present a standard of rigour by means of a characterisation developed with reference to what we call ‘an account-proof’. We evaluate the standard with reference to the motivation. With the analysis we discover that, regardless of the motivations for rigour, the standard is almost never met, and that the motivations are not all satisfied. It follows that, in some sense, the motivations have misfired. The misfiring suggests to us that we re-assess our notion of rigour. We think of rigour as a relative term. Moreover, the standard for rigour depends on philosophical underpinnings. The strength of the argument of this paper rests on the plausibility of our selection of motivations and on the plausibility of our standard. (shrink)

The currently standard approach to fiction is to define it in terms of imagination. I have argued elsewhere that no conception of imagining is sufficient to distinguish a response appropriate to fiction as opposed to non-fiction. In her contribution Kathleen Stock seeks to refute this objection by providing a more sophisticated account of the kind of propositional imagining prescribed by so-called ‘fictive utterances’. I argue that although Stock's proposal improves on other theories, it too fails to provide an adequate criterion (...) of fictionality. I conclude by sketching an alternative account according to which fiction is a genre. (shrink)