This chapter contains sections titled: 1 2 3 4 Acknowledgment Notes.

The contrast between real and fictional characters in our thinking needs further elaboration. In this commentary on Eco’s look at the ontology of the semiotic object, I suggest that human semiotic construction entails constant modulation of the relationship between the states of the real and fictional characters in irreversible time. Literary characters are examples of crystallized fictions which function as semiotic anchors in the fluid construction — by the readers — of their understandings of the world. Literary characters are thus (...) fictions that are real in their functions — while the actual reality of meaningmaking consists of ever new fictions of fluid (transitory) nature. Eco’s ontological look at the contrast of the semiotic object with perceptual objects (Gegenstände) in Alexius Meinong’s theorizing needs to be complemented by the semiotic subject. Cultural mythologies of human societies set the stage for such invention and maintenance of such dynamic unity of fictionally real and realistically fictional characters. (shrink)

The contrast between real and fictional characters in our thinking needs further elaboration. In this commentary on Eco’s look at the ontology of the semiotic object, I suggest that human semiotic construction entails constant modulation of the relationship between the states of the real and fictional characters in irreversible time. Literary characters are examples of crystallized fictions which function as semiotic anchors in the fluid construction — by the readers — of their understandings of the world. Literary characters are thus (...) fictions that are real in their functions — while the actual reality of meaningmaking consists of ever new fictions of fluid (transitory) nature. Eco’s ontological look at the contrast of the semiotic object with perceptual objects (Gegenstände) in Alexius Meinong’s theorizing needs to be complemented by the semiotic subject. Cultural mythologies of human societies set the stage for such invention and maintenance of such dynamic unity of fictionally real and realistically fictional characters. (shrink)

A literary text or fiction, while making use of the referential or descriptive resources of our ordinary language, nevertheless does not make use of them in a referential or a descriptive manner. Reference may indeed seem to be made to persons or circumstances or events, in the sense that such things are mentioned in the literary text and may even be linked together by it into some kind of a story. Reference is not made to them, in the sense (...) that these persons or circumstances or events have no existence in the actual world in which the text is written or read, or else that it is irrelevant to the nature of the text as a piece of literature if they do have such an existence. (shrink)

The current debate on literary cognitivism in the philosophy of fiction typically assumes that we can rigorously distinguish between fictional and factual, and focuses on the question of whether and how works of fiction can impart propositional knowledge to the reader. In this paper we suggest that this way of framing the debate may be problematic. We argue that works of fiction almost inevitably include a reference to the real world and that – contrary to what is (...) usually assumed – the exchange between fiction and reality is vivid as well as potentially fruitful. We shed a new light on these complex dynamics by building on the metaphors of trade exchange and smuggling between the two worlds. While the current debate exclusively focuses on cognitively relevant goods that “officially” cross the border through “customs”, as it were, we show that exchanges between fiction and reality run deeper. Indeed, as we show, a substantial part of the cognitive impact that we derive from fiction goes “under the table” and is “smuggled” from fiction to reality. As such, it bypasses the audience’s conscious control, which in turn explains the manipulative force that fiction can exert. Smuggling takes place when cognitively relevant contents are passed on to the reader in subliminal ways, as it happens when they imprint implicit biases or prejudices, shift perspectives or subtly modify habits or patterns of behavior. By elaborating on the metaphors of trade exchange and smuggling, we aim at presenting a more comprehensive and nuanced understanding of the relations between fiction and reality and on the impact that imagination has on our real-world beliefs. (shrink)

Although many scientists view cloning as a useful procedure for scientific research into early embryo development—one that cannot currently be used to produce multiple copies of humans—the popular literature has led some individuals to view it as sinister. To address the concerns of the public, various conceptions of cloning are distinguished and their basis in fact analyzed. The possible uses, benefits, and detriments of both embryo splitting and nuclear transplantation are explained. Once the nature and purposes of cloning are understood, (...) and the distinctive ethical dilemmas created by embryo splitting and nuclear transplantation are sorted out, these procedures should be clinically implemented to assist in vitro fertilization treatment for those who are infertile and to further other therapeutic and investigational efforts in medicine. (shrink)

Friedrich Schlegel’s remarks about poetry and reality are notoriously baffling. They are often regarded as outlandish, or “poetically exaggerated” statements, since they are taken to suggest that there is no difference between poetry and reality or to express the view that there is no way out of linguistic and poetic constructions (Bowie). I take all these responses to be mistaken, and argue that Schlegel’s remarks are philosophical observations about a genuine confusion in theoretical approaches to the distinction between (...) fiction and reality. The confusion at stake involves the assumption that this distinction is and must be fixed independently of the ordinary practices of using these terms to mean certain things in specific situations. And this assumption itself is grounded fundamentally in a confused picture about the way language works. I argue that this confused understanding of the distinction between fiction and reality is not an object of the past, but a picture that is still shaping a central strand in the contemporary debate in philosophical aesthetics about our emotional responses to fiction. And while I do not use Schlegel’s approach to argue against this contemporary view directly, I suggest that his philosophical method includes the resources for unraveling a central confusion in this contemporary debate. (shrink)

What happens if we think of children's play as a form of great art that we turn to and return to for inspiration, for education? If we can see play as art, then what and how can we learn from children's play or from playing with them? What can philosophy, or philosophers, learn from children's play? In this essay Viktor Johansson gives examples of what and when children can teach philosophers through play or, more specifically, how children's play can teach (...) philosophers about the relation between fiction and reality. It begins by exploring the educational relation between fiction and reality in recent revivals of literary humanism. Johansson gives examples from a preschool project of how children use fiction picture books and create new fiction in their play, and how they do so in ways that relate to previous philosophical considerations of literary fiction. To explore this, the essay enters into conversation with the work of Iris Murdoch on the playfulness of art. Through, and in contrast to, Murdoch's work, Johansson establishes that play can be great art through its nonpurposefulness and its use of skill and imagination. Moreover, turning to children's play becomes a method for attending to what Ludwig Wittgenstein calls philosophy's “natural history,” that is, a historicization of philosophical thinking that enables philosophers to learn from children. Johansson concludes by showing that encounters between fiction and play, and with children playing, can be an educational embroilment, not only between teacher and child, but between teacher, child, the visual, the material, and the philosophical in which all learn from one another. (shrink)

During the second half of the eighteenth century, the most powerful literary work in Britain was nonfictional: philosophy, history, biography, and political controversy. Leo Damrosch argues that this tendency is no accident; at the beginning of the modern age, writers were consciously aware of the role of cultural fictions, and they sought to ground those fictions in a real world beyond the text. Their political conservatism (often neglected by modern scholars) was an extensively thought out response to a world in (...) which meaning was inseparable from consensus, and in which consensus was increasingly under attack. Damrosch finds strong affinities between writers who are usually described as antagonists. The first chapter places Hume and Johnson in dialogue, showing that their responses to the challenge of their age have deep similarities, and that their thinking points forward in significant ways to twentieth-century pragmatism. Subsequent chapters explore the interrelationship of the fictive and the "real" in a wide range of works by Boswell, Gibbon, White, Burke, and Godwin. In its combination of literary, philosophical, and cultural criticism, this book will appeal to scholars in many fields as well as to nonacademic readers interested in intellectual history. (shrink)

The present paper explores the moral psychology of fiction conceptually through the paired concepts ‘fictional relief’ and ‘reality check’. I suggest that the spectator of fictional films and television series sees himself as relieved from some of the moral obligations the spectator of nonfiction films sees himself as subject to, such as considering the consequences of a character's actions and attitudes. A fictional attitude is disturbed when elements of nonfiction are inserted into the fiction, such as the (...) documentary photographs in Dogville (Lars von Trier, 2003), or when the fiction otherwise reminds the spectator of the moral and political consequences of his engagement. I call this reality check, and explore how Dr Melfi often reminds the spectator of The Sopranos (HBO, 1999–2007) of the consequences of having a sympathetic attitude towards the main character and gangster Tony Soprano. The related notion fictional relief captures the relief from considering such consequences, and finally I discuss how Omar Little exemplifies fictional reliefs at work in a socially realistic setting in The Wire (HBO, 2002–08). (shrink)

Human beings are in the midst of very powerful shifts in our understanding of what it means to be a human. There is a non-trivial chance that sometime in the future humanity will transform itself, leading to an emergence of posthumans with God-like qualities – Homo Deificatio. Such a transformation has great potential for both good and bad. Posthumanism seeks to improve human nature, increase the human life- and health-span, extend its cognitive and physical capacities, and broaden its mastery over (...) the environment. As such, the notion of posthumanism implies a radical breaking off from, and reconceptualisation of, the state of being human. As neuroscientists, we aim to bring a neuroscientific perspective to this debate. Current scientific and technologic developments (related to brain and its augmentation) clearly demonstrate that what was formerly considered to be science fiction is slowly but firmly becoming a scientific reality. (shrink)

Are fictional characters such as Sherlock Holmes real? What can fiction tell us about the nature of truth and reality? In this excellent introduction to the problem of fictionalism R. M. Sainsbury covers the following key topics: what is fiction? realism about fictional objects, including the arguments that fictional objects are real but non-existent; real but non-factual; real but non-concrete the relationship between fictional characters and non-actual worlds fictional entities as abstract artefacts fiction and intentionality and (...) the problem of irrealism fictionalism about possible worlds moral fictionalism. R. M. Sainsbury makes extensive use of examples from fiction, such as Sherlock Holmes, Anna Karenina and Madame Bovary and examines the work of philosophers who have made significant contributions to the topic, including Meinong, David Lewis, and Bas Van Fraassen. Additional features include chapter summaries, annotated further reading and a glossary of technical terms, making _Fiction and Fictionalism_ ideal for those coming to the issue for the first time. (shrink)

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

Literary fiction is of crucial importance in human life. It is a source of understanding and insight into the nature of the human condition, yet ever since Plato, philosophers have struggled to provide a plausible explanation of how this can be the case. For surely the fictionality - the sheer invented character - of the literary text means that fiction presents not our world, but other worlds? In Fiction and the Weave of Life, John Gibson offers a (...) novel and intriguing account of the relationship between literature and everyday life, and shows how literature can give us an understanding of our world without literally being about our world. (shrink)

A timely volume that uses science fiction as a springboard to meaningful philosophical discussions, especially at points of contact between science fiction and new scientific developments. Raises questions and examines timely themes concerning the nature of the mind, time travel, artificial intelligence, neural enhancement, free will, the nature of persons, transhumanism, virtual reality, and neuroethics Draws on a broad range of books, films and television series, including _The Matrix, Star Trek, Blade Runner, Frankenstein, Brave New World, The (...) Time Machine,_ and _Back to the Future_ Considers the classic philosophical puzzles that appeal to the general reader, while also exploring new topics of interest to the more seasoned academic. (shrink)

How do scientific models represent in a way that enables us to discover new truths about reality and draw inferences about it? Contemporary accounts of scientific discovery answer this question by focusing on the cognitive mechanisms involved in the generation of new ideas and concepts in terms of a special sort of reasoning—or model-based reasoning—involving imagery. Alternatively, I argue that answering this question requires that we recognise the crucial role of the propositional imagination in the construction and development of (...) models for the purpose of generating hypotheses that are plausible candidates for truth. I propose simple fictionalism as a new account of models as Waltonian games of make-believe and suggest that models can lead to genuine scientific discovery when they are used as representations that denote real world phenomena and generate two main kinds of theoretical hypotheses, model-world comparisons and direct attributions. (shrink)

In what sense can aesthetic experience be considered an opportunity for the development of personal identity, cognitive abilities, and emotions? Theatre proves to be an important field of investigation to approach this question. During a theatrical experience, the connection between fiction and reality can take the form of active cooperation between author, actor, and spectator. A better understanding of this point can be drawn by pointing out three kinds of spectator: we can distinguish a critical spectator, an emotional (...) spectator, and an instinctual spectator, who respectively represent: the imaginative and hermeneutic attitude; empathy and fictional emotions; the unconscious satisfaction of drives. So far, a parallel can be established between literature and theatre. However, these two aesthetic experiences are profoundly different: the type of immersion provided by the theatrical experience differs from reading, because the presence of the characters is physical and actual. The pragmatic theatrical framework is the same as that which underlies childhood games. This means that the public too is to some extent called to play, i.e. to act. To appreciate the implications of this thesis, a preliminary analysis of the performance Reality (Deflorian and Tagliarini 2012) is offered, examining how its experience contributes to the development of the spectating subject. (shrink)

The article reviews the book Osoba—fikcja czy rzeczywistość? Tożsamość i jedność ja w świetle badań neurologicznych [Persons: Fiction or Reality? The Identity and Unity of the “Self” in the Light of Neurological Research] 2nd ed., by Józef Bremer.

This book argues for the ethical relevancy of contemporary fiction at the beginning of the 21st century. The writers discussed in Contemporary Fiction and the Ethics of Modern Culture pay close attention to the concrete realities of the everyday world, such as the feelings of isolation created in urban environments; the roles played by sports, drugs, advertising, and the media; and the widespread use of computer, telecommunication, and entertainment technologies. Through reading novels by such writers as David Foster (...) Wallace, Richard Powers, and Irvine Welsh, this book looks at how these works seek to transform the ways that readers live in the world. This book should appeal to scholars of contemporary literature, persons interested in cultural studies, critics interested in ethics, scholars of Gilles Deleuze and Felix Guattari, students of contemporary literature, and general readers of contemporary literature. (shrink)

Resumen La literatura universal, se encuentra poblada de arquetípicos que comparten una condición de desamparo y marginalidad, siendo la literatura realista de la segunda mitad del siglo XIX la que constata y da cuenta de su condición. En un mismo sentido, también la Biblia presenta un sinnúmero de personajes similares, marcando un punto de inflexión al llamarlo bienaventurados. Así pues, el presente estudio bíblico-literario, se centra en el arquetipo de la “viuda pobre”, sosteniendo dicha ficción literaria es una clave interpretativa (...) de la realidad, a la luz de la teoría literaria de la Estética de la Recepción. El articulo estudia la “viuda pobre” como un imaginario cultural y estableciendo la recepción de dicho imaginario en los cuentos “El Chiflón del diablo” y “El pago” del escritor chileno Baldomero Lillo, demostrando cómo el dialogo entre cultura y Biblia representa un aporte a la comprensión de determinadas ficciones literarias como categorías antropológicas.Universal literature is crowded by archetypical characters who share abandonment and marginalization conditions, being second half 19,h century realistic literature that confirms and exposes those conditions. In that sense, The Holy Bible presents a number of those characters. Resides, it highlights a turning point, hence, The Beatitudes point out: “Blessed are the poor in spirit, for theirs is the kingdom of heaven”. Thus, the following biblical-literary study, centered in the “Poor widow” archetype, aims to the establishment of literary fiction as interpretative key of reality, under Wolfgang Iser Aesthetics Reception's theory as its methodology. The objective aims to postulate “Poor Widow” as a Cultural imaginary, and finally to establish the reception of that imaginary within the stories “El Chiflón del Diablo” and “El Pago” by the chilean writer Baldomero Lillo, demonstrating that the dialog between culture and The Holy Bible represents a contribution to some literary fiction s as anthropological categories. (shrink)

Name der Zeitschrift: Paragrana Jahrgang: 25 Heft: 2 Seiten: 80-93.

The idea of the constructed character of social reality implies human contribution to institutional arrangements and cultural patterns that determine the shape of collective existence. The article examines the specific features of social construction seen and studied in phenomenological approach by A. Schutz, P. Berger, Th. Luckmann. The concept reveals significance of daily cognitive style which enables people to structure and understand the world they share with others, escaping situations fraught with gaps of meanings and anomy. The author of (...) the article analyzes the process of social construction, distinguishing it from imaginary building of reality that goes beyond the existed order. Reality of daily life is compared with fictional society represented in J.L. Borges’ “Lottery in Babylon”. Telling about the social construction as it may be, the story demonstrates the similarities between the mental procedures that underlie real and antiutopian routines. The article also centers on peculiarities of phenomenological beholder’s attitude towards sociality. On the one hand, it tends to be free from any theoretical abstractions, imaginary constructions or critical destruction of reality, on the other - inclines to transcend the reified forms of social being and engenders a certain critical message. (shrink)

I consider the question of whether Annie Saumont is simply a disciple of Descartes in her fiction “You Should Have Changed at Dol.” Other interpretations are available according to which her commitments are more qualified.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that (...) writing is related to the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

This paper defends the cognitive value of literary fiction by showing how Paul Ricoeur’s account of narrative understanding emphasizes the productive and creative elements of fictional discourse and defends its referential capacity insofar as fiction reshapes reality according to some universal aspect. Central to this analysis is Ricoeur’s retrieval of Aristotelian mimesis and mythos and their convergence in the notion of emplotment. This paper also supplements and specifies further Ricoeur’s account by retrieving an Aristotelian concept disregarded by (...) Riceour, namely, synesis. Although Ricoeur connects narrative understanding to the intelligibility of praxis and in turn phronêsis, as opposed to theoretical knowledge, he overlooks Aristotle’s discussion of synesis. This paper then clarifies how the fictional truth of narrative understanding remains related to, and yet distinct from, both theoretical discourse and praxis. (shrink)

• Suppose further that you want to be able to treat all sorts of discourses as fiction, i.e. not just literary fiction but also ethics, mathematics, science, parts thereof, etc.

I once attended a writing conference for aspiring authors of books for children, at which one speaker enraged the audience by making the pronouncement that, in his view, parents were disqualified to be authors of children's fiction. His reason: parents have to protect themselves from the reality of their children's pain and so wouldn't be able to write about childhood traumas with sufficient awareness and honesty. To this the audience, largely composed of mothers, shot back that parents are (...) especially qualified to write for children, for precisely the opposite reason: they live with children in a relationship of great intimacy and so know children in a way that non-parents 1 do not. But, assuming, as I am inclined to do (as myself a writer of books for children who is also a parent), that the parents are correct here, or at least correct in asserting that they have a distinctive avenue of access to children on which they can draw to enrich the writing of their books, what ethical problems, if any, arise? If children do indeed provide their author-parents with "material," is this material the parents are entitled to use? If the children grow up themselves to be authors some day, will they be able to draw on their own childhoods -- and their relationships with parents and siblings -- to craft their own novels, or memoirs? (Flannery O'Connor is quoted as saying that no author need ever be at a loss for subject matter to write about: "All you need is a childhood.") Can friends write about friends, while still remaining friends and being true to the expectations and obligations of friendship? In this essay I want to highlight -- and then partially seek to dissolve, or resolve -- the particular tensions that arise between the obligations of friendship (or family relationships) and the necessity for an author (of either fiction or memoirs) to draw on her own life -- that is to say, her own relationships with friends and family -- in her work.. (shrink)

Daniel C. Dennett claims that the self is nothing more than a fiction of the brain, an abstraction that has been promoted by evolutionary processes as a result of its biological and social beneficence. While concurring with Dennett with regard to simple selves, I argue for the existence of indeterminate and functional selves, and propose that such selves come about as a direct result of our believing in the reality of simple and thus fictional selves. In addition to (...) this I shall contend that Dennett is confused as to the precise nature of the self, and as a consequence ends up fluctuating between two importantly different positions. My overall aim is to ameliorate Dennett’s initial insights and hopefully come up with something more consistent and metaphysically palatable. (shrink)

Die Philosophie wurde von so unterschiedlichen Philosophen wie Wolff und Russell als Moglichkeitswissenschaft bezeichnet. Doch erwiesen sich die modalen Konzepte von Moglichkeit und Notwendigkeit als sperrig und vieldeutig, und ihr Verhaltnis zum Wirklichkeitsbegriff bleibt problematisch. Die vorliegende Sammlung beleuchtet die Metaphysik und Logik von Moglichkeit und Wirklichkeit aufs Neue und betrachtet sie aus unterschiedlichsten Perspektiven jenseits der Dichotomie von analytischer und kontinentaler Philosophie. Die Philosophiegeschichte (von der griechischen Antike bis zu David Lewis) kommt ebenso zu Wort wie die Semantik moglicher (...) Welten; Logik, Mathematik und Computerwissenschaft ebenso wie Literatur und Neue Medien; Formen des wissenschaftlichen ebenso wie des fiktionalen Diskurses. Philosophy has been called the science of the possible by philosophers as diverse as Christian Wolff and Bertrand Russell. The modal concepts of possibility and necessity, however, have proved to be ambiguous and recalcitrant to analysis, and their relation to the concept of reality have remained problematic up to the present day. Transcending the worn-out dichotomy between analytic and continental philosophy, this collection of papers takes a fresh look at the metaphysics and logic of possibility and reality, and illuminates them from a great variety of perspectives. Topics include the history of philosophy (from Greek antiquity to David Lewis) as well as the semantics of possible worlds; logic, mathematics and computer science as well as literature and the new media; forms of scientific as well as fictional discourse.". (shrink)

Fiction, Reference, and Nonexistence contains a new, contemporary theory of fiction and discusses the connection between language and reality. Martinich and Stroll, two of America's leading philosophers, explore fiction and undertake an analytic philosophical study of fiction and its reference, and its relation to truth.

In this paper I want to hold that contextualism – the position according to which wide context, i.e., the concrete situation of discourse, may well have the semantic role of assigning truth-conditions to sentences – may well accommodate (along with some nowadays established theses about the semantics of proper names) three data about fiction, namely, the facts that as far as discourse involving fiction is concerned, i) sentences about nothing are meaningful ii) they may be true in (...) class='Hi'>fiction iii) yet they may also be true in reality. Moreover, I also want to hold that such a contextualist accommodation does not depend on endorsing a realist stance about fictional entities, although such a stance gives the best truth-conditional explanation for such data, in particular iii). (shrink)

Taken at face value, the picture of reality suggested by modern science seems radically opposed to the world as we perceive it through our senses. Indeed, it is not uncommon to hear scientists and others claim that much of our perceptual experience is a kind of pervasive illusion rather than a faithful presentation of various aspects of reality. On this view, familiar properties such as colours and solidity, to take just two examples, do not belong to external objects, (...) but are fictions generated by the brain that we mistakenly ascribe to the world around us. Contrary to this view, I argue that properties like colour and solidity are as much a part of the fabric of reality as gravity and electrons, and that our scientific and common-sense world views are not as opposed to one another as it might first appear. (shrink)

Are virtual objects real? I will claim that the question sets us up for the wrong type of conclusion: Chalmers (2017) argues that a virtual calculator (like other entities) is a real calculator when it is “organizationally invariant” with its non-virtual counterpart—when it performs calculation. However, virtual reality and games are defined by the fact that they always selectively implement their source material. Even the most detailed virtual car will still have an infinite range of details which are missing (...) (gas, engines, pistons, fuel, chemical reactions, molecules, atoms). This means that even the most detailed virtual object will still have fictional aspects. Rather than argue that virtual objects are, or aren’t, real, it is preferable to think of overlaps and continuities between the fictional and the real, where even the most painstakingly detailed virtual reality implementation of a non-virtual object is still art: a human process of selection and interpretation. Virtual reality should therefore not be philosophically understood just as a technological implementation on a trajectory to perfection, but as a cultural artifact which derives its value in part from its simplification and difference from its source material. (shrink)

Stories of Philosophy is an introduction to philosophy textbook that combines both fiction and philosophical discussion. It combines compelling stories devoted to particular philosophical problems followed by clear and detailed guided discussions of the topics and ideas explored within the fictional stories. The text includes chapters on Logic, Appearance and Reality, The Nature of Mind, Freedom and Responsibility, The Existence of God, and Morality. Each chapter has several highly praised pedagogical features, including chapter-opening learning objectives, boldfaced key terms, (...) questions for discussion, definitions of terms, and suggested further readings. It will be accompanied by online support material for the instructor and the student. (shrink)

The article gives a generalized view of the historical epistemology and highlights its main problems: the nature of historical reality, historical knowledge and historical agent. The historical epistemology represents a special philosophical discourse, the purpose of which is constructing historical knowledge for cultural assimilation of the new historical reality at the intersection of science and society. A distinction is proposed between the position of a historian of science and a historical epistemologist in terms of the essence of historical (...) event and historical fact. The historical epistemology reveals its boundaries and a position within modern epistemological approaches. On the one hand, it is the substantialist interpretation of the historical event, which loses its a priori status only by socio-epistemological explanation. On the other hand, a figure of the historical agent (hero and author) keeping the status of a theoretical fiction in historical epistemology, acquires the adequate meaning in the existential philosophy of science. (shrink)

Fiction, Reference, and Nonexistence contains a new, contemporary theory of fiction and discusses the connection between language and reality. Martinich and Stroll, two of America's leading philosophers, explore fiction and undertake an analytic philosophical study of fiction and its reference, and its relation to truth.