In the philosophy of art, one of the most important debates concerns the so-called ‘cognitive value’ of literature. The main question is phrased in various ways. Can literary narratives provide knowledge? Can readers learn from works of literature? Most of the discussants agree on an affirmative answer, but it is contested what the relevant notions of truth and knowledge are and whether this knowledge and learning influence aesthetic or literary value. The issue takes on a wider, not only philosophical, importance (...) as it is one of the central tenets of humanistic education that art and literature are valuable not only because the pleasure they afford. This paper offers a new line of argument in departing from propositional truth, arguing that literary narratives provide aesthetically significant knowledge, however, this knowledge cannot be captured in propositional form. My position depends crucially on Frank Jackson's influential knowledge argument. The paper describes a modified ‘What Mary Didn't Read’ case. In doing so, it is argued that the knowledge literary works provide should be understood as a type of experiential knowing of ‘what it is like’ analogous to what Mary acquires in the original case of seeing a new colour for the first time. (shrink)

The interconnections between Nietzsche and phenomenology constitute an area that is surprisingly underexplored. Besides Nietzsche’s well-known influence on Heidegger, and Heidegger’s Nietzsche sitting on the throne of metaphysics, there is very little written about the topic. This is a strange lacuna, one likely explanation for which is the difficulty of such comparative work. For, as the editors of Nietzsche and Phenomenology, Élodie Boublil and Christine Daigle, state in their introduction, “there is not one Nietzsche confronting one phenomenology” . The multifarious (...) corpus of Nietzsche poses enough interpretive difficulties; however, the phenomenological movement to which Nietzsche is compared is itself .. (shrink)

According to the dominant theory of intentionalism, fiction and non-fiction are in a “mix-and-match” relationship with truth and falsity: both fiction and nonfiction can be either true or false. Intentionalists hold that fiction is a property of a narrative that is intended to elicit not belief but imagination or make-belief in virtue of the audience’s recognizing that such is the intention of the fiction-maker. They claim that in unlikely circumstances these fictions can turn out to be accidentally true. On the (...) contrary, I argue in this paper that fictionality and truth are incompatible. I distinguish narratives based on whether they contain invented characters or not, and offer respective sets of arguments to the effect that there is no case when a fiction is accidentally true. A narrative is either fiction or accidentally true but not both. (shrink)

BioShock Infinite is a piece of fiction that lets one peer into a world where this linearity seems overridden by a multiverse where all the possibilities exist. Stories are important for video games. Its story is one of the reasons BioShock Infinite resonates with audiences all around the world. The field of philosophy that deals with art is called aesthetics. If one think that it's even worth asking the question of whether BioShock Infinite is art or not, then one might (...) want to consider this: What is it we're asking about in this case? When we ask whether Infinite is art, we're asking about the experience of playing it. BioShock Infinite is still one of the greatest video game stories and worlds of all time. In this, it represents a big step towards artful video game design. BioShock succeeds in showing that the possibilities for artful storytelling are infinite. (shrink)

Many of us read works of fiction passionately not only because of their entertainment value or for their aesthetic inventiveness but also because we feel that they enrich our understanding of ourselves and the world. This is where there seems to be an important resemblance to philosophy. A number of fictional works can be legitimately called “philosophical” because they are thought provoking about issues that works of philosophy explicitly deal with. However, as the hot debate concerning truth through literature or (...) literature’s cognitive value indicates, it is notoriously hard to pin down what it means to “enrich understanding” or what counts as “thought-provoking content.” Even if it is granted that literature... (shrink)