*Note that this project is now being developed in joint work with Rich Woodward* -/- Some things are left open by a work of fiction. What colour were the hero’s eyes? How many hairs are on her head? Did the hero get shot in the final scene, or did the jailor complete his journey to redemption and shoot into the air? Are the ghosts that appear real, or a delusion? Where fictions are open or incomplete in this way, we can (...) ask what attitudes it’s appropriate (or permissible) to take to the propositions in question, in engaging with the fiction. In Mimesis as Make-Believe (henceforth, MMB), Walton argues that just as truth norms belief, truth-in-fiction norms imagination. Granting that what is true-in-the-fiction should be imagined, and what is false-in-the-fiction is not to be imagined, there remains the question of what to say within the Waltonian framework about things that are neither true- nor false-in-the-fiction---the loci of incompleteness. (shrink)

Abstract:Can the claim "Sherlock Holmes is a detective" be true if no object exists that has this property? Is it true that he is a fictional character and that he does not exist? My answers are based on Alexius Meinong's theory of objects. In contrast to other Meinongians, I argue that employing other possible worlds poses ontological problems and that existence is not a property of objects. Since we think of objects by means of only some, but not all, (...) of their properties, incomplete objects function as auxiliaries. Holmes can thus be both, detective and fictional character, while not existing. (shrink)

Modal fictionalists face a problem that arises due to their possible-world story being incomplete in the sense that certain relevant claims are neither true nor false according to it. It has recently been suggested that this incompleteness problem generalises to other brands of fictionalism, such as fictionalism about composite or mathematical objects. In this paper, I argue that these fictionalist positions are particularly threatened by a generalised incompleteness problem since they cannot emulate the modal fictionalists’ most attractive response. (...) I then defend mathematical and compositional fictionalism by showing that the reasons for which the incompleteness problem has been thought to affect them are mistaken. This leads to the question of whether there are other fictionalist positions to which the problem does in fact generalise. I give a general account of the features of a fictionalist position that generate the incompleteness problem and argue that whenever a fictionalist position does exemplify these features then the problem can be addressed in analogy to the modal fictionalists’ preferred response. (shrink)

The question of the cognitive role of fictionality is this: what is the correct cognitive attitude to take to p, when it is fictional that p? We began by considering one answer to this question, implicit in the work of Kendall Walton, that the correct response to a fictional proposition is to imagine that proposition. However, this approach is silent in cases of fictional incompleteness, where neither p nor its negation are fictional. We argue that (...) that Waltonians should embrace a pluralistic account of the cognitive role of fictional incompleteness: in some cases of fictional incompleteness, we are permitted to resolve the incompleteness during our engagement with the target fiction, and in other cases, we are obliged not to resolve the incompleteness. But though pluralism is accommodated by Walton’s wider account of fictionality, it puts tension on his motivating idea that fictionality stands to the imagination as truth stands to belief. And so we develop a rival conception of the cognitive role of fictionality that is built around a different analogy: on this evidentialist approach, (known) fictionality stands to the imagination as evidence stands to credence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thomas G. Pavel INCOMPLETE WORLDS, RITUAL EMOTIONS' IN recent years, the notion of "fictional world" has enjoyed a considerable rise in fortune. The expression, however, is not entirely new. To refer to the world of a literary work, of a novel or of a play, has always been a favorite way of speaking for literary critics and aestheticians. In most cases, these were informal worlds. A discussion of (...) the world of Balzac, Dostoyevsky, HenryJames, or Proust often amounts to a description of each author's preferences in die selection and rearrangement of his material. Such discussion primarily fits authors who purposefully attempt to build comprehensive representational artifacts. One speaks quite naturally about l'univers balzacien, or about the universe of Musil. But is one entitled to refer with equal ease to the world ofBenjamin Constant, meagerly perceptible in his Adolphe, a short novel built in the spirit of economy, displaying just a few characters and a minimum of worldly information? Perhaps density and comprehensiveness are not indispensable characteristics of literary worlds. Aestheticians and narratologists using the "fictional worlds" terminology seem to believe mat any kind of artistic text projects a world, be it rich or poor. Such worlds are imagined in the fashion of modern philosophy of logic as states of affairs, more or less comprehensive. Some writers believe that the states of affairs comprised in fictional worlds must be fairly sizable, since diey should include "not only what the author indicates, but also whatever is required (entailed) by that which he indicates." 1 The laws of nature which are not specifically contradicted by the text would belong to its world. Thus, a few notorious cases aside, there is no reason to doubt that every child born in fiction has been engendered by a human fadier as long as the text does not report an exception. And if it does? Then, assuming that the laws of logic still govern if not fiction itself at least our understanding of it, we may appeal to what "possible world" philosophers have called "small miracles." * Editor's note: This article, as well as the contributions by Gerald Prince, Peter van Inwagen, and Kendall Walton which follow it, grew out ofa symposium on "Styles ofFictionality," organized by Professor Pavel and held at Harvard University in 1981. The Fall, 1983 issue of PHILOSOPHY AND LITERATURE will contain additional papers presented at the symposium. 48 Thomas G. Pavel49 Imagine, for instance, the world in which Notre Dame de Paris would be covered with blue paint. While everything else would preserve the properties it possesses in the actual world, with the laws of nature and the caused chains maintained, a small local change, somewhat miraculous, would modify only the color of the venerable building. Similarly, the world of Balzac may be understood as the world of early and mid-nineteenth-century France, slightly modified by the addition of a few hundred imagined characters. That diese conform surprisingly well to the general laws of French society of the time is so much the goal of Balzac's successful project, that for the sociologically-minded reader die' actual nonexistence of Rastignac, Rubempré, Vautrin, or Birotteau may appear a mere accident. These characters, one may surmise, display every trait that actual counterparts of theirs would possess, except existence. Hence, why would Rastignac's or Vautrin's emergence in a world omerwise identical to nineteenth-century France amount to anydiing more than a "small miracle"? On the other hand, Balzac's world being blessed wim hundreds of such miracles, the very magnitude of the project vindicates the attribute of "visionary," ascribed to Balzac by Béguin, or, if metaphorically undercut, mat of"God the Father" given him by Thibaudet. For, would not such magnitude entail more than just local changes in an otherwise faithful representation of the "actual" nineteenthcentury France? Similarly, would we interpret a fictional world in which a child has been engendered not by a human father, but by a divinity, as identical in all respects to the actual world, except for the limited modification attributed to a small miracle? 2 If we grant for a moment the improbable assumption that nineteenth-century France was a given and that Balzac... (shrink)

What can we learn about the world from engaging with fictional time-series--stories involving time travellers, recurring and rewinding time, and foreknowledge of the future? Do they show us radical alternative possibilities concerning the nature of time, or do they show that even the impossible can be represented in fiction? Neither, so this book argues. Defending the view that a fiction represents a single possible world, the authors show how apparent representations of radically different time-series can be explained in terms (...) of how worlds are represented without there being any fictional world which has such a time-series. In this way, the book uses the complexities of fictional time to get to the core of the relation between truth in fiction and possibility. It provides a logic and metaphysics to deal with the fact that fictions can leave certain features of their fictional worlds indefinite, and draws comparisons and connections between fictional and scientific representations and hypotheses. (shrink)

The logic of fiction has been a stand-alone research programme only since the early 1970s.1 It is a fair question as to why in the first place fictional discourse would have drawn the interest of professional logicians. It is a question admitting of different answers. One is that, since fictional names are “empty”, fiction is a primary datum for any logician seeking a suitably comprehensive logic of denotation. Another answer arises from the so-called incompleteness problem, exemplified by (...) the fact (or apparent fact) that some fictional sentences – think of “Sherlock Holmes’ mother was nick-named ‘Polly’” − are neither true nor false. These are sentences to command the attention of logicians who work on non-bivalent logics. A further spur to logical engagement is the supposed fictionality of certain kinds of ideal models in science and certain classes of mathematical objects. No doubt, there are other features of fictional discourse that provide the logician with a natural entré, but perhaps it would also be correct to say that the fiction’s biggest draw for logicians is that our quite common beliefs about the fictional constitute what Nicholas Rescher calls “aporetic clusters”, so named after the Latinized Greek aporos for “impassable”.2 An aporetic cluster is a set of claims such that.. (shrink)

The modal fictionalist faces a problem due to the fact that her chosen story seems to be incomplete—certain things are neither fictionally true nor fictionally false. The significance of this problem is not localized to modal fictionalism, however, since many fictionalists will face it too. By examining how the fictionalist should analyze the notion of truth according to her story, and, in particular, the role that conditionals play for the fictionalist, I develop a novel and elegant solution to the (...) class='Hi'>incompleteness problem. (shrink)

Urmson is correct in holding that russell's use of "logical fiction" does usually involve ontological implications. But the issue is more complex than he seems to realize. Because russell's program of logical construction is revisionary, The question "are there really x's?" is ambiguous and can be taken as asking either: (a) are there x's as thought of pre-Analytically? or (b) are there x's as thought of post-Analytically? russell gives different answers in each case.

We introduce an epistemic version of validity and completeness of first order logic, based on the notions of ideal agent and fictional model. We then show how the perspective here considered may help to solve an epistemic puzzle arising from Gödel's second incompleteness theorem.

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.

It is widely agreed that more is true in a work of fiction than explicitly said. In addition to directly stipulated fictional content (explicit truth), inference and background assumptions give us implicit truths. However, this taxonomy of fictional truths overlooks an important class of fictional truth: those generated by literary formal features. Fictional works generate fictional content by both semantic and formal means, and content arising from formal features such as italics or font size are (...) neither explicit nor implicit: not explicit since formal features don’t say anything; and not implicit since content generated from formal features doesn’t rely on other truths or background assumptions. In addition to showing that our current classification is incomplete, the new class of fictional truths provides four further upshots for definitions of fictional truth, story and work identity conditions, and the relationship between literary interpretation and fictional truth. (shrink)

Why are we deeply moved by the misfortune of Anna Karenina if we are fully aware that she is simply a fictional character who does not exist in our world?But what does it mean that fictional characters do not exist? The present article is concerned with the ontology of fictional characters. The author concludes thatsuccessful fictional characters become paramount examples of the ‘real’ human condition because they live in an incomplete world what we have cognitive access (...) to but cannot influence in any way and where no deeds can be undone. Unlike all the other semiotic objects, which are culturally subject to revisions, and perhaps only similar to mathematical entities, the fictual characters will never change and will remain the actors of what they did once and forever. (shrink)

J. o. urmson's contention that russell held that 'to show that 'x' is an incomplete symbol is tantamount to showing that there are no x's' is shown to rest partly upon a misreading of "principia", pp. 71-72, where russell reveals what he means by a 'definite proof' that a symbol is incomplete, and partly upon a misunderstanding of russell's use of the expression 'logical fiction'.

There is a list of desiderata that any good metaphysics of fictional entities should be able to fulfill. These desiderata are: 1) the nonexistence of fictional entities; 2) the causal inefficacy of suchentities;3)the incompleteness of such entities;4)the created character of such entities; 5) the actual possession by ficta of the narrated properties; 6) the unrevisable ascription to ficta of such properties; and 7) the necessary possession by ficta of such properties. (Im)possibilist metaphysics uncontroversially satisfy 1) and 2); (...) Neo-Meinongian metaphysics satisfy 1), 2), 3), 5), 6), and 7); artefactualist or creationist metaphysics uncontroversially satisfy 1), 2), 3), and 4). Another metaphysics is needed in order to satisfy all such desiderata. In this chapter Idevelop such a metaphysics, claiming that a Syncretistic metaphysics that combines Neo-Meinongianism with Artefactualism achieves this purpose. According to Syncretism, ficta are hybrid entities individuated in terms of both a certain makebelieve narrative process and the set of properties that one such narration mobilizes. Toward the end of the chapter I consider some possible criticisms to this approach: its non-intuitiveness; ficta’s unnecessary proliferation; and troubles with creationism of any sort. (shrink)

Video games fictions are interactive: some of the content is set by the game designer and some is set by the player. However, philosophers disagree over how this interaction is reflected within the fictional content of video games. First, I will show that games and playthroughs are two distinct works of fiction with their associated fictional content. Second, I argue that players engage with both fictional works when playing a video game. They imagine the fictional truths (...) associated with the game and those associated with their playthrough. Thus, I defend what I will call a Dual-Work View of our engagement with video game fictions. To do so, I show that games have accessible fictional content, that games are distinctively incomplete fictions, and that players engage with this distinctive incompleteness. My goal is to offer a clear account of the fictional content of video games. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

This dissertation presents an account of fictional discourse which is teleological. According to it, questions about what is said in fiction and how it ought to be said are answerable in terms of the goals and methods belonging specifically to fiction-making as a practice. Viewed in such a way, it is argued that the incompleteness of fictional discourse and its apparent tolerance of inconsistency are distinctive of it. Moreover, it is argued that there is a sense in (...) which one can produce true statements in fiction without thereby committing one self to the thesis that words made use of in fiction are endowed with reference. Throughout the dissertation, the view espoused in it is contrasted with rival positions on the issues of what fiction is about, and whether it can be true. It is argued that a teleological account of fictional discourse can present a coherent alternative to these. (shrink)

Our purpose has been to illuminate questions surrounding the use of literature in medical education, and to propose criteria for selecting literature which is more likely to evoke readers to reflect on their personal and professional selves. We have suggested that literature promoting vicariousness and vulnerability may validate readers' questions, insecurities, and beliefs insofar as readers are willing to engage with the text cognitively and phenomenologically. This we call reader responsibility. Crucial to nurturing this responsibility are medical educators 2- ducators (...) in any context, for that matter – who are vulnerable themselves, who puzzle outloud, who admit their own incompleteness. Together as learners, teachers and students may come to realize that it is, in the end, the artist whopresses upon our minds the deepest mysteries, so we may feel again their majesty and power... seizes our lives, and which reveals us startlingly to ourselves as creatures set down here bewildered. (shrink)

The invention of computer simulations used for practicing surgical maneuvers in a video game-like format has an ancestry in the artificial limbs of history and is reflected, grotesquely, in Edgar Allan Poe’s short story, “The Man That Was Used Up” (1850). The nineteenth century worked to ensure that the incomplete body did indeed retain a sense of self by creating prostheses to mimic corporeal wholeness. Our present-day technology seems intent on doing precisely the opposite, deliberately fragmenting the body and challenging (...) our understanding of the body and the prosthetic. (shrink)

Scientific models share one central characteristic with fiction: their relation to the physical world is ambiguous. It is often unclear whether an element in a model represents something in the world or presents an artifact of model building. Fiction, too, can resemble our world to varying degrees. However, we assign a different epistemic function to scientific representations. As artifacts of human activity, how are scientific representations allowing us to make inferences about real phenomena? In reply to this concern, philosophers of (...) science have started analyzing scientific representations in terms of fictionalization strategies. Many arguments center on a dyadic relation between the model and its target system, focusing on structural resemblances and “as if” scenarios. This chapter provides a different approach. It looks more closely at model building to analyze the interpretative strategies dealing with the representational limits of models. How do we interpret ambiguous elements in models? Moreover, how do we determine the validity of model-based inferences to information that is not an explicit part of a representational structure? I argue that the problem of ambiguous inference emerges from two features of representations, namely their hybridity and incompleteness. To distinguish between fictional and non-fictional elements in scientific models my suggestion is to look at the integrative strategies that link a particular model to other methods in an ongoing research context. To exemplify this idea, I examine protein modeling through X-ray crystallography as a pivotal method in biochemistry. (shrink)

Montaigne’s “Of friendship” is often read as a celebration of his relationship with his late friend, Étienne La Boétie. This is not wrong, but rather, incomplete. Drawing on the chapters of Montaigne’s Essays that immediately follow “Of friendship,” this essay argues that Montaigne’s chapter on friendship is part of a larger project in which he employs philosophical fictions—specifically, his “perfect friendship” with La Boétie and the “perfect society” that he depicts in “Of cannibals”—to reorient us in our relationships not only (...) with our friends, but also with our enemies. (shrink)

This paper discusses the nature of, problems for, and benefits delivered by fictionalist strategies in metaphysics.

The aim of this paper is to apply Meinong’s theory of signs to an analysis of literary texts. The focus lies on words and sentences which, according to Meinong, expressing fantasy experiences when they occur in literary texts. He distinguishes between “serious-like” and “shadow-like” fantasy experiences. The former can be detached from their fictional context, i.e., they are also understandable in other contexts. The latter, instead, are dependent on their fictional contexts. This implies that shadow-like fantasy experiences are (...) less specific than serious-like ones. The objects presented by these experiences are the meanings of the signs involved. The definiteness of the experience is related to the completeness of the object; consequently, objects involved in shadow-like experiences are incomplete. In addition to be incomplete, fictional objects can be defined as non-existent objects of higher order, which come into the world through linguistic expression and are tied to the context(s) in which the fantasy has placed them. (shrink)

Metaphysics, Mathematics, and Meaning brings together Nathan Salmon's influential papers on topics in the metaphysics of existence, non-existence, and fiction; modality and its logic; strict identity, including personal identity; numbers and numerical quantifiers; the philosophical significance of Godel's Incompleteness theorems; and semantic content and designation. Including a previously unpublished essay and a helpful new introduction to orient the reader, the volume offers rich and varied sustenance for philosophers and logicians.

From text to action -- Park fiction, ala plastica, and dialogue -- The risk of diversity -- Programmatic multiplicity -- Art theory and the post-structuralist canon -- Lessons in futility -- Enclosure acts -- The twelfth seat and the mirrored ceiling -- The atelier as workshop -- Labor, praxis, and representation -- The divided and incomplete subject of yesterday -- Memories of development -- The limits of ethical capitalism -- The art of the locality -- Blindness and insight -- The (...) invention of the public -- The boulevards of the inner city -- Park fiction : desire, resistance, and complicity -- A culture of needles : project row houses in Houston. (shrink)

Verbal narratives provide incomplete information and can be very long, yet readers and hearers often effortlessly fill in the gaps and make connections across long stretches of text, sometimes even finding this immersive. How is this done? In the last few decades, event-indexing situation modeling and complementary accounts of narrative emotion have suggested answers. Despite this progress, comparisons between real-life perception and narrative experience might underplay the way narrative processing modifies our world model, as well as the role of the (...) emotions that do not relate to characters. I reframe narrative experience in predictive processing and neural networks, capturing continuity between fiction, perception, and states like dreaming and imagination, enabled by the flexible instantiation of concepts. In this framework, narrative experience is more clearly revealed as a creative experience that can share some of the phenomenology of dreams. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LinajeQuan Zhou WuWith “Linaje,” I wanted to explore the fine line between fiction and lies. Fantasy.I attended a workshop on embuste flamenco with artist Mateo Chica in Villanueva del Rosario. Mateo said that embuste is art, “that lie associated with oral flamenco, which is transmitted with a sort of distraction from real time, to be able to immerse oneself in a fun fiction, that leads to another possible place.”Mateo (...) explained to us that there are embustes that endure over time, like the mythical phrase about Lola Flores, “she neither sings nor dances but don’t miss her” from the New York Times that was never actually published, but immensely helped her in her career.“Linaje” is a work that respects orality, the one that happened, and the one that never was. The stories lost for being lost in translation. The stories misunderstood due to our language barriers, and those we collected incompletely due to language interferences. Where, thanks to different artificial intelligences like Stable Diffusion, Dall-E, and Chat-GPT, it has been possible to create that “almost real” universe, perceptible and concrete.But above all, “Linaje” is a question:Where will our memories remain?Once my contract with the web server ends, once my hard drive rusts, my space in the cloud expires, where will this story remain?Who will pick up the pieces of us, those of us who walk as secondary stories in this Western world?What is truth? What is a lie?In this piece, perhaps that does not matter. [End Page 7]Email: [email protected] © 2023 Cornell University... (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

This article compares the theory of Meinongian objects proposed by Edward Zalta with a theory of fiction formulated within an early Russellian framework. The Russellian framework is the second-order intensional logic proposed by Nino B. Cocchiarelly as a reconstruction of the form of Logicism Russell was examining shortly after writing The Principles of Mathematics. A Russellian theory of denoting concepts is developed in this intensional logic and applied as a theory of the "objects' of fiction. The framework retains the Orthodox (...) early Russellian ontology of existents, possible non-existents, and properties and relations in intension. This avoids the assumption, found in Meinongian theories, of impossible and incomplete objects. It also obviates the need to preserve consistency by distinguishing a new "mode of predication", or a "distinction in kinds of predicates". Thus, it is argued that an early Russellian theory forms a powerful rival to a Meinongian theory of objects. (shrink)

This article compares the theory of Meinongian objects proposed by Edward Zalta with a theory of fiction formulated within an early Russellian framework. The Russellian framework is the second-order intensional logic proposed by Nino B. Cocchiarelly as a reconstruction of the form of Logicism Russell was examining shortly after writing The Principles of Mathematics. A Russellian theory of denoting concepts is developed in this intensional logic and applied as a theory of the "objects' of fiction. The framework retains the Orthodox (...) early Russellian ontology of existents, possible non-existents, and properties and relations in intension. This avoids the assumption, found in Meinongian theories, of impossible and incomplete objects. It also obviates the need to preserve consistency by distinguishing a new "mode of predication", or a "distinction in kinds of predicates". Thus, it is argued that an early Russellian theory forms a powerful rival to a Meinongian theory of objects. (shrink)

Stories express hypotheses, interpretations of the world that have a certain degree of probability. To demonstrate this thesis I have adopted the notion of hypothesis, in a sense very close to the Meinongian concept of assumption, and a ‘metric’ conception of the values of the truth or falsity of a proposition – as that has been proposed in several ways by Peirce, Vasil’ev and Meinong. To show the the cognitive value of literary texts, and therefore their truth value, I take (...) my move from chapter 9 of Aristotle’s Poetics, where he holds that poetry is imitative of reality, not in the sense of history – which relates what has happened – but rather, in so far as it expresses “the kinds of things that might happen, that is, that could happen because they are either probable or necessary.” The probable admits variations of degree. By means of an examination of the Meinongian concepts of assumption and objective (i.e. state of affairs), which also allow different modes of gradation, I introduce, with examples drawn from Dante’s Divine Comedy and The Description (Tradimento) by Machiavelli, a theory of degrees of truth that makes it possible to apply the concept of probability to literary as well as to historical texts. Finally, I connect the universal character of the literary text with the ontological notion of incomplete object and argue that a fictional object, as it is incomplete, is not an individual but a type. (shrink)

Vico no sólo reabre en la modernidad la contienda por la verdad, sino que emerge de nuevo en el discurso actual de la posmodernidad recordándonos la muerte del precario concepto insular del hombre centrado en la razón científica, de una racionalidad incompleta. Existe una deuda de la modernidad hacia la epistemología genética y la hermenéutica de la Scienza Nuova: que considera la poesia un modo de acceso a la verdad y aprecia en las ficciones poéticas el caracter de verdades. Esta (...) cuestión resulta determinante para apreciar la polérnica abierta entre modernidad y posmodernidad centrada en un replanteamiento dilucidador de la razón. En la búsqueda de una fundarnentación de la razón desde ella misma, la razón poética abre nuevas perspectivas y reconocidas posibilidades.Vico does not only reopen in the Modernity the dispute for the truth, but emerges again in today's discourse of the Postmodernism, reminding us of the dearth of the precarious insular concept of man centered in the scientific reason, of an incomplete rationality. There is a debt of Modernity towards the genetic epistemology and the hermeneutic of the New science that considers poetry a way of access to the truth and recognizes in poetical fictions the nature of truths. This subject becomes decisive to appreciate the open controversy betwen Modernity and Postmodernism, centered in an explanatory restatement of the reason. In the search of a foundation of the reason from itself the poetical reason opens new perspectlves and acknowledged possibilities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Influence of Anxiety and Literature's Panglossian NoseMichael AustinIScheherazade may be the protagonist of The Thousand and One Nights, but her stories are the heroes. Her audience for these stories consists only of her sister and her husband, the great sultan Shahryar, who three years earlier had vowed to avenge his wife's infidelity by marrying a new woman each night and executing her the following morning. With the supply (...) of virgins in the kingdom running short, Scheherazade forces her father, the royal vizier, to allow her to marry the Sultan, assuring him that she has a plan to end his bloody practice. Her plan is simple: every night, Scheherazade tells Shahryar a piece of a story. Many of these stories are overtly didactic, and some are even thinly veiled allegories of Shahryar's own situation, but Scheherazade aims to do more than simply rehabilitate the sultan with pedagogically sound morality tales. She weaves her stories together, often using multiple frames and levels of embedded narrative, to make sure that the night always ends in the middle of at least one story, and, each morning, the Sultan postpones his sentence of death one day so he can hear the conclusion.Scheherazade's gambit succeeds—with the Sultan and with readers everywhere—because it taps into a very deep human need for literature, which, broadly defined, includes folk tales, songs, oral epics, and other forms of narrative expression. Stories have been a source of pleasure for human beings for a long time—much longer than there have been writing systems to record them. And, during all this time, as Paul Hernadi writes, "the pleasure of succumbing to literary seduction has long served as a psychological reward for what was once and perhaps still is [End Page 215] a biologically advantageous thing to do."1 Scheherazade's stories give Shahryar pleasure—more pleasure, arguably, than the sexual encounters that precede them. In more than a thousand marriages (assuming three full years since he began the practice), sexual pleasure never entices the sultan to suspend his vow. With an entire kingdom full of potential wives, of course, he need never fear an end to such pleasures. The pool of wives who can bring the pleasure of narrative to the marriage bed is much smaller indeed.But pleasure alone cannot explain Scheherazade's success; if it could, she would not have to end each night in the middle of a story. By doing so, she combines the pleasure of narrative with the anxiety of incompleteness. Scheherazade's cliffhangers work on Shahryar for the same reason that they work on us today: we expect to find out what happens in a story, and we experience anxiety when this expectation is frustrated. This anxiety is just as deeply rooted in biology and natural selection as the "pleasure of succumbing to literary seduction." Most of the things that produce great anxiety in people—such as snakes, spiders, fire, high places, large bodies of water, contaminated surfaces, and unknown social situations—constitute very real threats to our survival. Anxiety is nature's way of telling us to pay extra attention around potentially dangerous things or to take steps to avoid such things whenever possible. Pleasure and anxiety work hand in hand, as carrot and stick, to encourage, or discourage, the same fitness-enhancing behaviors. Eating when we are hungry gives us pleasure; wondering where our next meal is coming from gives us anxiety.The pleasure and anxiety that we experience in literature are neurologically indistinguishable from the same responses that we experience in the life-or-death situations for which they were designed. According to John Tooby and Leda Cosmides, "fictional worlds engage emotion systems while disengaging action systems.... An absorbing series of fictional events will draw out of our mental mechanisms a rich array of emotional responses—the same responses that would be appropriate to those same events and persons if they were real."2 The ability to respond in this way appears to be unique to human beings, but it also appears to be a universal element of human nature. People everywhere tell and respond to stories, and many people devote considerable... (shrink)

In Meinong’s object theory there is, alongside a classificatory aspect, one having to do with degrees, increase and variation. This other aspect comes out of Meinong’s intention of extending his object theory’s aprioristic method to the empirical world. The forms of ‘more’ and ‘less’ concerning psychical experiences are first investigated; they consist in degrees of certainty of judgment and of shadiness (Schattenhaftigkeit) and seriousness (Ernstartigkeit) of imaginary representations and assumptions. Secondly, forms of variability regarding objects are shown, specifically the (...) class='Hi'>incompleteness (Unvollständigkeit) of the objects of representations and the subfactuality (Untertatsächlichkeit) of the objectives, i.e., the objects of judgments and assumptions. There is a correspondence between such variability in objects and a variability in psychical experiences. Finally, an application of such concepts to fictional objects is proposed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:William James, A Pluralistic Universe. A New Philosophical ReadingRichard A. S. Hall William James, A Pluralistic Universe. A New Philosophical Reading. Ed. H. G. Callaway. Newcastle, U.K.: Cambridge Scholars Publishing, 2008.In 1907 William James was invited to give the Hibbert Lectures at Manchester College, Oxford. Initially he was reluctant to do so since he feared undertaking them would divert him from developing rigorously and systematically some metaphysical ideas (...) of his own that had preoccupied him for some time. [End Page 130]In the end, however, he relented and in the spring of 1908 gave the lectures which were subsequently published as A Pluralistic Universe.As it happened, though, in the course of these lectures James presented some of those metaphysical ideas, though in a popular and informal style appropriate to lecturing. Later on he did get down to working out a systematic metaphysics in proper academic style, but the project was cut short by his untimely death in 1910. The incomplete Some Problems of Philosophy,posthumously published in 1911, recapitulates some major themes of A Pluralistic Universe.When James addressed his Oxford audience, the time was ripe for the advancement of his own brand of metaphysical pluralism and radical empiricism in opposition to the still-regnant forms of monistic idealism as represented by Bradley, Green, and Royce. The hegemony in the philosophical world long enjoyed by idealism was beginning to break up—something noted by James in his first lecture—due in no small part to the very ideas aired in his lectures and the then newly emerging schools of pragmatism and realism. The period between 1914 and 1918 not only rings the death knell of European imperialism but also, significantly, marks the watershed between nineteenth-and twentieth-century philosophy.The argument of A Pluralistic Universerevolves around the Parmenidean conundrum of the one-and-the-many. It is the solution to this problem that was the main bone of contention between James and absolute idealists like F. H. Bradley, T. H. Green, and Josiah Royce. For them, the world in reality is but one thing, though appearing illusorily as many, with a pervasive unity throughout—it is a "block-universe," to use James's expression for it; for James, by contrast, the world is irreducibly many things whose unities are partial and shifting. The gravamen of James's objections to absolute idealism was its monism, though he objected no less strenuously to other ideas associated with it: its doctrine of internal relations; its determinism; and, in particular, its deprecation of experience in favor of concepts (what James condemns as "vicious intellectualism"). James proposed, against this monolithic idealism, the alternative hypothesis of metaphysical pluralism. Here he affirmed the reality of external relations (particularly conjunctions) among things and the continuities within experience, thereby making his empiricism "radical." He approached experience phenomenologically, finding it, not concepts, to be constitutive of reality, the value of concepts being more practical than theoretical. He conceived of the universe as being open-ended, where human agency can make a difference for the better.A subtext of A Pluralistic Universeis James's advocacy of something like [End Page 131]traditional theism in contradistinction to the pantheism of absolute idealism. He rightly notes that the Absolute is not the God of Christianity. He believes that his pluralistic ontology allows for, and the religious experiences of people abundantly attest to, the existence of a personal God, albeit a finite one, with whom communion and commerce is possible. At a deeper, psychological level, though, A Pluralistic Universeis an expression of James's own desire to feel "at home" in the universe, a desire, I should add, that he shares with many protagonists of classic American fiction, and which is perhaps intensified by the experience of inhabiting and accommodating one's self to the relatively unfamiliar New World. He complains about the "foreignness" of the Absolute in objective idealism and of that sovereign God, in traditional theisms, subsisting beyond all human influence or effects.Howard Callaway's recent edition of James's Hibbert Lectures joins the Harvard edition of them, with a foreword by Richard J. Bernstein, as an indispensable volume of James's... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Identifying (with) the Queerness of Melville’s PierreNeill Matheson (bio)James Creech. Closet Writing/Gay Reading: The Case of Melville’s Pierre. Chicago: U of Chicago P, 1993.James Creech’s Closet Writing/Gay Reading is a remarkable book in several ways. First, it offers a significantly new interpretation of Melville’s enigmatic novel Pierre; or, The Ambiguities (1852), which has increasingly been viewed as marking a crucial turning point in Melville’s career, gaining the status of (...) a major if equivocal work of nineteenth-century American fiction. Creech’s reading of Pierre adds much to previous work on homosexuality in Melville’s writings, making an important contribution to the history of Melville criticism. Supported by a shrewd, detailed analysis of the novel, and some surprising extratextual evidence, he argues compellingly that Pierre is preoccupied with the closeting of gay identity and with the tenuous possibilities for homosexual self-expression in a repressively heterosexual culture. Nevertheless, as its subtitle suggests, Pierre is a work that advertises its own ambiguity with a high degree of ironic self-awareness. Creech’s claims about it, made with a certain bravado, though accompanied by many hesitations and caveats, seem at times to diminish the complexity with which the novel itself explores the problem of identity.In addition to its interest as a reading of Pierre, Closet Writing/Gay Reading also represents a provocative statement within the wider context of critical and theoretical work on homosexuality, staking out a position that resists both the problematizing of identity performed by queer theory and the historicizing aims of much recent gay studies work. Creech elaborates the notion of “identificatory” or “camp reading” with great self-consciousness about its place in the critical landscape, so that it is as much a reaction to various theoretical positions as a stance in its own right. It is the combination of this critical hyperawareness, as if continually looking over one’s shoulder, and a kind of willed innocence with respect to interpretive problems that is most extraordinary, and it is worth exploring further.If one of the book’s aims is to add to a theory of the closet, it is also concerned with describing a poststructuralist theory that is in complicity with the suppression or emptying-out of homosexual meaning. Creech’s argument that deconstruction in particular has been blind to homosexual content contains in its margins a personal narrative of his own emergence from a theory closet. One of the strategies of Creech’s reading is to make his coming-out story converge with the one that he attributes to Pierre: his unambiguous claim for Pierre’s gay identity is simultaneously an avowal of a critical approach no longer in conflict with his own sexual identity. He alludes to his early and lingering attraction to deconstruction, the subsequent discovery that its influence, inhibiting unequivocal identity claims, prevented him from affirming his sexuality, and his tentative, incomplete, but increasingly assured rejection of that influence. Creech [End Page 30] asserts more than once that an analysis of Pierre’s impossible mourning would be valuable, but the story of his own critical history begins to sound like an account of the identifications, losses, and self-reproaches typical of melancholia. In this light Closet Writing/Gay Reading is interesting not because it is itself representative of recent gay criticism, but because it is a highly original, idiosyncratic, and suggestive response to a representative set of critical pressures surrounding the problem of identity.The central methodological claim of Closet Writing/Gay Reading is that identification is the form of reader response necessary to bring closeted homosexual meaning to light. Creech argues that the task of gay literary criticism is to counter the reductiveness of traditional, straight criticism by “putting homosexuality back in its rightful place, reimagining the text from which it has been censored, within which it has only been allowed an encrypted and ciphered status, or out of which it has been abstracted” [29]. Gay literary criticism faces the interpretive problem of recovering homosexual meaning that may have become nearly invisible through the combined effects of the restrictive cultural imperatives under which the author was writing and the reductiveness of later criticism... (shrink)

This essay presents a personal remembering of Rudolf Haller and deals with his interpretation and evaluation of Meinong’s theory of impossible and incomplete objects in order to better understand the objects of fiction and imagination.