This paper explores the view that there are such things as (nonexistent) fictional objects, and that we refer to such objects when we say things like "Sherlock Holmes is a fictional detective", or "Conan Doyle wrote about Sherlock Holmes". A theory of such objects is developed as a special application of a Meinongian Ontology.

This paper explores the view that there are such things as (nonexistent) fictional objects, and that we refer to such objects when we say things like "Sherlock Holmes is a fictional detective", or "Conan Doyle wrote about Sherlock Holmes". A theory of such objects is developed as a special application of a Meinongian Ontology.

I advance an objection to Graham Priest’s account of fictional entities as nonexistent objects. According to Priest, fictional characters do not have, in our world, the properties they are represented as having; for example, the property of being a bank clerk is possessed by Joseph K. not in our world but in other worlds. Priest claims that, in this way, his theory can include an unrestricted principle of characterization for objects. Now, some representational properties attributed to (...) fictional characters, a kind of fictional entities, involve a crucial reference to the world in which they are supposed to be instantiated. I argue that these representational properties are problematic for Priest’s theory and that he cannot accept an unrestricted version of the principle of characterization. Thus, while not refuting Priest’s theory, I show that it is no better off than other Meinongian theories. (shrink)

Eleven original essays discuss a range of puzzling philosophical questions about fictional characters, and more generally about fictional objects. For example, they ask questions like the following: Do they really exist? What would fictional objects be like if they existed? Do they exist eternally? Are they created? Who by? When and how? Can they be destroyed? If so, how? Are they abstract or concrete? Are they actual? Are they complete objects? Are they possible (...) class='Hi'>objects? How many fictional objects are there? What are their identity conditions? What kinds of attitudes can we have towards them? This volume will be a landmark in the philosophical debate about fictional objects, and will influence higher-level debates within metaphysics, the philosophy of mind, and the philosophy of language. (shrink)

A recent version of the mental file framework argues that the antirealist theory of fictional objects can be reconciled with the claim that fictional utterances involving character names express propositions that are true in the real world. This hybrid view rests on the following three claims: character names lack referents but express a mode of presentation, fictional utterances introduce oblique contexts where character names refer to their modes of presentation, and modes of presentation are mental files. (...) In this critical paper, I will argue that the proposed view runs into a number of theory-internal problems. These problems arise partly from the unclarities inherent in the notion of mental file, and partly from a mistaken semantics for character names. I will also argue that adherents of fictional realism can make use of the notion of mental file without encountering similar difficulties. (shrink)

Things that don't exist -- Fictional object nominalism -- Fictional object realism -- Meinongianism -- God's existence and nonexistence -- Contingency and nonexistence -- Perfection and divine existence -- Nonexistence and creatures -- Ex nihilo and nonexistence -- Infinite existence and countless nonexistents -- Providence and freedom -- Nonexistents and middle knowledge -- Evil as nonexistence.

ABSTRACTI propose a different account of fictional objects from the ones already present in the literature. According to my account, fictional objects are culturally created abstract objects dependent for their existence on the pretence attitude adopted by a group of people towards a single fictional content. My work is divided into three parts: in the first one, I present how fictional objects come into existence according to my proposal; in the second part, (...) I illustrate how the existence of fictional objects so conceived may be ontically indeterminate; in the last part, I consider what happens when vague existence and indeterminate identity are claimed within fictional texts. (shrink)

Drawing on different suggestions from the literature, we outline a unified metaphysical framework, labeled as Modal Meinongian Metaphysics (MMM), combining Meinongian themes with a non-standard modal ontology. The MMM approach is based on (1) a comprehension principle (CP) for objects in unrestricted, but qualified form, and (2) the employment of an ontology of impossible worlds, besides possible ones. In §§1–2, we introduce the classical Meinongian metaphysics and consider two famous Russellian criticisms, namely (a) the charge of inconsistency and (b) (...) the claim that naïve Meinongianism allows one to prove that anything exists. In §3, we have impossible worlds enter the stage and provide independent justification for their use. In §4, we introduce our revised comprehension principle: our CP has no restriction on the (sets of) properties that can characterize objects, but parameterizes them to worlds, therefore having modality explicitly built into it. In §5, we propose an application of the MMM apparatus to fictional objects and defend the naturalness of our treatment against alternative approaches. Finally, in §6, we consider David Lewis’ notorious objection to impossibilia, and provide a reply to it by resorting to an ersatz account of worlds. (shrink)

ABSTRACTAssuming there are fictional objects, what sorts of properties do they have? Intuitively, most of their properties involve being represented—appearing in works of fiction, being depicted as clever, being portrayed by actors, being admired or feared, and so on. But several philosophers, including Saul Kripke, Peter van Inwagen, Kendall Walton, and Amie Thomasson, argue that even if there are fictional objects, they are not really represented in some or all of these cases. I reconstruct four kinds (...) of arguments for this unexpected conclusion; they concern the semantics of names, pragmatic force, creation, and representations’ qualitative content. But I find all the arguments flawed. I then argue for the contrary, employing a new perspective: representation of fictional objects begins with the works of fiction that originate them. A work of fiction represents its “native” objects because our culture bestows that property on it. I sketch conditions for such property bestowal and argue that they are satisfied in this case. (shrink)

The dissertation explores certain puzzles about fiction and existence. Some historical discussion of Brentano, Meinong and Russell sets the stage for an extended account of three neo-Meinongian semantic theories: those of Terence Parsons, Richard Routley , and Edward Zalta. It is argued that these authors rely on a false understanding of fiction. A distinction between setting out linguistic precedents in storytelling and following such precedents helps allow for the notion of being true in a story. However, fictional truth is (...) not a special case of truth nor is there any set of objects called 'fictional objects'. (shrink)

In this paper, I distinguish scientific models in three kinds on the basis of their ontological status—material models, mathematical models and fictional models, and develop and defend an account of fictional models as fictional objects—i.e. abstract objects that stand for possible concrete objects.

Problems concerning identity in possible worlds and the view that proper names are rigid designators pose no threat to the doctrine that names of fictional characters (fictional names) are referential. Some philosophers, notably Saul Kripke and David Kaplan, have held otherwise; but a close examination of their arguments discovers fatal flaws in them. Furthermore, the most readily available proposals for the alternative functions of fictional names — that is, proposals in which fictional names are not referential (...) — are open to objections of a principled kind. This raises serious doubts that any such alternative could work. (shrink)

Problems concerning identity in possible worlds and the view that proper names are rigid designators pose no threat to the doctrine that names of fictional characters (fictional names) are referential. Some philosophers, notably Saul Kripke and David Kaplan, have held otherwise; but a close examination of their arguments discovers fatal flaws in them. Furthermore, the most readily available proposals for the alternative functions of fictional names — that is, proposals in which fictional names are not referential (...) — are open to objections of a principled kind. This raises serious doubts that any such alternative could work. (shrink)

Beatrice. Jane Tennison. Elizabeth Bennett. Arya Stark. Katniss Everdeen. None of them is real. All of them appear not only to engage our interest but also to move us. Some of them might even be thought to affect us further—to inspire us to do things, or at least to regard things in a different light. The set of problems typically grouped under the designation “paradox of fiction” raises questions about an apparent contradiction, about our responding emotionally to entities and events (...) in the existence of which we do not believe. The kind of ontological incorrectness to which the paradox draws attention can be directly and indirectly related to a number of interesting explanations and corollary claims about our.. (shrink)

Charles Crittenden here offers an original solution to one of the traditional dilemmas of philosophy—whether there can be any thing not existing, since to say that some thing does not exist seems to presuppose its existence. Drawing on the tools of Wittgensteinian philosophy and speech act theory, Crittenden argues that we can and often do make reference to unreal objects such as fictional characters, though they do not exist in any sense at all.

Many who think that some abstracta are artefacts are fictional creationists, asserting that fictional characters are brought about by our activities. Kripke (1973), Salmon (1998, 2002), and Braun (2005) further embrace mythical creationism, claiming that certain entities that figure in false theories, such as phlogiston or Vulcan, are likewise abstracta produced by our intentional activities. I here argue that one may not reasonably take the metaphysical route travelled by the mythical creationist. Even if one holds that fictional (...) characters are artefact one ought not further hold that mythical objects are, too. (shrink)

There has recently been considerable interest in accounts of fiction which treat fictional characters as abstract objects. In this paper I argue against this view. More precisely I argue that such accounts are unable to accommodate our intuitions that fictional negative existentials such as “Raskolnikov doesn’t exist” are true. I offer a general argument to this effect and then consider, but reject, some of the accounts of fictional negative existentials offered by abstract object theorists. I then (...) note that some of the sort of data invoked by the abstract object theorist in fact cuts against her position. I concludle that we should not regard fictional characters as abstract objects but rather should adopt a make-believe theoretic account of fictional characters along the lines of those developed by Ken Walton and others. (shrink)

I argue that Reid adopts a form of Meinongianism about fictional objects because of, not in spite of, his common sense philosophy. According to 'the way of ideas', thoughts take representational states as their immediate intentional objects. In contrast, Reid endorses a direct theory of conception and a heady thesis of first-person privileged access to the contents of our thoughts. He claims that thoughts about centaurs are thoughts of non-existent objects, not thoughts about mental intermediaries, adverbial (...) states or general concepts. In part this is because of the common sense semantics he adopts for fictional-object terms. I show that it is reasonable for Reid to endorse Meinongianism, given his epistemological priorities, for he took the way of ideas to imply that his view about first-person privileged access to our mental contents was false. (shrink)

An account of non-existing objects called 'classical possibilism', according to which objects that don't actually exist do exist in various other ways, is implemented in a two-dimensional modal logic with non-traditional predication theory. This account is very similar to Priest's, but preserves bivalence and does not endorse dialethism. The power of classical possibilism is illustrated by giving some examples that makes use of a description theory of reference. However, the same effect could also be achieved in a more (...) Millian fashion. It is argued that classical possibilism is ontologically more neutral than is commonly thought, because it allows for the formulation of various forms of reductionism within the object language. (shrink)

In this paper, I criticize Mark Sainsbury's proposal concerning the semantic analysis of fictional discourse, as it has been put forward in chapter 6 of his Reference without Referents. His main thesis is that fictional names do not refer, and hence statements containing them are genuinely false and must be interpreted in terms of true paraphrases, arrived at on a case-by-case basis. In my opinion, the proposal has a problem derived from the fact that the relation between some (...) problematic examples -"Holmes is a detective", "Tony Blair admires Holmes"- and their suggested paraphrases needs to be clarified and further elaborated. /// En este artículo analizo críticamente el análisis semántico de los enunciados que contienen nombres de ficción propuesto por Mark Sainsbury en el capítulo 6 de su libro Reference without Referents. Su tesis principal es que los nombres de ficción carecen de referentes y, por lo tanto, los enunciados que los contienen son estrictamente falsos y deben ser interpretados en términos de ciertas paráfrasis. En mi opinión, la propuesta tiene el problema de que la relación entre ejemplos problemáticos de tales enunciados, como "Holmes es detective" o "Tony Blair admira a Holmes", y las paráfrasis ofrecidas requiere mayor desarrollo y fundamentación. (shrink)

I defend and clarify my arguments in "Real Representation of Fictional Objects" in response to criticisms from Joseph Sartorelli. In particular, I clarify why Kripke's notion of "levels of language" and a pragmatic principle suggested by van Inwagen do not support the view that works of fiction generate fictional objects but do not represent them.

1. Phenomenology is first and foremost about intentionality. As Husserl puts it, “Intentionality is the name of the problem encompassed by the whole of phenomenology”.1 Broadly understood, the phen...

Suppose that fictional objects are abstract objects dependent for their existence and their identity on the creative intentions of their authors. Is an author who intends to create indeterminately identical fictional objects committed to incoherent created objects? My claim is that she is not so committed. I argue that indeterminate identity is an ambiguous notion, allowing for an incoherent interpretation and for at least three coherent ones; and I show that if an author of (...) fiction applies coherent indeterminate identity when creating fictional objects, she succeeds in creating coherent objects, whereas she fails to create fictional objects when she tries to apply incoherent indeterminate identity in her creation. In so doing, I offer a reply to a challenge first raised by Everett against realist philosophers on fictional objects and more recently reproposed by Friedell, allowing for the creation of fictional objects along the lines proposed by Evnine. (shrink)

Meaningful places -- Fictional objects -- Migrant objects -- Multicultural and transcultural objects -- Objects as props -- Conclusion.

My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract artifact, then (...) the “inadvertent creation” element turns out to be inescapable yet theoretically unattractive. Based on considerations about actually existing concrete objects featured in fictional works (as Napoleon is in Tolstoy’s War and Peace), I argue that independently of one’s stand on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the challenge at hand; yet this very point serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome as Goodman suggests. Indeed, the inadvertent creation phenomenon’s generality extends far beyond objects of fiction and myth, and I will use this observation to counter a further objection. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. (shrink)

The text elaborates on the relations of objectivity and materiality fiction and those of virtuality produced by new media and digital technologies. It presents and elaborates a critique of the two most relevant debates in contemporary philosophy and theory, the relation of materialism to what is termed the “new materialism,” which is proposed as a substitute for what in the modernist era formed the relation between objectivity, materialism and realism, and then proceeds to expose the difference between thanatopolitics and necropolitics.

'Sound Effects' collects original articles on English and American prose fiction which analyse vocal phenomena by using the psychoanalytic concept of the object voice - introduced by J. Lacan and theorised by M. Dolar - as their interpretative tool.

Virtual objects, such as online shops, the elements that go to make up virtual life in computer games, virtual maps, e-books, avatars, cryptocurrencies, chatbots, holograms, etc., are a phenomenon we now encounter at every turn: they have become a part of our life and our world. Philosophers—and ontologists in particular—have sought to answer the question of what, exactly, they are. They fall into two camps: some, pointing to the chimerical character of virtuality, hold that virtual objects are like (...) dreams, illusions and fictions, while others, citing the real impact of virtuality on our world, take them to be real—an actual part of the real world, just like other real objects. In this article, we defend the thesis that both sides are wrong. Using Roman Ingarden’s phenomenological ontology, we advocate a position according to which a virtual object is a computationally grounded intentional object that has its existential foundation in computational processes, which are compliant with a certain model of computation. We point out that virtuality is framed by some kind of ideal mathematical objects: i.e., mathematical models of computation, which in turn fall, each of them, under their respective ideas. We also refer to the idea of natural computation, which in conjunction with the ontological analysis carried out leads to the thesis that an object can be more or less virtual. (shrink)

Sir Arthur Conan doyle wrote fifty-six short stories and four novels about Sherlock Holmes, collectively known as the Canon. The following are all true facts about the Canon: It is true according to the Canon that Sherlock Holmes is a detective. It is true according to the Canon that Queen Victoria hired a private consulting detective, gave him an emerald tiepin, and offered him a knighthood which he refused. The Canon is about Sherlock Holmes. The Canon is about a brilliant (...) private detective who solves many crimes that baffle Scotland yard. The Canon is also about Queen Victoria .This paper argues that the truth of these and similar facts creates some tension for the theory that fictional characters are abstract objects. A proponent of this theory will have to treat sentences and as disanalogous, and to as similarly disanalogous, in a way that undercuts part of the motivation for accepting an ontology of fictional characters. (shrink)

Context: Traditional research on the fiction/non-fiction distinction is the fruit of an essentialist methodology in which the procedures of ontologizing and textualizing are assumed as obligatory. Ontologizing and textualizing form the basic discursive technique, in which analyses are focused on the object as the semantic centre. Theory of literary fiction – deeply rooted in Alexius Meinong’s theory of non-existent objects – is object-orientated and, as a result, is always ontologically involved/engaged. Problem: The re-description of the fundamental literary problems as (...) a kind of epistemological experiment for which non-dualizing philosophy is a foundation. Considerations are aimed at providing answers/solutions to the three following issues: 1. Is it possible to connect non-dualism with a literary discourse about literary fiction? 2. What difference does the non-dualizing perspective make in comparison to a philologically-orientated discourse? 3. What difference does the non-dualizing perspective make in comparison to the constructivist approach to the problem of fiction? Approach: Mitterer’s non-dualism is considered from both the context of ontologically-orientated discourse about fiction and literary research and the context of constructivist discourse about fiction. Results: Mitterer’s non-dualizing conception may be considered a foundation of a radical non-essentialist way of thinking about literary fiction. As a result, the philologically-orientated research on literary text, focused on the explanation of its semantics, would rather move towards a culturally-, pragmatically-, and/or sociologically- orientated type of discourse. The notion of (literary) fiction should be reformulated as follows: fiction is not the reason for interpretation; fiction is the result of interpretation because the description comes from the object of speech (from-object-cognition). Implications: This is only an introduction to the project of a potential non-ontologizing discourse about literary fiction. Therefore it should be developed and discussed as the option for the dualizing type of the discourse as it still stirs up a lot of controversies. (shrink)

In this paper, I explore a line of argument against one form of realism about fictional characters : abstract artifact theory, the view according to which fictional characters like Harry Potter are part of our reality, but, they are abstract objects created by humans, akin to the institution of marriage and the game of soccer. I will defend artifactualism against an objection that Mark Sainsbury considers decisive against it: the category-mistake objection. The objection has it that artifactualism (...) attributes to people who produce and process sentences and thoughts about Harry Potter massive error, indeed, a category mistake about what kind of thing Harry Potter is; for an abstract object isn’t the sort of thing that can wear glasses, ride a double-decker bus, attend school. Given problems with this objection, artifactualism, I shall conclude, remains a tenable contender. (shrink)