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)

There are many data suggesting that we should acknowledge fictional entities in our ontological inventory, in spite of the paraphrasing strategies that Russell’s theory of descriptions can offer. Thus the realist attitude toward fictional entities of Meinongian and artifactualist accounts may seem well-motivated. Yet, these approaches infringe the Russellian “robust sense of reality.” A different realist account is proposed here, one that is compatible with the Russellian “robust sense of reality” in that it identifies fictional (...) entities with denoting concepts, understood as properties of properties. (shrink)

This book presents a novel theory of fictional entities which is syncretistic insofar as it integrates the work of previous authors. It puts forward a new metaphysical conception of the nature of these This This book presents a novel theory of fictional entities which is syncretistic insofar as it integrates the work of previous authors. It puts forward a new metaphysical conception of the nature of these entities, according to which a fictional entity is (...) a compound entity built up from both a make-believe theoretical element and a set-theoretical element. The fictional entity is constructed by imagining the existence of an individual with certain properties and adding a set-theoretical element consisting of the set of properties corresponding to the properties of the imagined entity. Moreover, the book advances a new combined semantic and ontological defence of the existence of fictional entities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FÉLIX MaRTÍNEZ-?????? TOWARDS A FORMAL ONTOLOGY OF FICTIONAL WORLDS In this discussion ' I propose a few concepts for the description and classification of fictional "worlds." The variety of fictional systems of"reality" can be understood, I diink, as an aspect ofthe phenomenon of style in literary imagination.2 But styles of imagination or of vision, and die style of literary works, are more than simply kinds (...) of fictional worlds. To put in some perspective my attempt at classification of literary works according to their systems of reality, I will make first a few remarks on the notion of style. It is a well-known preliminary problem when speaking of style diat this word seems to have more than one meaning in ordinary usage. I think that some ofits current meanings are rich and important, and that literary knowledge would profit if we could reconstruct them in abstract and defined concepts, so that the notions involved were somewhat clarified. I doubt diat diis is possible with current conceptual tools. We can see what is meant, say, when we hear diat a certain person we know "has style"; and we certainly distinguish diis attribute from others such as elegance, good manners, character, taste, originality, mannerisms, or idiosyncracies. Thus, we occasionally perceive in personal behavior a phenomenon called style. A conceptual description or a satisfactory definition of such a given, however, seems very difficult. Speaking of matters of art and literature, "style" has been used, among other things, to designate both the conventional forms of traditional expression (as in "manuals of style") and the anomalous, convention-breaking forms of highly individuated creation (as in die classic conception of Vosslerian-Spitzerian Stylistics, or in Buffon's "Le style c'est l'homme même," as usually understood). Style, dien, as conformity and style as singularity and deviance; style as impersonal decorum and as presence of a unique personal essence in the work. This perplexing ambiguity may be reducible though. Whether conventional and common or personal and innovative, style appears to be a form that characterizes and holds together a creation or a phenomenal entity. Indeed, the fact that 182 Félix Martínez-Bonati183 singular innovations of style often become the common trait of a school or current and sometimes a part of general tradition seems to indicate that neither singularity nor general acceptance are the most basic elements of die notion of style. On first reflection, we may conceive of style as a formal principle that consistently determines the constitution of die pertinent objects. Nonetíieless, constitutive form is too weak a definition for style, since it would also apply to what is called "technique" and even to genre. We must look for a more specific determination. There is anodier ambiguity in everyday uses of die word "style" diat deserves attention. We speak often of "good style" and "bad style." But sometimes we speak as if no style is bad and the thing that matters is to have style at all and as much of it as possible. Thus, we condemn a work because of its having no style or only a weak one. This contradiction probably derives from the confusion of a particular normative, a general normative, and a merely descriptive notion of style. We should keep, if possible, to a merely descriptive notion. Still another uncertainty of usage, in literary matters, relates to the (not universally accepted) restriction of the notion of style to a linguistic one; style, in this restricted usage, is seen as primarily an attribute of diction. The most numerous of literary studies of die style of singular works have been, so far as I can see, descriptions of idiolects. In many cases, the linguistic peculiarity is taken as an index of the world-view or die style of imagination diat is supposed to have produced the work. Alternative to this approach, indeed complementary, is the study of literary style as an attribute of die fictional entities to which literary discourse refers. We find the latter kind of approach mostly in characterizations of genres or of periods ("the naturalist novel," "romance," "classicism," etc.). One may suppose that an exhaustive analysis of the idiolect of a work... (shrink)

In the camp of the believers in fictional entities, two main paradigms nowadays face each other: the neo-Meinongian and the artifactualist.1 Both parties agree on the idea that ficta are abstract entities, i.e. things that exist (at least in the actual world) even though in a non-spatiotemporal way. Yet according to the former paradigm, ficta are entities of a Platonic sort: either sets of properties (or at least ‘one-one’ correlates of such sets) or generic objects. According (...) to the latter paradigm instead, fictional beings are abstract artifacts, in the sense that they are cultural constructions like games, laws and institutions. Traditionally, these paradigms conceive themselves as mutually exclusive. In what follows, however, I will try to show that this conception is ungrounded. For a fictional entity is a compound entity made both of a property set and of the cultural practice-type that makes its own existence possible. This makes a fictum at least a ‘many-one’ correlate of a set, insofar as different practice-types may turn the same set of properties into different fictional individuals. In this sense, the present proposal is ontologically syncretistic, for it attempts at combining the neo-Meinongian and the artifactualist paradigm. Yet it is even more conciliatory than that. Recent disbelievers in ficta have maintained that as far as fiction is concerned, there is nothing more than fictional discourse itself, which consists in nothing but make-believe linguistic acts in which we pretend that there are things like fictional beings. Yet I take this make-believe practice precisely as the cultural practice such that a fictum not only depends on it but also is partially constituted by it. (shrink)

In this entry I present one of the most hotly debated issues in contemporary analytic philosophy regarding the nature of fictional entities and the motivations that might be adduced for and against positing them into our ontology. The entry is divided in two parts. In the first part I offer an overview of the main accounts of the metaphysics of fictional entities according to three standard realist views, fictional Meinongianism, fictional possibilism and (...) class='Hi'>fictional creationism. In the second part I describe two main kinds of arguments for or against positing fictional entities into our ontology. The first kind is traditionally inspired by the linguistic data coming from our talk about fictional characters. The second kind is more recent and it builds on genuine ontological considerations. (shrink)

This paper shows that a recent, simplified version of St. Anselm's proof of the existence of God has its flank open to Gaunilo's objection. Reformulating Anselm's line of reasoning in terms of the distinction between mediated and unmediated causal powers, as the simplified proof does, makes it harder for Anselm's supporters to refute the objection that the ontological argument absurdly entails the existence of all kinds of fictional entities.

Information entities are used in ontologies to represent engineering technical specifications, health records, pictures or librarian data about, e.g., narrative fictions, among others. The literature in applied ontology lacks a comparison of the state of the art, and foundational questions on the nature of information entities remain open for research. The purpose of the paper is twofold. First, to compare existing ontologies with both each other and theories proposed in philosophy, semiotics, librarianship, and literary studies in order (...) to understand how the ontologies conceive and model information entities. Second, to discuss some open research challenges that can lead to principled approaches for the treatment of information entities, possibly by getting into account the variety of information entity types found in the literature. (shrink)

This article critiques peter van inwagen's application of quinean ontology to the problem of whether fictional entities exist. It is argued that nothing is gained by considering fictional entities to be theoretical entities, And that van inwagen's claim that fictional entities 'hold' rather than 'have' certain properties does not avoid logical difficulties and is inconsistent with his commitment to quinean ontology.

This paper revisits the concept of fiction employed in recent debates about the reality of theoretical entities in the philosophy of science. From an anti-realist perspective the dependence of evidence for some scientific entities on mediated forms of observation and modelling strategies reflects a degree of construction that is argued to closely resemble fiction. As a realist’s response to this debate, this paper provides an analysis of fictional entities in comparison to real ones. I argue that (...) the distinction between fictional and real entities is reflected in their different relations toward their representations. This is particularly evident when it comes to the investigation of properties not explicitly given in a representation but that rely on knowledge external to it. A comparison of the resulting difference in the interpretation of fictional and real entities is then shown to provide guidelines for the assessment of when a realist claim can be made for model-based inferences to theoretical entities in science. At the end of this paper I advocate a pluralistic view on scientific realism by showing that representational pluralism, far from posing a problem for a realist interpretation of scientific practice, serves as an indicator for the reality of scientific entities. (shrink)

A review of U. Mäki (ed.). Fact and Fiction in Economics, Cambridge: Cambridge University Press, 2003. pp. xvi 384. ISBN 0521 00957. As people interested mainly in theory, methodologists and philos...

The goal of this paper is to present and defend an inferentialist account of the meaning of fictional names on the basis of Sellars-Brandom’s inferentialist semantics and a Brandomian anaphoric theory of reference. On this inferentialist account, the meaning of a fictional name is constituted by the relevant language norms which provide the correctness conditions for its use. In addition, the Brandomian anaphoric theory of reference allows us to understand reference in terms of anaphoric word-word relations, rather than (...) substantial word-world relations. In this paper I argue that this inferentialist account has many important merits over its rival theories. One important merit is that it explains why we can use fictional names to make true statements, even if they lack bearers. As a consequence, this theory allows us to use fictional names without committing ourselves to an implausible ontology of fictional entities. Another important merit is that it provides a uniform semantic account of fictional names across different types of statements in which fictional names are involved. (shrink)

Abstract: We propose a dichotomy between object-entities and meaning-entities. The former are entities such as molecules, cells, organisms, organizations, numbers, shapes, and so forth. The latter are entities such as concepts, propositions, and theories belonging to the realm of logic. Frege distinguished analogously between a ‘realm of reference’ and a ‘realm of sense’, which he presented in some passages as mutually exclusive. This however contradicts his assumption elsewhere that every entity is a referent (even Fregean senses (...) can be referred to by means of suitably constructed expressions). We apply the meaning/object dichotomy to mathematical and fictional entities, and develop a view of mathematical and other abstract objects as the results of certain types of demarcation – as for example the North Sea is the result of demarcations built into naval charts. Such demarcations reflect demarcatory acts, which presuppose complex cognitive and social structures enabling the creation of maps, of theories (of mathematics, of natural science), and of novels. (shrink)

Biologists explain organisms’ behavior not only as having been programmed by genes and shaped by natural selection, but also as the result of an organism’s agency: the capacity to react to environmental changes in goal-driven ways. The use of such ‘agential explanations’ reopens old questions about how justified it is to ascribe agency to entities like bacteria or plants that obviously lack rationality and even a nervous system. Is organismic agency genuinely ‘real’ or is it just a useful fiction? (...) In this paper we focus on two questions: whether agential explanations are to be interpreted ontically, and whether they can be reduced to non-agential explanations (thereby dispensing with agency). The Kantian approach we identify interprets agential explanations non-ontically, yet holds agency to be indispensable. Attributing agency to organisms is not to be taken literally in the way we attribute physical properties such as mass or acceleration, but nor is it a mere heuristic or predictive tool. Rather, it is an inevitable consequence of our own rational capacity: as long as we are rational agents ourselves, we cannot avoid seeing agency in organisms. (shrink)

Comix Zone (Sega Technical Institute, 1995) is a two-dimensional scrolling beat ‘em up videogame released in 1995 for the Sega Mega Drive (known as Sega Genesis in North America). Comix Zone has two peculiarities which makes it even today an easily distinguishable videogame. These peculiarities are interrelated. First, Comix Zone imitates the aesthetics and visual settings peculiar to comic books, the aim of which is to join the experience of playing a videogame with that of reading a comic; and second, (...) Comix Zone is ultimately grounded on the philosophical claim that fictional characters are actually existing entities, distinct from, and even colliding with, their creator(s). It is pointed out that this claim on the nature of fictional characters was seriously argued for, and put it into literary practice, by the Spanish philosopher Miguel de Unamuno (1864–1936). (shrink)

What happens us emotionally when we read a work of fiction? According to some philosophers our emotional engagement with fiction gives rise to a paradox and involves either irrationality or participation in a game of make believe. I argue that an Object Theory in a meinongian style, by supporting a realistic perspective on fictional emotions, is able to dissolve the paradox of fiction by providing a positive ontological account of fictional entities (and the properties characterizing them).

The descriptions and theoretical laws scientists write down when they model a system are often false of any real system. And yet we commonly talk as if there were objects that satisfy the scientists’ assumptions and as if we may learn about their properties. Many attempt to make sense of this by taking the scientists’ descriptions and theoretical laws to define abstract or fictional entities. In this paper, I propose an alternative account of theoretical modelling that draws upon (...) Kendall Walton’s ‘make-believe’ theory of representation in art. I argue that this account allows us to understand theoretical modelling without positing any object of which scientists’ modelling assumptions are true. (shrink)

The paper attempts at yielding a language-independent argument in favour of fictional entities, that is, an argument providing genuinely ontological reasons in favour of such entities. According to this argument, ficta are indispensable insofar as they are involved in the identity conditions of semantically-based entities we ordinarily accept, i.e. fictional works. It will also be evaluated to what extent this argument is close to other arguments recently provided to the same purpose.

The paper attempts at yielding a language‐independent argument in favour of fictional entities, that is, an argument providing genuinely ontological reasons in favour of such entities. According to this argument, ficta are indispensable insofar as they are involved in the identity conditions of semantically‐based entities we ordinarily accept, i.e. fictional works. It will also be evaluated to what extent this argument is close to other arguments recently provided to the same purpose.

For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction (...) which is implied by Ingarden’s approach, showing how it distinguishes the properties possessed by fictional objects (for instance of having been created by such and such an author in such and such a work) from characteristics (for instance of smoking a pipe, of living in Baker Street) which are merely associated with such objects. (shrink)

Within a literary ontology, YHWH in the Hebrew Bible is technically also a fictional entity or object. In Hebrew Bible scholarship, a variety of philosophical issues surrounding fiction have received sustained and in-depth attention. However, the mainstream research on these matters tends to focus on the philosophical foundations of or backgrounds to a particular literary theory, rather than on metaphysical puzzles as encountered in the philosophy of fiction proper. To fill this gap, the present article seeks to provide (...) a meta-theoretical overview of the main contemporary philosophical perspectives on the metaphysics of fictional objects. Three views are discussed, namely possibilism, Meinongianism and creationism. Each view's theory is introduced and critically appropriated with reference to what is implied to be an answer to the question of what exactly the biblical character YHWH can meaningfully be said to be in the context of the metaphysics of fictional objects. In this way, the present study also goes beyond the traditional concern with the nature of God in Old Testament theology. (shrink)

This chapter introduces a structural account of representation through partial structures and examines its ontological commitments. It is pointed out that structural approaches to scientific representation emphasize the crucial role played by structures in representing salient features of the world. It is common to present and, in some cases, even to reify such structures as abstract entities, in particular as set-theoretic constructs. Against this view, it is argued that no such reification is called for and that several strategies can (...) be articulated to avoid commitment to set-theoretic structures in the defense of structural representation. In the end, one can favor the latter without being platonist about the former. (shrink)

This paper focuses on the performative character of fictional language. While assuming that all speaking is a form of acting, it aims to shed light on the nature of fictional, and particularly literary, speech acts. To this aim, relevant input can be found in the discussion of the ontological status of fictional entities and of their constitution and in the inquiry into the interaction between author and receiver of a fictional work. Based on the critical (...) assessment of different approaches in the debate on speech-act theory and literary fiction, the article first clarifies why the study of the performative character of fictional language cannot be reduced to either the discussion of the status of singular speech acts in the fiction or the inquiry into the pretend or unserious nature of fictional speech acts formulated by an author. While referring to Roman Ingarden’s, Jean-Paul Sartre’s, and Wolfgang Iser’s work, it subsequently argues that such a performative character should be understood as a specific serious affordance—or appeal—to imagine and thus to participate in the constitution of the fictional world. (shrink)

In her book Fiction and Metaphysics (1999) Amie Thomasson, influenced by the work of Roman Ingarden, develops a phenomenological approach to fictional entities in order to explain how non-fictional entities can be referred to intrafictionally and transfictionally, for example in the context of literary interpretation. As our starting point we take Thomasson’s realist theory of literary fictional objects, according to which such objects actually exist, albeit as abstract and artifactual entities. Thomasson’s approach relies heavily (...) on the notion of ontological dependence, but its precise semantics has not yet been developed. Moreover, the modal approach to the notion of ontological dependence underlying the Artifactual Theory has recently been contested by several scholars. The main aims of this paper are (i) to develop a semantic approach to the notion of ontological dependence in the context of the Artifactual Theory of fiction, and in so doing bridge a number of philosophical and logical gaps; (ii) to generalize Thomasson’s categorial theory of ontological dependence by reconstructing ontological categories of entities purely in terms of different structures of ontological dependence, rather than in terms of the basic kinds of entities the categorical entities depend on. (shrink)

What are scientific models? Philosophers of science have been trying to answer this question during the last three decades by putting forward a number of different proposals. Some say that models are best understood as abstract Platonic objects or fictional entities akin to Sherlock Holmes, while others focus on their mathematical nature and see them as set theoretical structures. Although each account has its own strengths in offering various insights on the nature of models, several objections have been (...) raised against these views which still remain unanswered, making the debate on the ontology of models seem unresolvable. The primary aim of this paper is to show that a large part of these difficulties stems from an inappropriate reading of the main question on the ontology of models as a purely metaphysical question. Building on Carnap, it is argued that the question of the ontology of scientific models is either an internal theoretical question within an already accepted linguistic framework or an external practical question regarding the choice of the most appropriate form of language in order to describe and explain the practice of scientific modelling. The main implication of this view is that the question of the ontology of models becomes a means of probing other related questions regarding the overall practice of scientific modelling, such as questions on the capacity of models to provide knowledge and the relation of models with background theories. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:META-ONTOLOGY AND META-FICTION by Denis E. B. Pollard Peter van inwagen's attempt to explain the nature of fiction makes use of Quine's program in meta-ontology.1 This program comprises four basic theses: (i) that being is the same as existence, (ii) that being is univocal, (iii) that this univocal sense is best captured, for the purposes of formalization, by die existential quantifier, and (iv) that deciding what to (...) believe about what there is comes to a decision about what theories we should accept. As the aim of formalization is explicitness, then theories should be rendered into canonicalese and their commitments identified through those sentences which are prefaced with the existential quantifier. For Inwagen, as for his mentor Quine, acceptance of theory expressed in this canonical form entails acceptance of the ontology expressed in those quantified sentences. Bringing these considerations to bear on fiction, Inwagen asks, "What are theories about fiction?" and replies that they are "theories that treat stories as having an internal structure" (p. 72). The upshot of this is that such theories contain sentences which, when formally rendered, revead commitments to fictional objects. It is further claimed that such sentences can be vehicles of objective truth. Thus Inwagen finds he cannot wholeheartedly dismiss Sarah Gamp as a nonentity. In this respect, his view contrasts with two contemporary accounts, the "reductivist" one which denies Sarah Gamp's existence and her possession of any properties whatever, and the more recent "Meinongian" view which would agree that Sarah Gamp does not exist, but would nonetheless strenuously maintain that she is a nurse, fat, old, and decidedly the worse for drink. Inwagen's Sarah is neither ofthese: pace both these positions, she exists all right, but with properties such as being a theoretical entity of criticism, being a satiric villainess, not being a woman, and not being fond of gin. Inwagen's attempt to steer what seems to be a middle course has yielded, if anything, a more counterintuitive result than either ofthe other views. What is die explanation for this? 244 Denis E. B. Pollard245 To begin with, it is important to note a distinction, which Inwagen himself accepts, between two kinds of sentences. Let us take the following elementary examples: (1) "Sarah Gamp is a nurse," and (2) "Sarah Gamp is a character in a nineteenth-century novel." With specimens like (1), Inwagen sides with the reductivist: such sentences asefalse, and are not about anything. But it is with examples like (2) that ontology becomes a real issue, since sentences of this kind belong to literary theory. Neither authors nor critics who make use of sentences of the first kind are committed to the existence of fictional entities. So far, so good. But what is it that compels such commitment in the second case? Inwagen is sceptical about reductivist analyses which seek to paraphrase such sentences in order to remove any "misleading" implications. Such paraphrases he would regard as at best "messy," and more seriously, unlikely to preserve intuitive meaning without appearing to say that there are fictional characters. Unfortunately, he brushes this aside as a "narrow technical issue" at the very point where rather more argument is needed. However, on the issue of preservation of intuitive meaning, it might well be argued that his contention is somewhat question-begging, suggesting a rather literal reading of (2) above as a straightforward predication superficially akin to (3) "McEnroe is a seeded player in this year's Wimbledon tournament." So by a strange alchemy, the expression "Sarah Gamp" in (2) is accorded a referential status denied to it in (1). It is at this point that the notion of"theoretical entity" is introduced to supply the need for a referent dictated by the Quinean program. Inwagen's Sarah Gamp, in this theoretical disguise, can now literally satisfy predicates like "... is a character in a nineteenth-century novel," but not predicates like "... is a nurse." The parallel being exploited here is that with scientific theory. An ideal gas can satisfy Boyle's Law, but cannot literally be ignited, put into containers, or have an offensive smell. But there is more than a suspicion of equivocation over the term... (shrink)

In my paper, I establish an Ingardenian phenomenological ontology of virtualized ficta, i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in (...) what I call the ‘‘strata of the virtual work’’. That is, I repurpose Ingarden’s strata of the literary work, the picture, and the film to showcase that virtualized ficta, from the bottom up (i.e., from their pure ontology to aesthetics) are purely intentional entities. In short, I argue for a purely intentional account of virtualized ficta as ficta-made-virtualia, whose ontological status is determined by the creative acts of game developers and gamers. (shrink)

This article is a reaction to the following argument that has been offered in favor of abstract realism about fictional characters: fictional characters do not impose any extra ontological cost on our ontology, because they belong to the same ontological kind as literary works, which we already accept. I address arguments that have been adduced by Jeffrey Goodman in defense of this argument, and I show that there is no relevant parallelism between fictional entities and (...) literary works that the abstract fictional realist can use to bolster her theory. (shrink)

A striking feature of the relatively new philosophical genre of speculative realism is that it includes theories that explicitly seek to bridge or overcome the divide between analytic and continental philosophy. Two such theories are Markus Gabriel’s ontology of fields of sense and Tristan Garcia’s ontology of formal things. Both theories hold that all entities - be they physical, mental, fictional, technical, or otherwise - are equally and irreducibly real. This article first describes the core features (...) of these ontologies. This provides insight into these theories themselves and also gives us a glimpse of what philosophy ‘beyond the divide’ might look like. In addition, both theories are shown to be examples of what I will call ‘relational’ philosophy, or philosophy that exhaustively defines entities in terms of how they appear to or feature in other entities. I argue that all such philosophies are haunted by the ‘infinite deferral of specification,’ a specific problem that I argue renders them inconsistent. Finally, I oppose such ‘relationist’ philosophies to ‘substantialist’ ones, and suggest that this distinction might one day succeed the division between analytic and continental philosophy. (shrink)

This paper defends an ontology of weak entity realism for homeostatic property cluster (HPC) theories of natural kinds, adapted from Bird’s (Synthese 195(4):1397–1426, 2018) taxonomy of such theories. Weak entity realism about HPC kinds accepts the existence of natural kinds. Weak entity realism denies two theses: that (1) HPC kinds have mind-independent essences, and that (2) HPC kinds reduce to entities, such as complex universals, posited only by metaphysical theories. Strong entity realism accepts (1) and (2), whereas moderate (...) entity realism accepts only (1). Given its commitment to (2), strong entity realism is more theoretically complex than weak entity realism, with little explanatory payoff. Given their commitment to (1), moderate and strong entity realisms cannot explain how the identity conditions of HPC kinds are to be straightforwardly knowable. I argue that weak entity realism avoids such epistemic difficulties. I further rebut two plausible criticisms of weak entity realism, namely that weak entity realism cannot account for quantification over kinds, and that weak entity realism cannot provide identity conditions for HPC kinds which are both scientifically useful and objective. Given the theoretical costs of strong and moderate entity realism, and weak entity realism’s adequate response to its most plausible challenges, weak entity realism about HPCs is to be preferred, especially for biological and chemical kinds. (shrink)

Fictional realists hold that fictional characters are real entities. However, Anthony Everett [“Against Fictional Realism”, Journal of Philosophy (2005)] notes that some fictions leave it indeterminate whether character A is identical to character B, while other fictions depict A as simultaneously identical and distinct from B. Everett argues that these fictions commit the realist to indeterminate and impossible identity relations among actual entities, and that as such realism is untenable. This paper defends fictional realism: (...) for fictions depicting non-classical identity between A and B, the realist should hold that there are two salient fragments, one with a single character (named both ‘A’ and ‘B’) and the other with two (named ‘A’ and ‘B’, respectively). Truth according to the fiction depicting indeterminate identity is determined by supervaluating over truth according to those salient fragments. For fictions depicting impossible identity, truth is determined by subvaluating over truth according to those two salient fragments. (shrink)

This paper describes the SNePS knowledge-representation and reasoning system. SNePS is an intensional, propositional, semantic-network processing system used for research in AI. We look at how predication is represented in such a system when it is used for cognitive modeling and natural-language understanding and generation. In particular, we discuss issues in the representation of fictional entities and the representation of propositions from fiction, using SNePS. We briefly survey four philosophical ontological theories of fiction and sketch an epistemological theory (...) of fiction using a story operator and rules for allowing propositions to migrate into and out of story spaces. (shrink)

One of the basic insights of the book is that there is a notion of non-relational linguistic representation which can fruitfully be employed in a systematic approach to literary fiction. This notion allows us to develop an improved understanding of the ontological nature of fictional entities. A related insight is that the customary distinction between extra-fictional and intra-fictional contexts has only a secondary theoretical importance. This distinction plays a central role in nearly all contemporary theories of (...) literary fiction. There is a tendency among researchers to take it as obvious that the contrast between these two types of contexts is crucial for understanding the boundary that divides fiction from non-fiction. Seen from the perspective of non-relational representation, the key question is rather how representational networks come into being and how consumers of literary texts can, and do, engage with these networks. As a whole, the book provides, for the first time, a comprehensive artefactualist account of the nature of fictional entities. (shrink)

In social ontology are conducts investigations into how social and institutional facts exist, what is a social group or collective intentionality. Phenomenology is one of the 20th-century philosophical movements whose contributions of its representatives over the aforementioned topics are significant (including von Hildebrandt, Reinach, Scheler, Stein). The purpose of this article was to consider Ingarden's potential contribution to social ontology. The article is divided into two parts: an overview and an interpretation. In the first, I pointed out why (...) phenomenology is misguidedly considered "asocial." In the second, I reconstructed Ingarden's metaontological views from his magnum opus: Controversy over the Existence of the World. According to his declaration in this book, socio-objects are entities with heteronomous and purely intentional elements. In the article I showed that Ingarden explicite does not formulate a theory of social being, but on the basis of his ontology a sketch of such a theory can be trying to be presented. In order to achieve this, I thought it was relevant to attempt to outline the difference between the objects of fiction and socio-legal objects within its ontology. (shrink)

In recent metaphysics, the questions of whether fictional entities exist, what their nature is, and how to explain truths of statements such as “Sherlock Holmes lives at 221B Baker Street” and “Holmes was created by Arthur Conan Doyle” have been subject to much debate. The main aim of my thesis is to wrestle with key proponents of the abstractionist view that fictional entities are abstract objects that exist (van Inwagen 1977, 2018, Thomasson 1999 and Salmon 1998) (...) as well as Walton’s (1990) pretense view, which denies the existence of such entities. In the process, I propose modifications to these views to deal with problems they face and show how the modifications better account for the philosophical data. -/- Key abstractionists (van Inwagen 1977, Thomasson 1999) make a strict distinction between discourse within fiction, in which statements about literary characters cannot be literally true, and discourse about fiction, as it occurs in literary criticism, where statements about fictional characters can be literally true. Fictional objects are postulated to account for the truth of the latter. This runs into trouble because statements thought to be literally true are not literal. (Yagisawa 2001, Friend 2002) I provide a uniform analysis to account for the truth of statements involving fictional characters by appealing to a presupposition involving a metaphor in both contexts. The presupposition is that there is an x such that x is fictional; x is likened to a real person; and x is and ought to be treated/counted as a real person for all relevant intents and purposes. -/- More generally, I adopt Everett and Schroeder’s (2015) realist view that fictional characters are ideas constituted by mental representations. This, to me, better accounts for how fictional characters are created within the world’s causal nexus (unlike non-spatiotemporal entities in abstractionism), among other things. One key challenge they face is to explain how ideas can possess properties such as being a detective. I present a fine-grained version of their view, according to which the mental representations constituting fictional entities encode mind-dependent properties. Moreover, I explain how reference to such representations is possible, using Bencivenga’s (1983) Neo-Kantian view of reference and Karttunen’s (1976) view on discourse referents. Finally, I suggest that the identity of fictional characters is interest-relative. The constant, and sometimes radical, change of properties that, fictional characters can undergo is taken to be a consequence of the fact that unified mental representations are bundles of simpler mental representations. As change occurs, simpler representations are replaced by others. -/- A key theme that runs through the thesis is that neither fictionality nor pretense is relevant to the semantics of fictional sentences—a claim bolstered by Matravers’ (2014) arguments. Whether or not my account works, this claim, as well as the new philosophical data I bring up, are some of the challenges I pose to the heart of established views. (shrink)

Critical statements, if true, bear ontological commitments to fictional entities. A well-known version of fictionalism about fictional characters tries to eliminate these ontological commitments by proposing that we understand critical statements as prefixed by a special sentential operator, such as ‘according to a fictional realist theory’. The aim of the present paper is to show that fictionalism about fictional characters is underdeveloped as it stands because it can be shown to be systematically inadequate. Because the (...) fictionalist’s paraphrases of critical statements suggest that fictional realists affirm the propositions expressed by critical statements, the fictionalist mistakenly attributes to fictional realists an expertise in matters that pertain to literary criticism. Importantly, this problem of misattributed expertise paves the way to other issues that might be much more devastating to the fictionalist project. It can be shown that, because she wrongly attributes expertise to fictional realists, the fictionalist unintentionally portrays fictional realist theories in a way that renders them inconsistent and self-defeating. This undermines fictionalism about fictional characters because it leaves no workable fictional realist account in which to ground a fictionalist explanation. This is why the fictionalist about fictional characters should try to eliminate the problem of misattributed expertise and its related issues. At the end of the paper, I sketch some of the available options in this regard. (shrink)

We argue that the distinction between framework and interaction theories should be taken carefully into consideration when dealing with the philosophical implications of fundamental theories in physics. In particular, conclusions concerning the nature of reality can only be consistently derived from assessing the ontological and epistemic purport of both types of theories. We put forward an epistemic form of realism regarding framework theories, such as Quantum Field Theory. The latter, indeed, informs us about the general properties of quantum fields, laying (...) the groundwork for interaction theories. Yet, concerning interaction theories, we recommend a robust form of ontological realism regarding the entities whose existence is assumed by these theories. As an application, we refer to the case of the Standard Model, so long as it has proved to successfully inform us about the nature of various sorts of fundamental particles making up reality. In short, although we acknowledge that both framework and interaction theories partake in shaping our science-based view of reality, and that neither would do by itself the work we expect them to accomplish together, our proposal for a coherent ontology of fundamental entities advances a compromise between two forms of realism about theories in each case. (shrink)

Fictional realists maintain that fictional characters are part of the world’s ontology. In an influential article, Anthony Everett argues that the fictional realist is thereby committing herself to problematic entities. Among these are entities that are indeterminately identical. Recently, Ross Cameron and Richard Woodward have answered Everett’s worry using the same strategy. They argue that the fictional realist can bypass the problematic identities by contending that they are merely semantically indeterminate. This paper concisely (...) surveys Everett’s original argument, Cameron’s and Woodward’s responses, and then argues that the strategy employed by Cameron and Woodward fails to satisfactorily answer Everett’s worries. (shrink)

The essence of deities has captured our imaginations for as long as we can remember. Does a God exist, or is the divine entity just a figment of our dreams, a projection? Is God what Aribiah Attoe calls a “regressively eternal and material entity” or what Gericke calls “a character of fiction with no counterpart outside the worlds of text and imagination”? This paper aims to wrestle with those questions from a theological perspective and to look at the ontological status (...) of Yahweh and how that worldview lends itself to African Traditional Religions in conversation with Attoe's method of inquiry from the perspective of African Metaphysics. This paper aims to be a part of the larger project undertaken by the author, showing that philosophy can and should be an auxiliary discipline in Old Testament Studies as it has been seen, both fields have ways of similar arguing and coming to the same conclusions. This paper is intended to be an interlocutory exercise or experiment and does not seek to validate any hypothesis about either view. (shrink)

This paper delves into Jody Azzouni's ideas on the ontology of fictional characters. Azzouni interestingly maintains that even though fictional characters like Hermione Granger, Sherlock Holmes, and Mickey Mouse do not exist in reality, assertions about them can still be true. However, Azzouni dismisses the necessity of these characters to be ontologically real to validate the truth of sentences concerning them. Instead, Azzouni proposes that truth in speech and thought corresponds with the world, but not necessarily by (...) attributing properties and relations to tangible things in it. This stance opposes the conventional philosophical notion that every true statement must directly represent an aspect of reality. This paper scrutinizes Azzouni’s argument and appreciates his attempt to dissociate ontology from the truth in fictional discourse. Nonetheless, it also recognizes certain gaps in this perspective. The paper endeavors to refine and extend Azzouni's approach by introducing the concept of 'metaphysical explanation', which explains the truth of statements about fictional characters by correlating them to relevant acts of fiction, rather than positing the reality of fictional entities. This extension preserves the essence of Azzouni’s view while addressing its limitations, thus paving the way for a more comprehensive understanding of how we can talk truly about fictional characters without holding that such entities are real in any sense. (shrink)

The volume collects essays by an international team of philosophers aimed at elucidating three fundamental and interconnected themes in ontology. In the first instance, there is the issue of the kind of thing that, in the primary sense, is or exists: must the primitive terms be particular or universal? Any reply will itself raise the question of how to treat discourse that appears to refer to things that cannot be met with in time and space: what difference is there (...) between saying that someone is not sad and saying that something does not exist? If we can speak meaningfully about fictions, what makes those statements true and how can the entities in question be identified? Assessment of the options that have been opened up in these fields since the work of Bertrand Russell and Alexius Meinong at the beginning of the twentieth century remains an important testing-ground for metaphysical principles and intuitions. (shrink)

Fictional characters are awkward creatures. They are described as being girls, detectives, and cats; as being famous, based on real people, and well developed, and as being paradigmatic examples of things that don’t exist. It’s not hard to see that there are tensions between these various descriptions—how can something that is a detective not exist?—and there is a range of views designed to make sense of the pre-theoretical data. Fictional realists hold that we should accept that fictional (...) characters are part of ‘the furniture of our world’. Others are fictional anti-realists, who hold instead that our world does not contain any such things. In this article, I deploy an independently motivated metaontology to defend a novel version of fictional anti-realism. On the view I develop and defend, the central task we face is that of explaining facts concerning fictional characters, where the relevant notion of explanation is distinctively metaphysical in character. Fictional anti-realism emerges as the plausible thesis that facts about fictional entities can be completely explained in terms of the existence and features of other things. (shrink)

The aim of this paper is to propose an exploratory artefactual theory of fictional objects based on Evnine’s amorphism, with the goal of reconciling the inconsistent intuitions surrounding these entities. While not presenting a fully developed and comprehensive theory, I aim to explore the possibilities of amorphism and to offer a preliminary investigation into the nature of fictional objects and the challenges posed by our basic intuitions regarding their non-existence, creation, and property attribution. I formulate a two-level (...) criterion of identity-based on creative acts and utilize the notion of internal predication to account for how fictional objects possess the properties attributed to them in relevant stories. Additionally, I propose considering a subset of essential properties to fix the identity of ficta across stories. Lastly, I address the challenge of negative existential statements by equating non-existence with unreality, asserting that fictional objects are constituted by the properties attributed to them but do not fully exemplify them. (shrink)

Our ordinary moral practices not only suppose that some people ought to perform some actions, and that some outcomes are morally better or worse than others, but also that there are rights, duties, goodness, and other apparently abstract moral entities. What should we make of these entities, and the talk of these entities? It is not straighforward to account for these entities in other terms. On the other hand, this paper will argue that talk of such (...) entities is not easily eliminated from good moral theorising. Nor are the prospects for paraphrasing apparent talk about these entities into less committal terms very promising. We should either find a place in our ontology for these creatures of ethics, or explain how they can be employed as a convenient fiction. (shrink)

The aim of this book is to investigate the nature and ontological status of fictional characters on the one hand (i. e., entities like Sherlock Holmes, Hamlet, or Anna Karenina) and literary works on the other. The overall question is: What kinds of objects are fictional characters and literary works, and how are they related to our everyday world? Thomasson advocates a realist, non-reductionist theory of fictitious objects whose main principles are: Fictional characters exist – just (...) as literary works exist. Fictional characters as well as literary works are abstract objects (i. e., lack spatiotemporal location), are created (and thus contingent), are brought into existence through the intentional acts of an author, can go on existing without intentional acts of an author, and are existentially dependent objects in a variety of ways. Thomasson develops a subtle theory of ontological dependence. The review contains a detailed account of Thomasson's "artifactual theory" as well as detailed criticism of some pivotal points. While I am, in principle, sympathetic to the non-reductionist approach, I object against some of Thomasson's specific dependency claims. Furthermore, I defend so-called "Meinongian" theories of fiction against Thomasson's objections. Finally, I raise questions concerning, among other things, the relation between a literary work and its "text", the proposed identity conditions for literary works, the relation between a literary work and its (fictitious) objects. (shrink)

In the contemporary analytic philosophy of literature and especially literary theory, the paradigmatic way of understanding the beliefs and attitudes expressed in works of literary narrative fiction is to attribute them to an implied author, an entity which the literary critic Wayne C. Booth introduced in his influential study The Rhetoric of Fiction. Roughly put, the implied author is an entity between the actual author and the narrator whose beliefs and attitudes cannot be appropriately ascribed to the actual author. Over (...) the decades, this “the author’s second self,” a construct the actual author is seen to create in her act of writing, has gained an established place in literary theory. In the philosophy of literature, in turn, the implied author has evolved into multiple entities; it has been represented and developed as, for instance, “the postulated author” (Alexander Nehamas), “the fictional author” (Gregory Currie) and “the model author” (Umberto Eco). -/- The aim of this paper is to suggest that although the implied author, and its philosophical counterparts, sheds light on certain types of narratives, it is insufficient in approaches which emphasize the truth-claims conveyed by a work. In what follows, I try to show that, first, from an ontological point of view, actual assertions in literary fiction, if any, have to be attributed to the actual author and, second, that the question of truth-claiming in and by literary fiction is an epistemological matter concerning the actual intentions of the author. -/- . (shrink)

A minimalist or “pleonastic” ontology is supposed to provide a “cheap ontology” of languagecreated entities to serve as relatively innocuous referents for singular terms for such entities as properties, propositions, events, meanings, and fictional characters. This paper investigates the very idea of ontological minimalism, its source, and its potential applications. Certain puzzles and paradoxes arise in the idea of ontological minimalism; the article argues that these result from the fact that minimal entities divide into (...) three different cases with importantly different ontological and epistemological implications. These different analyses show that general claims of minimalism provide no guarantee that the relevant entities are merely linguistic creations that can be accepted without ontological qualms. Nonetheless, minimalism has some important applications, e.g. relative minimalism can aid in determining the relative parsimony of different theories and thereby help demonstrate why certain forms of eliminativism regarding “ordinary objects”, fictional characters, etc. are misguided. (shrink)