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This paper argues for an account of fictional force, the central characteristic of the kind of non-assertoric speech act that authors of fictions are engaged in. A distinction is drawn between what is true in a fiction and the fictional record comprising what the audience has been told. The papers argues that to utter a sentence with fictional force is to intend that its content be added to a fictional record. It is shown that this view accounts for phenomena such as conversational implicatures in fictional discourse. Moreover, the view is seen to provide an attractive way of distinguishing fictional utterances from assertoric utterances. As a consequence, this account of fictional force offers a satisfactory way of distinguishing fiction from lying. [ABSTRACT FROM AUTHOR]

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: (1) the gap between saying and making true, (2) our actual interpretive reactions to story-level contradictions, (3) the criteria we accept for what counts as a story in our literary practices, and (4) the undesirability of the universal fictionalist's closure principles. [ABSTRACT FROM AUTHOR]

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

Deontic, as opposed to evaluative buck-passing theories seem to be easier to accept, since there appears to be an intimate connection between deontic properties, such as 'ought', 'requirement', and 'permission' on the one hand, and normative reasons on the other. However, it is far from obvious what, precisely, the connection consists in, and this topic has suffered from a paucity of discussion. This paper seeks to address that paucity by providing a novel deontic buck-passing view, one that avoids the pitfalls both of the most straightforward view on the matter (what I call the "standard view") as well as a recently articulated view, due to Matt Bedke. It does so by appealing first to the distinction between a reason for, and a reason against, and uses this distinction to clarify what are taken to be two fundamental, but distinct, deontic properties—ought and requirement. The resulting view allows us to capture these properties, the structural relations between them, and does so in a way that avoids making supererogation impossible. [ABSTRACT FROM AUTHOR]

This paper examines the logic of fictions within fictions. I argue that consistently nested consistent fictions must have certain formal characteristics. The most important is that they form a tree structure. Depending on one’s theory of fictional objects, additional constraints may apply regarding the appearance of a fictional object in two or more fictional universes. The background motivation for the paper is to use iterated fiction operators as a tool for making sense of iterated modal operators; I conclude by noting briefly where the results about nested fictions can, and where they cannot, be extended to nested possible worlds. [ABSTRACT FROM AUTHOR]

This paper argues that there is no genuine puzzle of ‘imaginative resistance’. In part 1 of the paper I argue that the imaginability of fictional propositions is relative to a range of different factors including the ‘thickness’ of certain concepts, and certain pre-theoretical and theoretical commitments. I suggest that those holding realist moral commitments may be more susceptible to resistance and inability than those holding non-realist commitments, and that it is such realist commitments that ultimately motivate the problem. However, I argue that the relativity of imaginability is not a particularly puzzling feature of imagination. In part 2, I claim that it is the so-called ‘alethic’ puzzle, concerning fictional truth, which generates a real puzzle about imaginative resistance. However, I argue that the alethic puzzle itself depends on certain realist assumptions about the nature of fictional truth which are implausible and should be rejected in favour of an interpretive view of fictional truth. Once this is done, I contend, it becomes evident that the supposed problem of imaginative resistance as it has hitherto been discussed in the literature is not puzzling at all. [ABSTRACT FROM AUTHOR]

In this paper, I will defend modal fictionalism. The paper has two parts. In the first part, I will suggest a revised version of modal fictionalism which can avoid certain technical problems. In the second part, I will propose a nominalized version of modal fictionalism and a general scheme of fictionalism for the nominalist. [ABSTRACT FROM AUTHOR]

Category mistakes are sentences such as 'The number two is blue' or 'Green ideas sleep furiously'. Such sentences are highly infelicitous and thus a prominent view claims that they are meaningless. Category mistakes are also highly prevalent in figurative language. That is to say, it is very common for sentences which are used figuratively to be such that, if taken literally, they would constitute category mistakes. (Consider for example the metaphor 'The poem is pregnant', the metonymy 'The White House decided to change its policy', or a fictional use of 'The tree was happy'.) In this paper I argue that the view that category mistakes are meaningless is inconsistent with many central and otherwise plausible theories of figurative language. Thus if the meaninglessness view is correct, the theories in question must each be rejected, and conversely, if any of the theories in question is correct, the meaninglessness view must be wrong. The debates concerning the semantics of figurative language and concerning the semantic status of category mistakes are closely connected. [ABSTRACT FROM AUTHOR]

Thought about fictional characters is special, and needs to be distinguished from ordinary world-directed thought. On my interpretation, Kendall Walton and Gareth Evans have tried to show how this serious fiction-directed thought can arise from engagement with a kind of pretending. Many criticisms of their account have focused on the methodological presupposition, that fiction-directed thought is the appropriate explanandum. In the first part of this paper, I defend the methodological claim, and thus the existence of the problem to which pretense is supposed to be a solution. In the second part, I elaborate and defend the pretense theory as a solution to this problem. [ABSTRACT FROM AUTHOR]

Gideon Rosen’s [ Modal fictionalism. Mind, 99, 327–354] Modal Fictionalist aims to secure the benefits of realism about possible-worlds, whilst avoiding commitment to the existence of any world other than our own. Rosen [ A problem for fictionalism about possible worlds. Analysis, 53, 71–81] and Stuart Brock [ Modal fictionalism: A response to Rosen. Mind, 102, 147–150] both argue that fictionalism is self-defeating since the fictionalist is tacitly committed to the existence of a plurality of worlds. In this paper, I develop a new strategy for the fictionalist to pursue in response to the Brock–Rosen objection. I begin by arguing that modal fictionalism is best understood as a paraphrase strategy that concerns the propositions that are expressed, in a given context, by modal sentences. I go on to argue that what is interesting about paraphrastic fictionalism is that it allows the fictionalist to accept that the sentence ‘there is a plurality of worlds’ is true without thereby committing her to the existence of a plurality of worlds. I then argue that the paraphrastic fictionalist can appeal to a form of semantic contextualism in order to communicate her status as an anti-realist. Finally, I generalise my conception of fictionalism and argue that Daniel Nolan and John O’Leary-Hawthorne [ Reflexive fictionalisms. Analysis, 56, 26–32] are wrong to suggest that the Brock-Rosen objection reveals a structural flaw with all species of fictionalism. [ABSTRACT FROM AUTHOR]

It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of movies at all, and many have argued that the ‘effaced’ literary narrator is an illusion as well. In this paper, I attempt to sort out the central issues that arise in these debates, defending the existence of effaced narrators in both literature and film. [ABSTRACT FROM AUTHOR]

Many philosophers suggest (1) that our emotional engagement with fiction involves participation in a game of make-believe, and (2) that what distinguishes an emotional game from a dispassionate game is the fact that the former activity alone involves sensations of physiological and visceral disturbances caused by our participation in the game. In this paper I argue that philosophers who accept (1) should reject (2). I then illustrate how this conclusion illuminates various puzzles in aesthetics and the philosophy of mind. [ABSTRACT FROM AUTHOR]

This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story's audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven't been carefully observed, and the two mental state types make distinct contributions to generating emotional responses to stories. Finally, the differences between the mental states illuminate how a given story can be both shared with others and at the same time experienced as personal. [ABSTRACT FROM AUTHOR]

In The Things We Mean, Stephen Schiffer defends a novel account of the entities to which belief reports relate us and to which their that-clauses refer. For Schiffer, the referred-to entities—propositions—exist in virtue of contingencies of our linguistic practices, deriving from "pleonastic restatements" of ontologically neutral discourse. Schiffer's account of the individuation of propositions derives from his treatment of that -clause reference. While that -clauses are referential singular terms, their reference is not determined by the speaker's referential intentions. Rather, their reference is determined in a top-down manner—in Schiffer's words, "by what the speaker and audience mutually take to be essential to the truth-value of the belief report." While this accounts for a deep disanalogy between belief reports and other relational propositions—a disanalogy emphasized by Schiffer—I argue that the proposal runs into trouble when we consider the case of de re belief. I close by showing how a modification of Schiffer's approach—one differing in essential ways from the theory developed in Things—is capable of handling these difficulties. [ABSTRACT FROM AUTHOR]

Taylor Cyr offers a novel argument against, as he puts it, "all versions of historicism" about direct moral responsibility (Philos Stud. 10.1007/s11098-019-01315-y, 2019). The argument features constitutive luck and a comparison of manipulated agents and young agents performing the first actions for which they are morally responsible. Here it is argued that Cyr's argument misses its mark. Alfred Mele's historicism is highlighted. [ABSTRACT FROM AUTHOR]

Horizontalism is the thesis that what a speaker asserts in literally and sincerely uttering an indicative sentence is some horizontal proposition of her utterance; diagonalism is the thesis that what a speaker asserts in literally and sincerely uttering an indicative sentence is some diagonal proposition of her utterance. Recent work on assertion has reached no clear consensus favoring either horizontalism or diagonalism. I explore a novel strategy for adjudicating between the two views by considering the advantages and disadvantages which would accrue to a linguistic community as a result of adopting different committal practices—that is, practices of associating utterances with the propositions to which speakers undertake assertoric commitments in uttering them—ultimately concluding that a horizontalist practice has important advantages over its competitors. [ABSTRACT FROM AUTHOR]

We humans are remarkably interested in and skilled at games of make believe, games whose rules make what we are called on to imagine depend on what's actually perceivably true about things and people that have what it takes to assume various fictional roles and that thereby function in the games as props. For the most part we play these games on an improvised pickup basis, working out the rules we play by in the very act of playing by them. Part of what makes this coordinative feat possible are signals to the effect that as the speaker sees things, the rules and available props are such that this or that role is assumed by this or that prop, or props of this or that kind. Metaphors are make believe signals put to ambitious prop-characterizing use outside the game they serve to initiate, sustain, or otherwise regulate. Metaphoric competence is one manifestation of make believe competence. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

I examine a range of popular solutions to the puzzle of imaginative resistance. According to each solution in this range, imaginative resistance occurs only when we are asked to imagine something that conflicts with what we believe. I show that imaginative resistance can occur without this sort of conflict, and so that every solution in the range under consideration fails. I end by suggesting a new explanation for imaginative resistance-the Import Solution-which succeeds where the other solutions considered fail. [ABSTRACT FROM AUTHOR]

George Wilson has defended the thesis that even impersonal third-person fictional narratives should be taken to contain fictional narrations and have fictional narrators. This, he argues, is necessary if we are to explain how readers can take themselves, in their imaginative engagement with fictions, to have knowledge of the things they are imagining. I argue that there is at least one class of impersonal third-person fictional narratives—thought experiments—to which Wilson’s model fails to apply, and that this reveals more general problems with his argument. I further argue that there is no good reason to think that Wilson’s account applies more restrictedly to those impersonal third-person fictional narratives that feature in standard works of literary fiction. [ABSTRACT FROM AUTHOR]

Non-actual model systems discussed in scientific theories are compared to fictions in literature. This comparison may help with the understanding of similarity relations between models and real-world target systems. The ontological problems surrounding fictions in science may be particularly difficult, however. A comparison is also made to ontological problems that arise in the philosophy of mathematics. [ABSTRACT FROM AUTHOR]

The Brock-Rosen problem has been one of the most thoroughly discussed objections to the modal fictionalism bruited in Gideon Rosen’s ‘Modal Fictionalism’. But there is a more fundamental problem with modal fictionalism, at least as it is normally explained: the position does not resolve the tension that motivated it. I argue that if we pay attention to a neglected aspect of modal fictionalism, we will see how to resolve this tension—and we will also find a persuasive reply to the Brock-Rosen objection. Finally, I discuss an alternative reading of Rosen, and argue that this position is also able to fend off the Brock-Rosen objection. [ABSTRACT FROM AUTHOR]

I discuss Gregory Currie’s taxonomy of explanations of the fictional. On the one hand, there is an important kind of relation between internal and external explanations of some fictional truths that Currie leaves out, where both are salient and yet in a relation of harmony with each other. On the other hand, I do not see that he has established that there is a genuine relation of tension between some pairs of internal and external explanations, and thus I question the usefulness of the category of collapse. I also consider a further kind of explanation: the exterior explanation. [ABSTRACT FROM AUTHOR]

This article focuses on truth and inference in the novel "Catch-22." Anyone who has read the novel would probably agree that the statement 'Joseph Yossarian wants to live forever or die in the attempt' is true if understood as in the novel "Catch22," Yossarian wants to live forever or die in the attempt'. If someone disagreed with this statement, we would simply point to the relevant passage in the novel where Yossarian's comical ambition is explicitly mentioned and that would, seemingly, be the end of the matter.