Fictional objects, non-existence, and the principle of characterization

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.     

IN DEFENCE OF FICTIONAL INCOMPETENCE

The claim that photographs are fictionally incompetent (i.e. that they can only depict those particulars they are appropriately causally related to) is argued by Noël Carroll, Gregory Currie, and Nigel Warburton to be falsified by cinematic works of fiction. In response I firstly argue that it does not follow from cinema's having a capacity for the representation of ficta that photography has a capacity for the representation of ficta. Secondly, and inspired by the work of Roger Scruton, I develop an account of how it is that cinema represents ficta on which this is fundamentally a matter of dramatic/theatrical representation. I argue that in cinematic fiction photography delivers a pre‐existent representation of ficta rather than creating or generating fictional content. With this being so, the claim that photography is fictionally incompetent is compatible with cinematic fiction. 1     

Eluding Wilson’s “Elusive Narrators”

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.     

Fictions within fictions

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.     

The scientific positivism of Michael Oakeshott

Seventeenth-century philosopher Margaret Cavendish wrote not only several philosophical treatises, but also many fictional works. I argue for taking the latter as serious objects of study for historians of philosophy, and sketch a method for doing so. Cavendish's fiction is full of conflicting viewpoints, and many authors have argued that this demonstrates that she did not intend her literary works to serve serious philosophical purpose. But if we consider philosophers more central to the canon, such as Plato or Kierkegaard, who sometimes used literary forms to do serious philosophy, we see that these arguments are unfounded. Like those philosophers, Cavendish had several philosophical motivations for pursuing value-theoretic issues through the flexible formats of literary genres. This suggests that Cavendish's literary corpus may be fruitful and largely unexplored ground for the history of philosophy.     

Naming and Nonexistence

I defend a cluster of views about names from fiction and myth. The views are based on two claims: first, proper names refer directly to their bearers; and second, names from fiction and myth are genuinely empty, they simply do not refer. I argue that when such names are used in direct discourse, utterances containing them have truth values but do not express propositions. I also argue that it is a mistake to think that if an utterance of, for example, “Vulcan is a planet” fails to express a proposition, then an utterance of “Le Verrier believed that Vulcan is a planet” cannot express a proposition. The argument applies to claims about fiction, such as “Sherlock Holmes is strong,” and claims about the attitudes of authors and auditors. The upshot is a semantics for fictional statements that provides a satisfying way for direct reference theorists to avoid taking fictional entities to be abstract objects and to accept the commonsense view that what is true in a fiction is ultimately a matter of what is pretended to be the case.     

The Diversity of Intrinsic Ethical Flaws in Fiction

This article examines what constitutes an ethical flaw in artworks and asks which ethical flaws are relevant in determining works. ethical and aesthetic values. I argue that while most of the discussion has simply taken for granted that it is intrinsic ethical flaws that should be taken into account, there are further important differences in the type of intrinsic ethical flaws that artworks display. I identify two different types of ethical defects in artworks, fictional and actual, and argue that this distinction has important consequences for debates surrounding the ethical value of works of fiction.     

Pretense, Existence, and Fictional Objects

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 conclude 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.     

Why Colours Do Look Like Dispositions

In recent years philosophers such as Paul Boghossian, David Velleman and Colin McGinn have argued against the view that colours are dispositional properties, on the grounds that they do not look like dispositional properties, and in particular that they are not represented in visual experience as dispositions to present certain kinds of appearances. Rather colours are represented as being these appearances, i.e., simple, non-dispositional properties. I argue that a proper understanding of how visual experiences represent physical objects as being coloured shows that colours do look like dispositions. In particular, I argue that if visual experiences are to represent properties as properties of physical objects, they must distinguish between these properties and their appearances, and thus cannot represent such properties as colours as being identical with their corresponding appearances.     

The Puzzle of Factual Praise

It seems that we are not willing to give up the intuitions that (1) works of fiction are free from the constraints of historical truth and (2) historical inaccuracies sometimes count against the artistic value of works of fiction. Christopher Bartel calls this the puzzle of historical criticism. I argue that this puzzle extends beyond historical facts. While it is especially salient that historical accuracy at times appears relevant to the evaluation of fictional works, such relevance appears to be a feature of facts in general. I then propose a partial strategy for resolving the puzzle.     

Fictional Models and Fictional Representations

Scientific models consist of fictitious elements and assumptions. Various attempts have been made to answer the question of how a model, which is sometimes viewed as a fiction, can explain or predict the target phenomenon adequately. I examine two accounts (the counterfactual dependency view and the idealization view) of models-as-fictions which are aiming at disentangling the myth of representing the reality by fictional models. I argue that both views have their own weaknesses in spite of many virtues. I propose to re-evaluate the problems of representation from a novel perspective in which some of the model representations can be regarded as fictional representations. I argue that this type of model representation is credible despite being a fictional representation of the reality.     

关于虚构对象的合取创造主义

关于虚构对象的作者创造主义是创造主义的主要形式,而作者创造主义信条隐含个体创造主义信条。本文论证个体创造主义者面临判定难题,并提出一种新型的创造主义观点,即合取创造主义,并论证合取创造主义者不面临判定难题,最后为合取创造主义做进一步辩护,说明合取创造主义是一种更有前途的创造主义观点。     

DO WE SEE APPLES AS EDIBLE?

Do we (sometimes) perceive apples as edible? One could argue that it is just a manner of speaking to say so: we do not really see an object as edible, we see it as having certain shape, size and color and we only infer on the basis of these properties that it is. I argue that we do indeed see objects as edible, and do not just believe that they are. My argument proceeds in two steps. First, I point out that Susanna Siegel's influential argument in favor of the claim that we represent sortal properties perceptually does not work. Second, I argue that we can fix this argument if we replace the sortal property in question with the property of being edible, climbable or Q‐able in general.     

Moderate Comic Immoralism and the Genetic Approach to the Ethical Criticism of Art

According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those works. Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal.     

Standing in the Last Ditch: On the Communicative Intentions of Fiction Makers

Some of us have suggested that what fiction makers do is offer us things to imagine, that this is what is distinctive of fiction and what distinguishes it from narrative‐based but assertive activities such as journalism or history. Some of us hold, further, that it is the maker's intention which confers fictional status. Many, I think, feel the intuitive appeal of this idea at the same time as they sense looming problems for any proposal about fiction's nature based straightforwardly on the identification of fiction with the to‐be‐imagined. I formulate a very weak version of the proposal which is not vulnerable to some objections recently presented. My formulation is in terms of supervenience. But while this version is weak, it is also quite precise, and its precision brings into view certain other problems which have not so far been attended to. To the extent that these problems are serious, the prospects for an intentional theory of fiction look, I am sorry to say, poor; the version susceptible to the objections is weak, and anything weaker still but not so susceptible could hardly be thought of as a theory of fiction, though it might supplement such a theory.     

Variations on a Montagovian theme

What are the objects of knowledge, belief, probability, apriority or analyticity? For at least some of these properties, it seems plausible that the objects are sentences, or sentence-like entities. However, results from mathematical logic indicate that sentential properties are subject to severe formal limitations. After surveying these results, I argue that they are more problematic than often assumed, that they can be avoided by taking the objects of the relevant property to be coarse-grained (“sets of worlds”) propositions, and that all this has little to do with the choice between operators and predicates.     

Self-awareness as conscious meta-representation

Citing the phenomenon of transparency, some philosophers argue that we cannot become aware of the intrinsic properties of our experiences. When we introspect, they argue, our experiences always seem as if they are exhausted by their intentional contents. They conclude that introspection does not reveal any properties that seem intrinsic to experience. In order to answer this argument, we must show how it could seem as if we are simultaneously aware of external objects and our experience of those objects. I explain how this is possible by introducing the notion of conscious meta-representation. Conscious meta-representation occurs when we consciously conceive of represented objects as being merely putative. This sort of conceiving sometimes involves a distinctive phenomenology, and it explains how certain features of an experience can simultaneously seem as if they belong to external objects and to our experiences of those objects. We can, I conclude, look ‘at’ our experiences even as we are looking ‘through’ them.