Reasoning to what is true in fiction

The paper discusses the principle by which we reason to what is true in fiction. The focus is David Lewis's article Truth in Fiction (1978) which proposes an analysis in terms of counterfactuals and possible worlds. It is argued thatLewis's account is inadequate in detail and also in principle in that it conflicts radically with basic and familiar tenets of literary criticism. Literary critical reasoning about fiction concerns not the discovery of facts in possible worlds but the recovery of meanings in interpretative frameworks. The model theoretic approach fails to account for common literary or rhetorical devices like unreliable narration, connotation and point of view. And in explaining indeterminacy of content in terms of truth-value gaps it gives too simplistic an account of critical reasoning about character motivation and thematic development. A more adequate account of content-indeterminacy can be provided through a comparison of the interpretation of fiction with the interpretation of human action. A broader motif in the paper is the underlying tension between what is required for the logic of fiction and what is required for the aesthetics of fiction.     

Meaning, Truth, and Phenomenology

This essay approaches Derrida through a consideration of his writings on Saussure and Husserl. Derrida is right to insist, following Saussure, on a relational theory of meaning: words do not have a one-to-one correspondence with their referents. But he is wrong to insist on a purely differential theory of meaning: words can refer to reality within the context of a body of knowledge. Similarly, Derrida is right to reject Husserl's idea of presence: no truths are simply given to consciousness. But he is wrong to reject the very idea of objective knowledge: we can defend a notion of objective knowledge couched in terms of a comparison of rival bodies of theories. The essay concludes by considering the implications of the preceding arguments for the enterprise of phenomenology.