Singular terms used in fictions for fictional characters raise well-known philosophical issues, explored in depth in the literature. But philosophers typically assume that names already in use to refer to “moderatesized specimens of dry goods” cause no special problem when occurring in fictions, behaving there as they ordinarily do in straightforward assertions. In this paper I continue a debate with Stacie Friend, arguing against this for the exceptionalist view that names of real entities in fictional discourse don’t work there as (...) they do in simple-sentence assertions, but rather as fictional names do. (shrink)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ (in Tolstoy’s War and Peace) or ‘London’ (in Orwell’s Nineteen Eighty-Four). This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a (...) distinctive semantic contribution in fiction. In this paper I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

Fiction is often characterized by way of a contrast with truth, as, for example, in the familiar couplet “Truth is always strange/ Stranger than fiction" (Byron 1824). And yet, those who would maintain that “we will always learn more about human life and human personality from novels than from scientific psychology” (Chomsky 1988: 159) hold that some truth is best encountered via fiction. The scrupulous novelist points out that her work depicts no actual person, either living or (...) dead; nonetheless, we use names from fiction in ways that suggest that we take these names to refer. Philosophers who investigate fiction aim to reconcile such apparently incompatible phenomena, and, in general, to account for the myriad ways that we talk, think, and feel about fiction. (shrink)

The author engages a question raised about theories of nonexistent objects. The question concerns the way names of fictional characters, when analyzed as names which denote nonexistent objects, acquire their denotations. Since nonexistent objects cannot causally interact with existent objects, it is thought that we cannot appeal to a `dubbing' or a `baptism'. The question is, therefore, what is the starting point of the chain? The answer is that storytellings are to be thought of as extended baptisms, and the details (...) of this response receive attention in the paper. Once the storytelling is complete, and the characters have been baptized, a priori metaphysical principles linking the storytelling with the realm of nonexistent objects provide the referential, non-causal connection between the names used in the storytelling and the objects denoted by such names. [This is the original English version of an article that first appeared in German translation, translated into German by Arnold Günther and published in the Zeitschrift für Semiotik 9/1-2 (1987): 85-95. The version that appears here is, for the most part, unaltered.]. (shrink)

Philosophical accounts of the semantics of fiction have tended to be problematic in one of two ways: either they have denied that items used in fictional discourse have their plain meaning, introducing complications into otherwise satisfactory accounts of semantics, or they have posited special kinds of entities, introducing complications into otherwise satisfactory accounts of ontology. Accounts that tried to avoid these problems by positing mere possibilia as fictional entities were thought to be hopeless inasmuch as it was thought impossible (...) to pick out unique mere possibilia, and there could be no causal connection to them of the sort that was thought to be necessary for reference. I proposed to try to deal with the first problem by using counterfactuals, which each pick out a relatively small, constrained set of possible worlds, and presumably could so limit the possibilia contained in them to make picking out unique ones possible. I improve on David Lewis' counterfactual semantics for fiction by altering the analysis to make the experience of a hypothetical listener central, rather than the actions of a hypothetical narrator. As for the second, I show bow the causal theory of names can plausibly be expanded to a counterfactual theory of names, which would allow for naming across possible worlds. I conclude that fictional names rigidly designate mere possibilia, which allows for a more normal semantics for fiction than had seemed possible. (shrink)

The propositional content of a reference is the proposition attributing to the referent the properties that correspond to the nouns and modifiers in the reference (for example, the propositional content of `Mary' is that the referent is named`Mary'). During language comprehension, the hearer or reader must determine the set of beliefs with respect to which the propositional content of a reference is to be understood. In the prototypical case, this set consists of the propositions that she believes (...) that the speaker or writer believes that she and the speaker or writer mutually believe. This paper identifies two contexts in which the propositional content of a specific reference is not understood with respect to this set--subjective and objective sentences in third-person fictional narrative text--and identifies some implications of this for understanding specific references in these contexts. (shrink)

In this paper, I present a very interesting observation about identity in fiction. I call it the phenomenon of identity without interchangeability. It is the phenomenon that two names that have the same referent cannot be used interchangeably in some context. I argue that the phenomenon of identity without interchangeability holds in the dream context, the fictional context in a narrow sense, and the fictional context in an extended sense. I then show one application of the phenomenon in defending (...) Kendall Walton’s account of fiction against Fred Kroon’s objections to him. (shrink)

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of (...) view by philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

In the philosophy of fiction, a majority view is continuism, i.e., the thesis that ordinary names, or genuine singular terms in general, directly refer to ordinary real individuals in fiction-involving sentences – e.g. “Napoleon” in the sentences that constitute the text of Tolstoy’s War and Peace. But there is also a minority view, exceptionalism, which is the thesis that such terms change their semantic value in such sentences, either by directly referring to fictional surrogates of those individuals – (...) what we may call exceptional hyperrealism about fictional characters – or by acquiring a semantic value that turns them into nonreferential terms, involving no ontological commitment to such characters – exceptional irrealism about fictional characters. In this paper, first of all, I want to support hybrid exceptionalism, according to which both parties are partly right and partly wrong. In the fictional use of fiction-involving sentences, those terms directly refer to ordinary real individuals, as continuists claim, while both in the internal and the external metafictional use of fiction-involving sentences, such terms change their semantic value, as exceptionalists claim. (By contrast, for pure exceptionalists such terms either always refer to fictional surrogates or are nonreferring on all such uses.) Moreover, I will argue that hybrid exceptional hyperrealism must be preferred to hybrid exceptional irrealism: in the latter uses, I claim, such terms directly refer to fictional surrogates. (shrink)

Science-fiction (SF) has become a reference point in the discourse on the ethics and risks surrounding artificial intelligence (AI). Thus, AI in SF—science-fictional AI—is considered part of a larger corpus of ‘AI narratives’ that are analysed as shaping the fears and hopes of the technology. SF, however, is not a foresight or technology assessment, but tells dramas for a human audience. To make the drama work, AI is often portrayed as human-like or autonomous, regardless of the actual technological (...) limitations. Taking science-fictional AI too literally, and even applying it to science communication, paints a distorted image of the technology's current potential and distracts from the real-world implications and risks of AI. These risks are not about humanoid robots or conscious machines, but about the scoring, nudging, discrimination, exploitation, and surveillance of humans by AI technologies through governments and corporations. AI in SF, on the other hand, is a trope as part of a genre-specific mega-text that is better understood as a dramatic means and metaphor to reflect on the human condition and socio-political issues beyond technology. (shrink)

I ask whether and when historical inaccuracy in a work of art constitutes an aesthetic flaw. I first consider a few replies derived from others: conceptual impossibility, import-export inconsistency, failure of reference, and imaginative resistance. I argue that while there is a grain of truth to some of these proposals, none of them ultimately succeeds. I proceed to offer an alternative account on which the aesthetic demerits of historical inaccuracies stem from a violation of the conversational contract between author (...) and audience. The key question is what that contract implies. (shrink)

In this paper, I argue that the theory of mental files can provide a unitary cognitive account of how names and singular terms work in fiction. I will suggest that the crucial notion we need is not the one of regular file, i.e., a file whose function is to accumulate information that we take to be about a single object of the outside world, but the notion of indexed file, i.e., a file that stands, in the subject’s mind, for (...) another subject’s file about an object. When we read a novel containing the name of an individual, we acquire (fictional) information about that individual and we store those pieces of information into an indexed file. If the name also refers to a real individual outside the context of fiction, the indexed file is linked with the pre-existing regular file that we have about such individual. Otherwise, the indexed file is linked to a regular file referring to an abstract object, namely the fictional entity itself. (shrink)

If Milton is the grand expositor of human culture as a middle realm, Williams can be seen as in many respects his secular heir, an heir careful to work out how the poetic imagination serves to make man's expulsion from Edenic origins bearable and even invigorating. Williams' poetics begins, as Riddel makes clear, in the awareness that there is no inherent or even recoverable correspondence between words and facts in the world, but Williams then devotes most of his energies to (...) denying the metaphysical alternative to that position—the claim that all language can do is reflect on and play with the emptiness or fictiveness of its signifiers. If words do not copy but produce meanings, then they can be used significantly to focus our attention on the activities of the artist and his constructed characters as they engage in that process of production. The act of producing meanings can be the process by which to achieve another kind of reference, for the act of expression can itself become the focus generating a poem's significance by calling attention to the various ways authors and characters station themselves in relation to specific situations. Fiction then is not so much a term describing the ontological status of certain kinds of language but a term characterizing a particular way of using language to reflect upon forms of behavior in which we are not fully conscious of the quality of our activities. Williams' position on the artist's language is clearest in his frequent metaphor of the artist as farmer. The initial activity of both men is a kind of violence, an assertion of the difference between human desires and indifferent "blank fields." But what begins as antagonism does not result in the creation of self-referential fictive structures or the gay wisdom of maintaining and disseminating differences. Rather antagonism is the precondition for what Williams richly labels "composition": the farmer-poet organizes the blank field into a fertile, life-sustaining set of relationships which are not simply linguistic.1 · 1. Williams, Imaginations, ed. Webster Schott , pp. 98-99. Williams' image of arts as antagonistic composing has important parallels with the Russian Formalist concept of "defamiliarization," but for Williams it is not simply a scene but a total human act that is revealed by this process. Charles Altieri teaches modern literature and literary theory in the English department at the University of Washington. The author of Enlarging the Temple: New Directions in American Poetry of the 1960s, he has just completed a study of literary meaning. "Culture and Skepticism: A Response to Michael Fischer" was contributed to Critical Inquiry in the Winter 1979 issue. (shrink)

In this introduction, I consider different problems posed by the use of singular terms in fiction (section 1), paying especial attention to proper names and, in particular, to names of real people, places, etc. As we will see (section 2), descriptivist and Millian theories of reference face different kinds of problems in explaining the use of fictional names in fiction-related contexts. Moreover, the task of advancing a uniform account of names in these contexts—an account which deals not (...) only with fictional names but also with “real” names—will prove to be very hard no matter whether we favour realist or antirealist intuitions about fictional discourse (section 3). Section 4 offers an overview of the content of this volume, with emphasis on the discussion between Manuel García-Carpintero and Stacie Friend about the meaning of “real” names in fiction-related contexts, the main topic of the Third Blasco Disputatio. (shrink)

Algunos nombres usados en nuestro lenguaje no se aplican efectivamente a nada ni nadie si son tomados de forma literal, pues carecen de referente. En términos searleanos, su significatividad no depende que puedan dar cuenta o no de ejemplares en el mundo; su significatividad se "mide" en el uso de ellos en tal o cual discurso, en medio de explicaciones o caracterizaciones forjadas por reglas, pues hablar un lenguaje es tomar parte activa en una conducta compleja gobernada por reglas. Este (...) artículo sustenta cómo en la filosofía de Searle la significatividad de los discursos, entre ellos los de la ciencia o los de la ficción, se logra en la emisión de actos ilocucionarios que hacen posible la invención de mundos cargados de significados, aun cuando estos carezcan de referencia directa. Some names in our language are not indeed applied to anything or nobody if they are taken literally, because they lack their referent. According to Searle, names´ significance does not depend on how they can give account or not of world samples; their significance "is measured" in the use of them in this or that speech, amid explanations or characterizations forged by rules, because to speak a language it is to take active part in a complex rule-governed behavior. This article supports how in the philosophy of Searle meaningfulness of speeches, including those of science or fiction, is achieved in the issuance of illocutionary acts that make possible the invention of worlds full of meanings, even when they lack direct referent. (shrink)

This paper deals with the semantics and meta-semantics for ordinary names in fiction. It has recently been argued by some philosophers that when ordinary names are used in fictional contexts, they change their semantic contents and work as fictional names in general. In this paper, I argue that there is no compelling reason to believe that such reference changes occur and defend the view that whether those names refer to real or fictional objects depends on which semantic intentions (...) speakers have. (shrink)

According to Adams and his colleagues, fictional sentences, i.e. sentences featuring fictional names, lack any truth value. To explain intuitions to the contrary, they refer to the pragmatics of fictional assertions and claim that sincere utterances of those sentences generate some conversational implicatures. They argue that all who take fictional sentences to have a truth value tend to mistake implicatures of assertions of such sentences with their literal content. The aim of the paper is to show that this argument is (...) not convincing.The challenge being that it doesn’t provide any satisfactory explanation as to what is negated in seemingly genuine disagreement cases in which fictional sentences are asserted. Sentential negation usually doesn’t affect (i.e. negate) a proposition which is conversationally implied, especially when it comes to the manner implicature. And, as I argue, an advocate of the pragmatic defence should maintain that this is the kind of conversational implicature that the assertion of fictional sentences generates. (shrink)

In this paper, I argue that sentences that contain ‘omission’ tokens that appear to function as singular terms are meaningful while maintaining the view that omissions are nothing at all or mere absences. I take omissions to be fictional entities and claim that the way in which sentences about fictional characters are true parallels the way in which sentences about omissions are true. I develop a pragmatic account of fictional reference and argue that my fictionalist account of omissions implies (...) a plausible account of the metaphysics of omissions. (shrink)

The paper reviews proposals by Abell, Predelli, and others on the semantics of fiction, focusing on the discourse through which fictions are created. Predelli develops the radical fictionalism of former writers like Kripke and van Inwagen, on which that discourse is contentless and does not express propositions. This paper offers reasons to doubt these claims. It then explores realist proposals like Abell’s in which singular terms in fictions refer to fictional characters, understood as socially created representational artifacts, and irrealist (...) alternatives in which the discourse is fully meaningful even though those terms fail to refer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:R. D. Ackerman BELIEVING IN A FICTION: WALLACE STEVENS AT THE LIMITS OF PHENOMENOLOGY The "ring of men" of "Sunday Morning" will chant their "devotion to the sun, / Not as a god, but as a god might be, / Naked among them, like a savage source" (CP, pp. 69-70).' Solar nakedness is deferred even as it is named. The problem for belief is the question of appearance (...) and representation. Things appear as and like.... The phenomenological return to things is also a turn to fiction, as Husserl understood: "If anyone loves a paradox, he can really say... that the element which makes up the life of phenomenology... is fiction. ' " The sun is divine, and it is not; it is both naked and clothed, savage and civilized, source (or end) and means. But such paradox is ultimately unsatisfying, and as we will see with Stevens, the need for belief—for an image or idea of totality—forces the issue of fiction and reality. The Stevens we will have in view is not the Stevens—as if there were such a creature. Our Stevens is the one most persuaded by promises such as those of phenomenology, the one most concerned with decreation (reduction) and fresh beginnings, with discovery and recognition, with imagination, the body, and the earth. This is the Stevens for whom the barrier of language presages at last not absence and difference but fictive recovery of presence and identity, the one for whom poetry represents a way of belief beyond mysticism even as it bodes mythic proximity. Finally, this is the Stevens who predominates throughout the prose (as well as in much of the poetry), who tries mightily to secure a belief while disencumbering himself of metaphysics—but alas, I think, with small success. Although Stevens's association of the problem of belief with the idea of fiction occurs in early poems such as "A High-Toned Old Christian 79 80Philosophy and Literature Woman" and "To the One of Fictive Music," his most intensive involvement with fiction as belief dates from the early 1940s and spans the period of his major essays and his last four volumes of poems. He recounts, for instance, a 1942 conversation with a student: "I said that I thought that we had reached a point at which we could no longer really believe in anything unless we recognized that it was a fiction. The student said that that was an impossibility, that there was no such thing as believing in something that one knew was not true. It is obvious, however, that we are doing that all the time" (L, p. 430). What does it mean to believe in a fiction? That is my main subject here, as we seek out the limits of the phenomenological Stevens. His letters of this period are preoccupied with the problem of fictive belief: "If one no longer believes in God (as truth), it is not possible merely to disbelieve; it becomes necessary to believe in something else.... A good deal of my poetry recently has concerned an identity for that thing.... In one of the short poems that I have just sent to the harvard advocate, I say that one's final belief must be in a fiction. I think that the history of belief will show that it has always been in a fiction" (L, p. 370). The poem referred to, "Asides on the Oboe," begins: The prologues are over. It is a question now, Of final belief. So, say that final belief Must be in a fiction. It is time to choose. (CP, p. 250) Acknowledging that "in the long run, poetry would be the supreme fiction" (L, pp. 430-31), Stevens nonetheless singles out the nominative function of poetry as the essence of its claim to supremacy: "Poetry means not the language of poetry but the thing itself.... The subject matter is what comes to mind when one says of the month of August... 'Thou art not August, unless I make thee so'" (L, p. 377). The quoted line (also from "Asides") underscores the paradox that for Stevens the essence of fiction (the nontrue) is its capacity to nominate the true or the real. This... (shrink)

A Linguistic Analysis of Prior, Quine, and Searle on Propositional Attitudes, Martinich on Fictional Reference, Taglicht on the Active/Passive Mood Distinction in English, etc.

Singular terms without referents are called empty or vacuous terms. But not all of them are equally empty. In particular, not all proper names that fail to name an existing object fail in the same way: although they are all empty, they are not all equally vacuous. “Vulcan,” “Jacob Horn,” “Odysseus,” and “Sherlock Holmes,” for instance, are all empty. They have no referents. But they are not entirely vacuous or useless. Sometimes they are used in statements that are true or (...) false. We are basically referentialists about proper names. The ordinary semantic function of a proper name is to refer to an object, and to do it directly, that is, without semantically providing any identifying condition that the object should meet to be the referent. To put it differently, we agree that statements containing proper names express singular propositions, i.e., that their truth-conditions involve the referent of the proper name, if it exists, and not any identifying condition of it. Now, since empty names lack a referent, and therefore would not express such a singular proposition, how do we explain that many, if not all, statements containing them have a truth-value? Answering this question for the case of fictional names, in particular, is the aim of this paper. (shrink)

Whereas it appears that direct, or causal, theories dominate philosophy’s theories of reference, and it is widely held that they present an insuperable obstacle for a fictional character’s name to refer, I attempt to show not only that they can be easily made compatible with such theories, but that reference to the fictional fits rather smoothly into the distinctive articles of current theories of direct reference. However, the issues about reference to fictional characters goes well beyond (...) those points, so its compatibility with direct referential theories is not a demonstration that names of fictional things in fact refer. This essay argues only that certain popular objections to fictional reference are unsound. Moreover, if those references were to occur, it would remove a serious self-inflicted conundrum over negative existentials, one from which those raising it seem unable to extract themselves credibly. (shrink)

Psience Fiction: The Paranormal in Science Fiction Literature is a book that really needed to be written. In an abundance of hubris I once played with the idea myself (and I was probably not alone in the thought). But now Damien Broderick has done it, and much better than I could have even approximated. Given his background as a science fiction literary critic and author himself, no other writer could be better-equipped. Psience Fiction is exactly the (...) right title to encapsulate Broderick’s chosen topic. As he notes in one passage, his purpose here is to explore “the varied representations of the paranormal in science fiction” (p.68)–though by paranormal he refers neither to ghosts nor mediumship nor UFO-related phenomena, but strictly to “paranormal” as it relates to putative mental powers that transcend the scientifically-presumed, neuro-physical limits of our minds and brains. He refines that still further in noting that what he wants to consider is “...the give and take between the science fiction paranormal and the real-world kind, tested and tallied by psi researchers” (p.5). This book is probably most easily described as a book of book reviews (though a few relevant short stories are also considered). Authors covered run the gamut from Olaf Stapledon, E.E. “Doc” Smith, James Blish and Theodore Sturgeon to Zenna Henderson, John Wyndham, Robert Heinlein, Ann McCaffery, Octavia Butler, and John Brunner, plus many more. For a literary work to be included, it must incorporate some aspect of psi as an integral plot element; a mere mention of extrasensory perception or psychokinesis does not suffice. (shrink)

Everett (2005) has argued that fictional realism runs into insuperable difficulties when faced with fictional stories in which there are indeterminate identities. By appeal to a principle linking the individuation of characters within stories and without, Everett argues that such stories entail that there are indeterminate identities outside of fiction on the fictional realist picture. And although indeterminate identities are perfectly acceptable within fiction, they are intolerable in the (nonfictional) world itself. In this paper, I develop the “extended-game” (...) model of fiction according to which fictional characters are props—and, hence, potential objects of reference—in authorized games of make-believe for fictional works in which they appear but do not originate but are neither props nor potential objects of reference in authorized games for works in which they do originate. And I argue that this entails that Everett’s linking principle, on which his argument depends, simply fails to apply. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can (...) We Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

In the old days of descriptivism, fictional reference and non-fictional reference with proper names were treated on a par. Descriptivism was not an intuitive theory, but it meritoriously provided a unitary semantic account of names, whether referentially full or empty. Then the revolution of the new theory of reference occurred. This new theory is definitely more intuitive than descriptivism, yet it comes with a drawback: the referentially full use and the referentially empty use, notably the fictional use, (...) of names are semantically no longer on the same footing. How the use of names from fiction is referentially empty has even been seen as a symptom of its not being a use at all. In this paper, I ask the following question: can one keep the merits of the new theory of reference and still provide a unitary account of both fictional and non-fictional reference with names? My answer is positive, provided that one conceives proper names as a special kind of indexicals. (shrink)

In vitro fertilization and the risk of birth and developmental defects - facts and fictions Poland is being swept by a wave of discussions on various aspects of IVF application. Scientists of various disciplines are getting involved in these discussions as opponents to this form of procreation. Referring to research carried out all over the world, they demonstrate that children born thanks to the in vitro procedure are significantly more susceptible to all sorts of disease. The author, surveying available research (...) data, shows that, in reality, the worse health of in vitro-conceived children deals with a narrow number of well-identified disorders and in most cases is of correlative, not causative nature. The main reason for the weaker health of these children is often connected with the advanced age of the parents who choose IVF and their health condition, as compared to those who become parents in a natural way. (shrink)

After the Turks met with Islam, their interest in religious texts continued in both scientific and literary fields. Many people who came to Anatolian lands brought with them the culture, literature and customs of the geography they lived in before and brought an understanding that we can conceptualize as Anatolian Irfān. One of those who served this purpose is undoubtedly Mawlānā. Mawlânâ, who influenced the geog-raphy he lived in with both conversation and letters especially poetry, used many texts that he (...) thought belonged to the Prophet as hadith in his works. In this article, the hadith texts that Mawlānā used by way of quotation or reference -both fully and partially- in his work called Divān-i Kabīr were examined. While the sources and soundness of the narrations included in the quotation method are mentioned in the study, the results of Takhrīj information of the hadiths cited with inreference are reflected. Mawlânâ’s hadith usage method was evaluated specific to an ghazal, that he fictionalized with Quranic verses and hadiths, the consequences obtained were analyzed and the narrations are classified contextually. The extent to which the author’s connection with Sufism is effective in the choice of narration has been analyzed around the results obtained. (shrink)

This chapter shows how and how far humanism has found expression in more recent fiction. If one has to consider whether the novel is humanistic, one must examine the values held by the people, which become clear despite their not being in the habit of articulating them. Accounts of post‐war immigrants coming into England can provide a basis for acute observation, in ways that cast light on our central concern. Material for thinking about humanism in the contemporary world is (...) particularly well provided by novels giving an overall account of society, often referred to as condition‐of‐England fiction. Perowne believes that the failure of political utopianism in the twentieth century has left most people, with ‘a queasy agnosticism’ about social justice and the distribution of wealth. The chapter concludes with the discussion of a piece of fiction, Philip Pullman's The Good Man Jesus and the Scoundrel Christ. (shrink)

Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while plain (...) assertions are updates on a belief component. Proper names – regular, empty, or fictional – are uniformly analyzed as presupposition triggers. The possibility of different attitude components referentially depending on each other is what ultimately allows us to account for the central paradox mentioned above. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Belief and Context Determinacy in Interpreting FictionChristine Richards (bio)1Context Determinacy and the Interpretation of FictionThe Pragmatics of ReadingThe basic pragmatic structure of the reading of fiction has been described as a communicative context which has a speaker who performs the speech acts represented by the text and a hearer (addressee) to whom the speech acts are directed [Adams 12]. This model is based on the assumption that the (...) reader and the writer share not only a common language but a common context, which clearly presents problems for readers of fiction, where generic conventions as well as other cultural conventions of writing, such as satire and irony, or the separation of writers and readers by time, have to be contended with. The code model, which assumes that the writer and the reader share a common context, can be represented as shown in figure 1. Click for larger view View full resolutionFigure 1.W = writer, S = speaker, H = hearer, R = reader.However, it has also been argued [Eco, Role of the Reader 40; Eco, Semiotics 69; Richards 262] that no theory of a text is possible without a theory of contexts, since texts are processed and given meaning by a synthesis of propositions in them with those which originate in readers’ supplied contexts; and since the contexts of readers consist, first and foremost, of their background knowledge, beliefs, and culture, which are fundamentally interrelated, interpretation is inevitably determined by extralinguistic as well as linguistic factors. The context model might be represented as shown in figure 2. Click for larger view View full resolutionFigure 2.W = writer, N = narrator, R = reader.[End Page 81]The Extralinguistic ContextA good example of the role played by extralinguistic contexts in the interpretation of a text is to be found in the multiple interpretations of the sentence “The red sun was pasted in the sky like a wafer,” from Stephen Crane’s The Red Badge of Courage [64]. Susan Horton, in her discussion of accounts of this sentence [10–14], shows both how R. W. Stallman interprets Crane’s antiwar fiction as a Christian allegory where the word “wafer” functions as a symbol of the Eucharist [130], and how Marston La France rejects Stallman’s interpretation on the basis that Crane is not a Christian, and certainly not a Catholic [99–100]. La France’s rejection of Stallman’s Christian context for atheism is rooted in his interpretation of the sun as a repeated image in the co-text, which he believes signifies nature’s indifference to death, war and heroism. Here the lexemes “pasted” and “wafer” become images of a seal at the end of a legal document, implying the finality of death in war. Milne Holton interprets the image of the sun as a characteristic of the symbolic imagination of the character Henry Fleming rather than of the writer (Crane) [90–91].Horton documents but does not theorize the determining features of these contexts, but this problem can be tackled by applying Marcello Pagnini’s theory of “the introjection of the referent” [9] to explain how the contextual semes of readers, determined by different cultural systems, are introjected into texts. Following Jurij M. Lotman’s typology of cultural systems [Lotman and Uspenskij], Pagnini cites as relevant systems ethics, ideology, history, philosophy, myth, the law, anthropology, politics, ethnicity, literature, aesthetics, psychology, rhetoric and symbolism [34], which represent fundamentally interrelated complexes of systems that make up societies. If Pagnini’s model is taken with that of Richards [267], which conceives of interpretation as a synthesis of propositional inferences in texts with those drawn from readers’ contexts, these two models provide a methodological basis for explaining how the contexts of Stallman’s and La France’s conflicting interpretations derive from philosophically opposed belief systems within culture—Christianity and atheism. These models also help to explain Holton’s interpretation as one located within a different philosophical context, that of the convention of character analysis in fiction, which during the last few decades has developed into the more theoretically sophisticated field of narratology. It should be stressed, however, that interpretations themselves always take place within historical and interactive frameworks, which are influenced... (shrink)

John Searle and I agree about many important aspects about individual speech acts within fiction. I hope to reduce the area of disagreement by explaining how much work an analysis of fiction as linguistic behavior can do to solve the problems of truth and reference in fiction. The elements of the analysis include a concept of suspending H. P. Grice’s maxims of conversation, a view about criteria for the application of words and concepts, and the acceptance (...) of institutions and institutional facts. (shrink)

In this paper, I shall examine two types of assertions in literary narrative fiction: direct assertions and those I call literary assertions. Direct assertions put forward propositions on a literal level and function as the author’s assertions even if detached from their original context and applied in so-called ordinary discourse. Literary assertions, in turn, intertwine with the fictional discourse: they may be, for instance, uttered by a fictional character or refer to fictitious objects and yet convey the author’s genuine (...) assertions. The structure of the paper is twofold. The first, descriptive part is a question–answer type of discussion in which I shall introduce general philosophical arguments against assertions in fiction and present counter-arguments to them, paving the road to my account of literary assertions. In the second, argumentative part, in turn, I shall examine the nature of literary assertions, such as their semantic and ‘aspectival’ characteristics and their peculiar illocutionary force as well as the reader’s stance toward them. (shrink)

Reference and Existence, Saul Kripke's John Locke Lectures for 1973, can be read as a sequel to his classic Naming and Necessity. It confronts important issues left open in that work -- among them, the semantics of proper names and natural kind terms as they occur in fiction and in myth; negative existential statements; the ontology of fiction and myth. In treating these questions, he makes a number of methodological observations that go beyond the framework of his (...) earlier book -- including the striking claim that fiction cannot provide a test for theories of reference and naming. In addition, these lectures provide a glimpse into the transition to the pragmatics of singular reference that dominated his influential paper, " Speaker's Reference and Semantic Reference " -- a paper that helped reorient linguistic and philosophical semantics. Some of the themes have been worked out in later writings by other philosophers -- many influenced by typescripts of the lectures in circulation -- but none have approached the careful, systematic treatment provided here. The virtuosity of Naming and Necessity -- the colloquial ease of the tone, the dazzling, on-the-spot formulations, the logical structure of the overall view gradually emerging over the course of the lectures -- is on display here as well. (shrink)

There is widespread agreement among philosophers that we refer to, think or talk about non-existent objects in much the same way as we refer to, think or talk about other objects. This paper explores the case of objects of fiction in the perspective of Husserlian philosophical phenomenology. In this perspective, everything objective is dealt with as object of some consciousness and as presenting itself in subjective modes. Within the scope of this paper, the focus of the descriptive analysis will (...) be on showing in some detail how conscious experiences of intentionally referring to something fictive in pre-linguistic intuitive acts of imagining something are to be articulated with regard to the object of consciousness, i.e. noematically, and with regard to the intentional act, i.e. noetically. Special attention will be given to the reflective finding of some consciousness being intentionally implied and thereby modified in the very performance of an intentional act of representifying (vergegenwärtigen) something in fiction and to the question of identity and individuation of objects in fiction. It will be argued that modifications occurring in representificational consciousness, which Husserl called ‘as-if’ or ‘quasi’ modifications, provide the key for understanding the phenomenology of fictional intentionality and reference. (shrink)

Beyond Reference and Designation: On Interactive Implications of the Pronoun I in English Using English-language material the paper aims to elaborate a theoretical model for the study of personal pronouns which could account for those uses of pronouns that go beyond their typical deictic function of indicating speech-event participants. The proposed analysis focuses on the following two usage types of the pronoun I: I say, there are lots of places to see there; I tell you, John is the one (...) to rely on. It is argued that despite idiomatic boundedness of the pronoun I in the expressions I say and I tell you the pronoun does contribute to the pragmatic effects of the utterances in and, namely, the effects of attention seeking and persuasion respectively. It is assumed that these effects could be attributed to interactive implications of the pronoun I that typically emerge in situations of dialogic discourse. To account for interactive orientedness of the first-person pronoun the paper puts forward two interrelated hypotheses. First, it is supposed that the first-person pronoun functions as a sign which is indexed to four regular contexts: referential context, perceptual context, the context of the speaker's subjective experiences, the context of interaction. Second, it is hypothesized that interactive implications of the pronoun I are introduced into oral discourse due to the interplay of two or more of the postulated contexts. Both hypotheses are further substantiated with reference to examples of oral discourse drawn from English-language fiction. (shrink)

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)

It is usually taken for granted, in discussions about fiction, that real things or events can occur as referents of fictional names . In this paper, I take issue with this view, and provide several arguments to the effect that it is better to take the names in fiction to refer to fictional surrogates of real objects. Doing so allows us to solve a series of problems that arise on the reference-continuity view. I also show that the (...) arguments philosophers usually rely on in order to ban surrogates are not as serious as they have been taken to be. In the first part of the paper, I describe the two conflicting views. In the second part, I discuss several specific arguments in favor of surrogates. In the third part I take up the kind of reasons ordinarily offered against them. (shrink)

This article is a critical review of Cocchiarella’s theory of reference. In conceptual realism, there are two central distinctions regarding reference: first, between active and deactivated use of referential expressions, and, second, between using referential expressions with and without existential presupposition. Cocchiarella’s normative restrictions on the existential presuppositions of reference lead to postulating two fundamentally different kinds of objects in conceptual realism: realia or concrete objects, on the one hand, and abstract intensional objects or nonexistents, on the (...) other. According to Cocchiarella, nonexistents can be referred to only without existential presuppositions. However, referring to nonexistents with existential presuppositions is an ordinary human practice. To account for this fact, Cocchiarella’s normative theory of reference should be supplemented by a descriptive account of referring. (shrink)

I investigate statements in fiction that ‘break the fourth wall’ (i.e. statements through which a fictional character somehow acknowledges the fictionality of their world) and suggest that they are a mirror image of ‘parafictional statements’—that is, reports on what is true in some fiction. I explore two possible analyses, according to which statements that break the fourth wall are either a type of fictional statement, or are a type of metafictional statement, and propose a synthesis of these two (...) analyses. I discuss how the proposed analysis relates to different interpretative strategies for dealing with inconsistency in fiction and discuss several potential counterexamples to the proposed analysis. (shrink)

Reference is a central topic in philosophy of language, and has been the main focus of discussion about how language relates to the world. R. M. Sainsbury sets out a new approach to the concept, which promises to bring to an end some long-standing debates in semantic theory.There is a single category of referring expressions, all of which deserve essentially the same kind of semantic treatment. Included in this category are both singular and plural referring expressions, complex and non-complex (...) referring expressions, and empty and non-empty referring expressions. Referring expressions are to be described semantically by a reference condition, rather than by being associated with a referent. In arguing for these theses, Sainsbury's book promises to end the fruitless oscillation between Millian and descriptivist views. Millian views insist that every name has a referent, and find it hard to give a good account of names which appear not to have referents, or at least are not known to do so, like ones introduced through error, ones where it is disputed whether they have a bearer and ones used in fiction. Descriptivist theories require that each name be associated with some body of information. These theories fly in the face of the fact names are useful precisely because there is often no overlap of information among speakers and hearers. The alternative position for which the book argues is firmly non-descriptivist, though it also does not require a referent. A much broader view can be taken of which expressions are referring expressions: not just names and pronouns used demonstratively, but also some complex expressions and some anaphoric uses of pronouns.Sainsbury's approach brings reference into line with truth: no one would think that a semantic theory should associate a sentence with a truth value, but it is commonly held that a semantic theory should associate a sentence with a truth condition, a condition which an arbitrary state of the world would have to satisfy in order to make the sentence true. The right analogy is that a semantic theory should associate a referring expression with a reference condition, a condition which an arbitrary object would have to satisfy in order to be the expression's referent.Lucid and accessible, and written with a minimum of technicality, Sainsbury's book also includes a useful historical survey. It will be of interest to those working in logic, mind, and metaphysics as well as essential reading for philosophers of language. (shrink)

The dialogue being a form of communication represents a dynamic structure. Speech communication analysis is mostly based on the material of spontaneous dialogue, but it can be analyzed on the material of a fiction dialogue as well. The fiction dialogue appears to be the product of one of the most complicated types of communication. It refers to fiction and literature and its subjects are the author, the readers and the characters. The functional-communicative approach in the analysis of (...) a fiction dialogue reveals new possibilities for the communicative analysis of the communicative behavior of a certain character. The article deals with the description of the dialogue function in the stories by V. M. Shukshin. The specificity of the artistic dialogues is defined by its aesthetic function. The dramatic category becomes the principle of V. M. Shukshin’s poetics. Verbal and visual form created by the writer is a peculiarity of his artistic system. Polyfunctionality of the dialogues in Shukshin’s stories determines his dominant, text forming function. The dialogue in this case possesses a high level of informativeness: it moves the action, develops the plot, exposes the interrelation between the characters thus defining their behaviour. The test of the characters in Shukshin’s works is made by means of dialogues, that’s why the characterological function is very important. It represents an essential feature of the writer’s prose style. The dialogue is a means of modeling the ‘speech mask‘ that reflects the peculiarities of speech behavior of Shukshin’s characters. In Shukshin’s stories, the dialogue performs an evaluating function as it gives the opportunity to deliver some evaluating positions. The evaluating position is the perception and evaluation of the depicted objects by the author and actors. It’s the dialogues that expose the Shukshin’s characters’ peculiarities of the worldview, ethics and values. (shrink)

In DR Congo, there is a proliferation of fictions and spoken word texts that addresses aspects of the on-going conflict. Fiction in Congo does not concern itself with the rules of literary orthodoxy (verisimilitude, linguistic correctness, references), nor does it rely on the existence of a literary and editorial system that is structured and operating to guarantee a predetermined readership. Its main objective is to express emotions in an aesthetic way that touches the hearts of readers and spectators. However, (...) the primary motivation for these proliferating literary initiatives is to resonate in the social space of the place from which they originate. In this respect, the productions examined here are ordinary aesthetic creations distilled through the alembic of everyday existence. Beginning with the observation of a profusion of love stories in the literature produced in the Congo during the last quarter-century, I demonstrate how the particular orientation of these contemporary love fictions responds to societal objectives regarding social cohesion and crisis management, particularly the call for resilience. I then analyse how the issues involved in this injunction are related to care, which is presented as the only possible, acceptable, and even desirable path in this context of violence. (shrink)

Resumen El lamento por el fin de la utopía que expresa la novela futurista, Cría terminal (2014), expone la crisis de un ideal ético: la pérdida de la posibilidad de un mundo mejor. Las bases del contrato moral implícitas en la amenaza de su disolución en un futuro cercano serán el objeto de indagación de este trabajo, que toma a la filosofía de Hans Jonas como principal referencia teórica. Se buscará, por consiguiente, precisar la relación entre la barbarización de la (...) cultura (con sus comportamientos y personajes modélicos) y los procesos económico-políticos tendientes a la dominación biotecnológica del medio humano. La perspectiva modalizadora de la acción y la intriga narrativas y su adecuación a un interés de tipo ético por establecer un modelo de vida óptimo para la sociedad, defraudado por la civilización técnica del futuro, serán motivo de análisis. Abstract The lament for the end of utopia which expresses the futuristic novel, Cría Terminal (2014), exposes the crisis of an ethical ideal: the loss of the possibility of a better world. The bases of the moral contract implicit in the threat of its dissolution in the near future will be the object of investigation of this work, which considers the philosophy of Hans Jonas as the main theoretical reference. Therefore, it will be sought to specify the relationship between the barbarization of culture (with its exemplary behaviors and characters) and the economic-political processes tending to the biotechnological domination of the human environment. The modalizing perspective of the narrative action and intrigue and its adaptation to an ethical interest in establishing an optimal life model for society, disappointed by the technical civilization of the future, will be the subject of analysis. (shrink)

The paper provides an opinionated survey of recent contributions – roughly, in the last decade – to our understanding of how names and other referring expressions work in fictional discourse and addresses well-known philosophical worries that they raise. Views about the semantics of referring expressions in fictional discourse are usually accompanied by metaphysical views on the ontology of fictional characters, so this will also come under our focus.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 31.1 (2007) 189-196MuseSearchJournalsThis JournalContents[Access article in PDF]Fiction and Theory of Mind: An ExchangeLisa Zunshine University of KentuckyBrian Boyd's review of my new book, Why We Read Fiction: Theory of Mind and the Novel (Ohio State University Press, 2006) engages a large variety of issues.1 I would like to address an important question about the integration of scientific methodology with literary analysis suggested by Boyd's (...) discussion.2 As I argue below, two different perspectives of this integration may mark two different—indeed, incompatible—ways of formulating the disciplinary goals and philosophy of the new field of cognitive literary theory.Why We Read Fiction makes a case for admitting the recent findings of cognitive psychologists into literary studies by showing how their research into the ability to explain behavior in terms of the underlying states of mind can furnish us with a series of surprising insights into our interaction with literary texts. Using as my case studies novels ranging from Richardson's Clarissa, Dostoyevsky's Crime and Punishment, and Austen's Pride and Prejudice to Woolf's Mrs. Dalloway, Nabokov's Lolita, and Hammett's The Maltese Falcon, I advance and explore a series of hypotheses about cognitive cravings that are satisfied—and created!—when we read fiction.Although my study draws on the already well-established as well as forthcoming work of numerous cognitive scientists (including Simon Baron-Cohen, Clark H. Barrett, Richard Byrne and Andrew Whiten, Leda Cosmides and John Tooby, Christopher Frith, Uta Frith, Paul Bloom, Susan Carey and Elizabeth Spelke, Peter Carruthers, Andy Clark, Antonio Damasio, Daniel Dennett, Alison Gopnik, Francesca Happe, Paul [End Page 189] Harris, Lawrence Hirschfeld, Stanley Klein, Alan Leslie, Andrew Meltzoff, Robert Mitchell, Keith Oatley, Gloria Origgi, Oliver Sacks, Dan Sperber, James Stiller, and Endel Tulving), it makes a point of being accessible to non-specialist readers. Cognitive science can be incredibly complicated and so can literary criticism, but I wanted to write a book on cognitive literary theory that does not scare anybody away with unnecessary jargon, knotty sentences, and overlong quotations. (Ironically, I must have succeeded too well in making my book reader-friendly and tucking my references in the endnotes since Boyd observes that I rely on only "a few findings" of cognitive scientists in my discussion.)The book consists of three parts. The first part, "Attributing Minds," introduces the first key theoretical concept of this book: mind-reading, also known as Theory of Mind. Drawing on the work of Simon Baron-Cohen (Mindblindness: An Essay on Autism and Theory of Mind), I suggest that fiction engages, teases, and pushes to its tentative limits our mind-reading capacity. Building on the recent research of Robin Dunbar and his colleagues, I then consider one particular aspect of Woolf's prose as an example of spectacular literary experimentation with our Theory of Mind. Finally, I turn to Steven Pinker's controversial analysis of Woolf in The Blank Slate to discuss the possibilities of a more profitable dialogue between cognitive science and literary studies.Of particular importance to this part of my argument is my belief that fictional narratives endlessly experiment with rather than automatically execute our evolved cognitive adaptations. When cognitive scientists succeed in isolating a certain regularity of our information-processing—for example, a constraint on the number of mutually reflecting minds that we can process with ease—we can take that constraint and see how it plays itself out in a fictional narrative. What we discover is that where there is a cognitive constraint, there is a "guarantee" of sorts that writers will intuitively experiment in the direction of challenging that constraint, probing and poking it and getting around it. The exact forms of such probing and poking will depend on specific cultural circumstances, including the mind-reading profiles of individual writers and their readers. The cognitive "limits" thus present us with creative openings rather than with a promise of stagnation and endless replication of established forms. This realization marks the possibility of a genuine interaction between cognitive psychology and... (shrink)

In this paper we defend a direct reference theory of names. We maintain that the meaning of a name is its bearer. In the case of vacuous names, there is no bearer and they have no meaning. We develop a unified theory of names such that one theory applies to names whether they occur within or outside fiction. Hence, we apply our theory to sentences containing names within fiction, sentences about fiction or sentences making comparisons across (...) fictions. We then defend our theory against objections and compare our view to the views of Currie, Walton, and others. (shrink)