Fictional Characters Edited by Jukka Mikkonen (University of Tampere)

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  • Fred Adams, Gary Fuller & Robert Stecker (1997). The Semantics of Fictional Names. Pacific Philosophical Quarterly 78 (2):128–148.
    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 (...)
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  • Jay E. Bachrach (1991). Fictional Objects in Literature and Mental Representations. British Journal of Aesthetics 31 (2).
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  • H. Gene Blocker (1974). The Truth About Fictional Entities. Philosophical Quarterly 24 (94):27-36.
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  • Paul Bloom, What Does Batman Think About Spongebob? Children's Understanding of the Fantasy/Fantasy Distinction.
    Young children reliably distinguish reality from fantasy; they know that their friends are real and that Batman is not. But it is an open question whether they appreciate, as adults do, that there are multiple fantasy worlds. We test this by asking children and adults about fictional characters’ beliefs about other characters who exist either within the same world (e.g., Batman and Robin) or in different worlds (e.g., Batman and SpongeBob). Study 1 found that although both adults and young children (...)
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  • Stuart Brock (2002). Fictionalism About Fictional Characters. Noûs 36 (1):1–21.
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  • Ralph W. Clark (1980). Fictional Entities: Talking About Them and Having Feelings About Them. Philosophical Studies 38 (4).
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  • David Conter (1991). Fictional Names and Narrating Characters. Australasian Journal of Philosophy 69 (3):319 – 328.
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  • Gregory Currie (1997). On Being Fictional. Journal of Aesthetics and Art Criticism 55 (4):425-427.
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  • Gregory Currie (1988). Fictional Names. Australasian Journal of Philosophy 66 (4):471 – 488.
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  • Gregory Currle (2003). Characters and Contingency. Dialectica 57 (2):137–148.
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  • Francis W. Dauer (1995). The Nature of Fictional Characters and the Referential Fallacy. Journal of Aesthetics and Art Criticism 53 (1):31-38.
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  • Stacie Friend (forthcoming). The Great Beetle Debate: A Study in Imagining with Names. Philosophical Studies.
    Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...)
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  • Stacie Friend (2007). Fictional Characters. Philosophy Compass 2 (2):141–156.
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  • Jeffrey Goodman (2004). A Defense of Creationism in Fiction. Grazer Philosophische Studien 67 (1):131-155.
    Creationism is the conjunction of the following theses: (i) fictional individuals (e.g. Sherlock Holmes) actually exist; (ii) fictional names (e.g., 'Holmes') are at least sometimes genuinely referential; (iii) fictional individuals are the creations of the authors who first wrote (or spoke, etc.) about them. CA Creationism is the conjunction of (i) - (iii) and the following thesis: (iv) fictional individuals are contingently existing abstracta; they are non-concrete artifacts of our world and various other possible worlds. TakashiYagisawa has recently provided a (...)
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  • R. Hanley (2003). Much Ado About Nothing: Critical Realism Examined. Philosophical Studies 115 (2).
    Critical realism is the view that fictional characters arecontingent, actual, abstract individuals, ontologically on a par with such things as plots and rhyme schemes, andquantified over in statements such as A character inHamlet is a prince. A strong contender for thecorrect account of fictional characters, critical realismnevertheless has difficulty satisfying all that we intuitivelyrequire of such an account.
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  • Dan Haybron, Evil Characters.
    In this paper I examine the psychological traits that can play a constitutive role in having an evil character, using a recent affect-based account by Colin McGinn as my starting point. I distinguish several such traits and defend the importance of both affect and action-based approaches. I then argue that someone who possesses these characteristics to the greatest possible extent—the purely evil individual—can actually be less depraved than one whose character is not so thoroughly penetrated by such traits. To illustrate (...)
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  • Michael Hicks (forthcoming). A Note on Pretense and Co-Reference. Philosophical Studies.
    Anna Pautz has recently argued that the pretense theory of thought about fiction cannot explain how two people can count as thinking about the same fictional character. This is based on conflating pretending and the serious thought that can be based on pretend. With this distinction in place, her objections are groundless.
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  • Alec Hyslop (1986). Emotions and Fictional Characters. Australasian Journal of Philosophy 64 (3):289 – 297.
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  • Andrew Kania (2005). Against the Ubiquity of Fictional Narrators. Journal of Aesthetics and Art Criticism 63 (1):47–54.
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  • Peter Lamarque (1984). Bits and Pieces of Fiction. British Journal of Aesthetics 24 (1).
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  • Roger Lamb (1990). Currie on Fictional Names. Australasian Journal of Philosophy 68 (1):113 – 115.
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  • Peter Ludlow (2006). From Sherlock and Buffy to Klingon and Norrathian Platinum Pieces: Pretense, Contextalism, and the Myth of Fiction. Philosophical Issues 16 (1):162–183.
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  • Alan Paskow (2004). The Paradoxes of Art: A Phenomenological Investigation. Cambridge University Press.
    In this study, Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they emotionally affect us. He then applies these questions to painting, demonstrating that certain paintings beckon us to view their contents as real. What we visualise in paintings, he argues, is not simply in our heads but in our world. No one would assert that the paintings themselves are in our heads; nor would anyone deny that they are in (...)
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  • Stefano Predelli (2002). 'Holmes'and Holmes—a Millian Analysis of Names From Fiction. Dialectica 56 (3):261–279.
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  • Colin Radford (2000). Neuroscience and Anna; a Reply to Glenn Hartz. Philosophy 75 (3):437-440.
    Glen Hartz argues, that neuroscience reveals that persons moved or frightened by fictional characters believe that they are real, so such behaviour is not irrational. But these beliefs, if they exist, are not rational and, in any case inconsistent with our conscious rational beliefs that fictional characters are not real. So his argument fails to establish that we are not irrational or incoherent when moved or frightened by such characters. It powerfully reinforces the contrary view.
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  • Aaron Smuts (2009). Art and Negative Affect. Philosophy Compass 4 (1):39-55.
    Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to the (...)
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  • Laurent Stern (1965). Fictional Characters, Places, and Events. Philosophy and Phenomenological Research 26 (2):202-215.
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  • Amie Thomasson, Fictional Entities.
    The first question to be addressed about fictional entities is: are there any? The usual grounds given for accepting or rejecting the view that there are fictional entities come from linguistic considerations. We make many different sorts of claims about fictional characters in our literary discussions. How can we account for their apparent truth? Does doing so require that we allow that there are fictional characters we can refer to, or can we offer equally good analyses while denying that there (...)
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  • Amie L. Thomasson (2003). Speaking of Fictional Characters. Dialectica 57 (2):205–223.
    The challenge of handling fictional discourse is to find the best way to resolve the apparent inconsistencies in our ways of speaking about fiction. A promising approach is to take at least some such discourse to involve pretense, but does all fictional discourse involve pretense? I will argue that a better, less revisionary, solution is to take internal and fictionalizing discourse to involve pretense, while allowing that in external critical discourse, fictional names are used seriously to refer to fictional characters. (...)
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  • Amie L. Thomasson (2003). Fictional Characters and Literary Practices. British Journal of Aesthetics 43 (2).
    I argue that the ontological status of fictional characters is determined by the beliefs and practices of those who competently deal with works of literature, and draw out three important consequences of this. First, heavily revisionary theories cannot be considered as ‘discoveries’ about the ‘true nature’ of fictional characters; any acceptable realist theory of fiction must preserve all or most of the common conception of fictional characters. Second, once we note that the existence conditions for fictional characters (established by those (...)
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  • Amie L. Thomasson (1999). Fiction and Metaphysics. Cambridge University Press.
    This challenging study places fiction squarely at the center of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to understand how (...)
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  • Massimiliano Vignolo (2009). Pleonastic Entities: Fictional Characters and Propositions. Philosophical Investigations 32 (1):65-78.
    Stephen Schiffer holds that propositions are pleonastic entities. I will argue that there is a substantial difference between propositions and fictional characters, which Schiffer presents as typical pleonastic entities. My conclusion will be that if fictional characters are typical pleonastic entities, then Schiffer fails to show that propositions are pleonastic entities.
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  • Alberto Voltolini (2003). How Fictional Works Are Related to Fictional Entities. Dialectica 57 (2):225–238.
    The paper attempts at yielding a language-independent argument in favour of fictional entities, that is, an argument providing genuinely ontological reasons in favour of such entities. According to this argument, ficta are indispensable insofar as they are involved in the identity conditions of semantically-based entities we ordinarily accept, i.e. fictional works. It will also be evaluated to what extent this argument is close to other arguments recently provided to the same purpose.
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  • Thomas E. Wartenberg (2007). Need There Be Implicit Narrators of Literary Fictions? Philosophical Studies 135 (1).
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  • Takashi Yagisawa, Against Creationism in Fiction.
    Sherlock Holmes is a fictional individual. So is his favorite pipe. Our pre-theoretical intuition says that neither of them is real. It says that neither of them really, or actually, exists. It also says that there is a sense in which they do exist, namely, a sense in which they exist “in the world of” the Sherlock Holmes stories. Our pre-theoretical intuition says in general of any fictional individual that it does not actually exist but exists “in the world of” (...)
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  • Edward N. Zalta (2003). Referring to Fictional Characters. Dialectica 57 (2):243–254.
    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 (...)
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