Online research in philosophy

In this paper, I shall sketch a preliminary ground for a cognitivist theory of fiction and argue that theories which align fiction-making with (aesthetically valuable) story-telling consider the act of fiction-making too narrowly. As a paradigmatic example of such anti-cognitivist theories, I shall examine Peter Lamarque and Stein Haugom Olsen’s influential theory of fiction, which suggests that recognizing the author’s fictive and literary intentions manifested in the text would lead to dismissing her aims to make genuine claims and suggestions. I shall illustrate my argument concerning the act of fiction-making by showing that there are sub-genres of fiction, for instance, so-called philosophical fiction, in which the author’s intention to advance genuine points and to invite the reader to entertain the beliefs expressed can reasonably be argued to be as important for understanding the work as is her aim to create an aesthetically valuable and/or entertaining fictional narrative. Leaning on Noël Carroll’s theory of literary thought experiments, I shall suggest that philosophical fictions convey assertions or suggestions in a way similar to philosophers’ fictional thought experiments and are aimed to be understood as such.

In this paper I will argue that a profile of the pseudo-sciences can be gained from the scientific pretensions of the pseudo-scientist. These pretensions provide two yardsticks which together take care of the charge of scientific prejudice that any suggested demarcation of pseudo-science has to face. To demonstrate that my analysis has teeth I will apply it to Freud and modern-day Bach-kabbalists. Against Laudan I will argue that the problem of demarcation is not a pseudo-problem, though the discussion will bear out that Laudan's replacement question, namely the question whether someone's theory is well-confirmed, is not, as Lugg claimed, independent of the question as to whether that person is a pseudo-scientist. I further argue that my prototype pseudo-scientists do not have the shortcomings highlighted in Thagard's recent analysis of pseudo-science.

When philosophers make claims of the form “Fs are fictions”, what they say is often ambiguous in a crucial way. On one way of understanding it, it has clear ontological implications: there are not really any such things as Fs. But there is also a different, non-ontological way of understanding the claim: as merely asserting that F-assertions are normally made in a fictional spirit. Clearly one can hold that we normally make statements about Fs in a fictional spirit while also holding that we would still express truths if we were to make literal statements about Fs. Let ontological fictionalism about F-discourse be the thesis that Fs do not really exist but only exist in fictions. Let linguistic fictionalism about F-discourse be the thesis that we normally make F- statements in a fictional spirit. (Throughout when talking about (linguistic) fictionalism I shall mean hermeneutic fictionalism: fictionalism considered as a thesis about actual discourse, to the effect that we actually do make statements belonging to the discourse in a fictional spirit. Contrast: revolutionary fictionalism, which proposes that we should make statements belonging to the discourse in a fictional spirit.1).

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.