Search results for 'Fictionality' (try it on Scholar)

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  1.  11
    Lee Walters (forthcoming). Fictionality and Imagination, Revisited. Journal of Aesthetics and Art Criticism.
    I present and discuss a counterexample to Kendall Walton's necessary condition for fictionality that arises from considering serial fictions. I argue that although Walton's has not in fact provided a necessary condition for fictionality, a more complex version of Walton’s condition is immune from the counterexample.
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  2.  9
    Richard Woodward (2016). Fictionality and Photography. Journal of Aesthetics and Art Criticism 74 (3):279-289.
    In Mimesis as Make-Believe, Kendall Walton gave a pioneering account of the nature of fictionality, which holds that what it is for p to be fictional is for there to exist a prescription to imagine that p. But Walton has recently distanced himself from his original analysis and now holds that prescriptions to imagine are merely necessary conditions on fictionality. Many of the alleged counterexamples that have prompted Walton's retreat are drawn from the field of photography, and it (...)
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  3.  36
    Richard Woodward (2014). Walton on Fictionality. Philosophy Compass 9 (12):825-836.
    This paper provides an overview of the account of fictionality — i.e. the phenomenon of things being true “in” or “according to” fictions — that lies at the heart of Kendall Walton's account of representational art. Walton's central idea is that what it is for a proposition to be fictional is for there to be a prescription to imagine that proposition. As we shall see, however, properly understanding this proposal requires an antecedent grasp of Walton's picture of games of (...)
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  4.  65
    Peter Alward, Speech Acts and Fictionality.
    A common approach to drawing boundary between fiction and non-fiction is by appeal to the kinds of speech acts performed by authors of works of the respective categories. Searle, for example, takes fiction to be the product of illocutionary pretense of various kinds on the part of authors and non-fiction to be the product of genuine illocutionary action.1 Currie, in contrast, takes fiction to be the product of sui generis fictional illocutionary action on the part of authors and non-fiction to (...)
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  5. Eva Kushner (1996). The Renaissance Dialogue and Its Zero-Degree Fictionality. In Calin Andrei Mihailescu & Walid Hamarneh (eds.), Fiction Updated: Theories of Fictionality, Narratology, and Poetics. University of Toronto Press 165--72.
     
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  6.  40
    Mikhail G. Katz & David Sherry (2013). Leibniz's Infinitesimals: Their Fictionality, Their Modern Implementations, and Their Foes From Berkeley to Russell and Beyond. [REVIEW] Erkenntnis 78 (3):571-625.
    Many historians of the calculus deny significant continuity between infinitesimal calculus of the seventeenth century and twentieth century developments such as Robinson’s theory. Robinson’s hyperreals, while providing a consistent theory of infinitesimals, require the resources of modern logic; thus many commentators are comfortable denying a historical continuity. A notable exception is Robinson himself, whose identification with the Leibnizian tradition inspired Lakatos, Laugwitz, and others to consider the history of the infinitesimal in a more favorable light. Inspite of his Leibnizian sympathies, (...)
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  7.  24
    David Davies (2015). Fictive Utterance and the Fictionality of Narratives and Works. British Journal of Aesthetics 55 (1):39-55.
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  8.  92
    John Dilworth (2002). The Fictionality of Plays. Journal of Aesthetics and Art Criticism 60 (3):263–273.
    The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...)
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  9.  4
    Sasha-Mae Eccleston (forthcoming). Novel Fictionality. K. Ní Mheallaigh Reading Fiction with Lucian. Fakes, Freaks and Hyperreality. Pp. XII + 305. Cambridge: Cambridge University Press, 2014. Cased, £65, Us$99. Isbn: 978-1-107-07933-5. [REVIEW] The Classical Review:1-3.
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  10.  5
    Nils-Hennes Stear (2015). Imaginative and Fictionality Failure: A Normative Approach. Philosophers' Imprint 15 (34).
    If a work of literary fiction prescribes us to imagine that the Devil made a bet with God and transformed into a poodle, then that claim is true in the fiction and we imagine accordingly. Generally, we cooperate imaginatively with literary fictions, however bizarre, and the things authors write into their stories become true in the fiction. But for some claims, such as moral falsehoods, this seems not to be straightforwardly the case, which raises the question: Why not? The puzzles (...)
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  11.  9
    John Woods (1969). Fictionality and the Logic of Relations. Southern Journal of Philosophy 7 (1):51-63.
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  12.  30
    Kendall L. Walton (1983). Fiction, Fiction-Making, and Styles of Fictionality. Philosophy and Literature 7 (1):78-88.
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  13.  30
    R. Haller (1989). Incompleteness and Fictionality in Meinong's Object Theory. Topoi 8 (1):63-70.
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  14.  16
    Peter Alward (2010). Word-Sculpture, Speech Acts, and Fictionality. Journal of Aesthetics and Art Criticism 68 (4):389-399.
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  15.  6
    Matthieu Fontaine & Shahid Rahman (2010). Fiction, Creation and Fictionality : An Overview. Methodos 10.
    La réflexion philosophique sur la non-existence est une thématique qui a été abordée au commencement même de la philosophie et qui suscite, depuis la publication en 1905 de « On Denoting » par Russell, les plus vifs débats en philosophie analytique. Cependant, le débat féroce sur la sémantique des noms propres et des descriptions définies qui surgirent suite à la publication du « On Referring » par Strawson en 1950 n’engagea pas d’étude systématique de la sémantique des fictions. En fait, (...)
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  16. Zoltán Kanyó (ed.) (1984). Fictionality. Jate Sokszorosit Ó Üzemében.
     
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  17. Calin Andrei Mihailescu & Walid Hamarneh (eds.) (1996). Fiction Updated: Theories of Fictionality, Narratology, and Poetics. University of Toronto Press.
     
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  18. Ingela Nilsson (2016). Panagiotis Roilos, Ed.,Medieval Greek Storytelling: Fictionality and Narrative in Byzantium. Wiesbaden: Harrassowitz, 2014. Pp. 260; 11 Black-and-White Figures, 1 Diagram, and 19 Tables. €74. ISBN: 978-3-447-10105-9.Table of Contents Available Online at Http://Www.Harrassowitz-Verlag.De/Dzo/Artikel/201/168_201.Pdf?T=1415196997. [REVIEW] Speculum 91 (1):250-252.
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  19. Shen-yi Liao, Nina Strohminger & Chandra Sekhar Sripada (2014). Empirically Investigating Imaginative Resistance. British Journal of Aesthetics 54 (3):339-355.
    Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...)
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  20. Tamar Szabó Gendler & Shen-yi Liao (2016). The Problem of Imaginative Resistance. In John Gibson & Noël Carroll (eds.), The Routledge Companion to Philosophy of Literature. Routledge 405-418.
    The problem of imaginative resistance holds interest for aestheticians, literary theorists, ethicists, philosophers of mind, and epistemologists. We present a somewhat opinionated overview of the philosophical discussion to date. We begin by introducing the phenomenon of imaginative resistance. We then review existing responses to the problem, giving special attention to recent research directions. Finally, we consider the philosophical significance that imaginative resistance has—or, at least, is alleged to have—for issues in moral psychology, theories of cognitive architecture, and modal epistemology.
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  21. David Lewis (1978). Truth in Fiction. American Philosophical Quarterly 15 (1):37--46.
    It is advisable to treat some sorts of discourse about fiction with the aid of an intensional operator "in such-And-Such fiction...." the operator may appear either explicitly or tacitly. It may be analyzed in terms of similarity of worlds, As follows: "in the fiction f, A" means that a is true in those of the worlds where f is told as known fact rather than fiction that differ least from our world, Or from the belief worlds of the community in (...)
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  22. Stacie Friend (2008). Imagining Fact and Fiction. In Kathleen Stock & Katherine Thomsen-Jones (eds.), New Waves in Aesthetics. Palgrave Macmillan 150-169.
  23. Gregory Currie (1990). The Nature of Fiction. Cambridge University Press.
    This important new book provides a theory about the nature of fiction, and about the relation between the author, the reader, and the fictional text.
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  24. Shen-yi Liao (2016). Imaginative Resistance, Narrative Engagement, Genre. Res Philosophica 93 (2):461-482.
    Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.
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  25. Brian Weatherson (2004). Morality, Fiction, and Possibility. Philosophers' Imprint 4 (3):1-27.
    Authors have a lot of leeway with regard to what they can make true in their story. In general, if the author says that p is true in the fiction we’re reading, we believe that p is true in that fiction. And if we’re playing along with the fictional game, we imagine that, along with everything else in the story, p is true. But there are exceptions to these general principles. Many authors, most notably Kendall Walton and Tamar Szabó Gendler, (...)
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  26. Kendall Lewis Walton (1994/2015). Morals in Fiction and Fictional Morality (I). Proceedings of the Aristotelian Society 68:27-50.
  27.  57
    Venanzio Raspa (2006). Fictional and Aesthetic Objects: Meinong’s Point of View. In A. Bottani & R. Davies (eds.), Modes of Existence. Papers in Ontology and Philosophical Logic. Ontos Verlag 47-80.
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  28. Cain Samuel Todd (2009). Imaginability, Morality, and Fictional Truth: Dissolving the Puzzle of 'Imaginative Resistance'. Philosophical Studies 143 (2):187-211.
    This paper argues that there is no genuine puzzle of ‘imaginative resistance’. In part 1 of the paper I argue that the imaginability of fictional propositions is relative to a range of different factors including the ‘thickness’ of certain concepts, and certain pre-theoretical and theoretical commitments. I suggest that those holding realist moral commitments may be more susceptible to resistance and inability than those holding non-realist commitments, and that it is such realist commitments that ultimately motivate the problem. However, I (...)
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  29. Derek Matravers (2003). Fictional Assent and the (so-Called) `Puzzle of Imaginative Resistance'. In Matthew Kieran & Dominic McIver Lopes (eds.), Imagination, Philosophy, and the Arts. Routledge 91-106.
    This article criticises existing solutions to the 'puzzle of imaginative resistance', reconstrues it, and offers a solution of its own. About the Book : Imagination, Philosophy and the Arts is the first comprehensive collection of papers by philosophers examining the nature of imagination and its role in understanding and making art. Imagination is a central concept in aesthetics with close ties to issues in the philosophy of mind and the philosophy of language, yet it has not received the kind of (...)
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  30. Allan Hazlett & Christy Mag Uidhir (2011). Unrealistic Fictions. American Philosophical Quarterly 48 (1):33--46.
    In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...)
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  31.  12
    Deena Skolnick & Paul Bloom (2006). What Does Batman Think About Spongebob? Children's Understanding of the Fantasy/Fantasy Distinction. Cognition 101 (1):B9-B18.
  32. Kendall Lewis Walton (2006). On the (so-Called) Puzzle of Imaginative Resistance. In Shaun Nichols (ed.), The Architecture of the Imagination. Oxford University Press 137-148.
  33.  49
    Richard Woodward (2012). A Yablovian Dilemma. Thought: A Journal of Philosophy 1 (3):200-209.
    Stephen Yablo (2001) argues that traditional fictionalist strategies run into trouble due to a mismatch between the modal status of a claim like ‘2 + 3 = 5’ and the modal status of its fictionalist paraphrase. I argue here that Yablo is best seen as confronting the fictionalist with a dilemma, and then go on to show how this dilemma can be resolved.
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  34.  21
    Catharine Abell (2012). Comics and Genre. In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Blackwell 68--84.
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  35. David Lewis (1983). Postscript to Truth in Fiction. In Philosophical Papers. Oxford University Press 276-280.
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  36.  51
    Stephen Everson (2007). Belief in Make-Believe. European Journal of Philosophy 15 (1):63–81.
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  37.  5
    Georg G. Iggers (2009). A Search for a Post‐Postmodern Theory of History. History and Theory 48 (1):122-128.
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  38.  2
    Venanzio Raspa (2014). L’estetica dimenticata: la vicenda della scuola di Graz. Rivista di Estetica 54 (2):217-252.
    The essay gives an account of the aesthetics of the Graz school, focusing on the standpoint of the object as well as on that of emotions. Meinong’s reflection on aesthetics stems from a psychological background and comes subsequently to an ontological grounding. After examining the notions of imagination, phantasy-representation, relation and complexion, I show how the theory of production of representations, as well as that of higher-order objects, develops under the impulse of Ehrenfels’ concept of Gestalt qualities; both these theories (...)
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  39.  12
    K. Ludwig Pfeiffer (1990). Zum Systematischen Stand der Fiktionstheorie. Journal for General Philosophy of Science / Zeitschrift für Allgemeine Wissenschaftstheorie 21 (1):135 - 156.
    Reflections on the Systematic State of the Theory of Fiction. The theory of fiction is systematically located between different types of discourse, of which philosophy, literary criticism and psychology/psychoanalysis are perhaps the most important. My thesis is that empiricist, mainly British philosophical approaches provide fascinating historical models for an analysis of the situation in which we seem caught today between tendencies towards panfictionalization (since Vaihinger) and towards fairly rigid distinctions between fiction and reality. In my perspective, empiricist philosophy is not (...)
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  40.  3
    M. Paolini Paoletti (2013). Commentary of Exploring Meinong’s Jungle and Beyond: An Investigation of Noneism and the Theory of Items by R. Routley. [REVIEW] Humana.Mente 25:275-292.
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  41.  1
    Venanzio Raspa (2011). Segni, espressioni “umbratili” e oggetti finzionali. Semiotica e teoria della finzione in Meinong. Studi Urbinati. B: Scienze Umane E Sociali 81:161-193.
    The aim of this paper is to apply Meinong’s theory of signs to an analysis of literary texts. The focus lies on words and sentences which, according to Meinong, expressing fantasy experiences when they occur in literary texts. He distinguishes between “serious-like” and “shadow-like” fantasy experiences. The former can be detached from their fictional context, i.e., they are also understandable in other contexts. The latter, instead, are dependent on their fictional contexts. This implies that shadow-like fantasy experiences are less specific (...)
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  42.  1
    Sol Cohen (2004). An Essay In The Aid Of Writing History: Fictions Of Historiography. Studies in Philosophy and Education 23 (5-6):317-332.
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  43.  3
    K. Ludwig Pfeiffer (1990). Zum Systematischen Stand der FiktionstheorieReflections on the Systematic State of the Theory of Fiction. Journal for General Philosophy of Science / Zeitschrift für Allgemeine Wissenschaftstheorie 21 (1):135-156.
    The theory of fiction is systematically locatedbetween different types of discourse, of which philosophy, literary criticism and psychology/psychoanalysis are perhaps the most important. Mythesis is thatempiricist, mainly British philosophical approaches provide fascinatinghistorical models for an analysis of the situation in which we seem caught today between tendencies towards panfictionalization (since Vaihinger) and towards fairly rigid distinctions between fiction and reality. In my perspective, empiricist philosophy is not so much concerned with what isgiven, but with thecontrol of distinctions between the real (...)
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  44.  32
    Michele Paolini Paoletti & L. Mari (eds.) (2013). Meinong Strikes Again.
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  45. Venanzio Raspa (2011). Segni, espressioni “umbratili” e oggetti finzionali. Semiotica e teoria della finzione in Meinong. Studi Urbinati. B: Scienze Umane E Sociali 81:161-193.
    The aim of this paper is to apply Meinong’s theory of signs to an analysis of literary texts. The focus lies on words and sentences which, according to Meinong, expressing fantasy experiences when they occur in literary texts. He distinguishes between “serious-like” and “shadow-like” fantasy experiences. The former can be detached from their fictional context, i.e., they are also understandable in other contexts. The latter, instead, are dependent on their fictional contexts. This implies that shadow-like fantasy experiences are less specific (...)
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  46. Venanzio Raspa (2011). Segni, espressioni “umbratili” e oggetti finzionali. Semiotica e teoria della finzione in Meinong. Studi Urbinati. B: Scienze Umane E Sociali 81:161-193.
    The aim of this paper is to apply Meinong’s theory of signs to an analysis of literary texts. The focus lies on words and sentences which, according to Meinong, expressing fantasy experiences when they occur in literary texts. He distinguishes between “serious-like” and “shadow-like” fantasy experiences. The former can be detached from their fictional context, i.e., they are also understandable in other contexts. The latter, instead, are dependent on their fictional contexts. This implies that shadow-like fantasy experiences are less specific (...)
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  47.  1
    Venanzio Raspa (ed.) (2010). The Aesthetics of the Graz School. Ontos Verlag.
    This is the first volume devoted to the aesthetics of the Graz school. V. Raspa’s introduction gives an outline of the aesthetic themes and exponents of the school. D. Jacquette argues for a Meinongian subjectivistic aesthetic value theory. B. Langlet deals with aesthetic properties and emotions. Ch.G. Allesch presents Witasek's aesthetics in its historical context. Í. Vendrell Ferran investigates the aesthetic experience and quasi-feelings in Meinong, Witasek, Saxinger and Schwarz. R. Martinelli illustrates the musical aesthetics of Ehrenfels, Höfler and Witasek. (...)
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  48. Peter Lamarque & Stein Haugom Olsen (1994). Truth, Fiction, and Literature: A Philosophical Perspective. Oxford University Press.
    This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods (...)
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  49. John Gibson (2012). Fiction and the Weave of Life. Oxford University Press Uk.
    Literary fiction is of crucial importance in human life. It is a source of understanding and insight into the nature of the human condition, yet ever since Plato, philosophers have struggled to provide a plausible explanation of how this can be the case. For surely the fictionality - the sheer invented character - of the literary text means that fiction presents not our world, but other worlds? In Fiction and the Weave of Life, John Gibson offers a novel and (...)
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  50. Stacie Friend (2011). Fictive Utterance and Imagining II. Aristotelian Society Supplementary Volume 85 (1):163-180.
    The currently standard approach to fiction is to define it in terms of imagination. I have argued elsewhere (Friend 2008) that no conception of imagining is sufficient to distinguish a response appropriate to fiction as opposed to non-fiction. In her contribution Kathleen Stock seeks to refute this objection by providing a more sophisticated account of the kind of propositional imagining prescribed by so-called ‘fictive utterances’. I argue that although Stock's proposal improves on other theories, it too fails to provide an (...)
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