Vaihinger... shows that thought is primarily a biological function turned into a conscious art. It is an art of adjustment, whose chief instrument is the construction of fictions by which men may manage to live. Thought is to be tested not by correspondence to an objective reality (that fiction is neatly disposed of) nor by its mirroring in consciousness an objective external world. Thought is to be tested by its fruits. The constructions of thought are not copies of or (...) transcripts of reality; they are programs, guess-work plans; possible programs for operation. Their validity is to be measured not by verisimilitude but by value. The fruits of thought are not "true," but especially where they are false, it may be important to act as if they were true... Vaihinger's chief originality consists in his defining of fictions and his distinction of fictions from hypotheses on the one hand, and from dogmatisms on the other. An hypothesis is a tentative discovery about the universe; a fiction is a deliberate, often clearly false and internally contradictory invention of thought... Evolution is the hypothesis that man is descended from the lower animals. We assume that we can indirectly turn to the remote facts which would justify that hypothesis. But the concept of infinity in the calculus, the atom and the ether in physics, the economic man in Adam Smith, are deliberate self-contradictory fictions, and fictions at variance with all experience. But though they are not only imaginary, false to the reality they allegedly represent and logically incoherent, they nevertheless facilitate thought and proper action. They are vital lies, human conveniences. They are the faiths, the palpably false faiths, the clearly useful falsities by which we live... The discovery that fictions were fictions has led, in the past, says Vaihinger, to an abandonment of them, and a turning to other fictions believed to be truer. Pathetic and foolish adventure! What the race needs is more faith in its own effective imaginations. The myths that it has told itself, the world pictures that it has made, are not to be dismissed because they are found to be creations of the imagination. They tally with no world and they carry the canker of logical inconsistency within them. The important thing is their utility; their human scope and mortal relevance. If we ceased making fictions, we should cease altogether to be. Let us beware to plunge from fruitful fictions to less fruitful ones that masquerade as truths and are really dogmatisms. (Review of As If by Irwin Edman, Saturday Review of Literature, 10 January, 1925) This is a well-formatted version of C.K. Ogden's translation of Philosophie des Als Ob, originally published in 1925 by Kegan Paul. (shrink)

The Philosophy of Science Fiction: Henri Bergson and the Fabulations of Philip K. Dick explores the deep affinity between two seemingly quite different thinkers, in their attempts to address the need for salvation in (and from) an era of accelerated mechanization, in which humans' capacity for destroying or subjugating the living has attained a planetary scale. The philosopher and the science fiction writer come together to meet the contradictory imperatives of a realist outlook-a task which, arguably, (...) class='Hi'>philosophy and science fiction could only ever adequately undertake in collaboration. Their respective approaches meet in a focus on the ambiguous status of fictionalizing, or fabulation, as simultaneously one of mechanization's most devastating tools, and the possibility of its undoing. When they are read together, the complexities and paradoxes thrown up by this ambiguity, with which both Bergson and Dick struggle on their own, open up new ways to navigate ideas of mechanism and mysticism, immanence and transcendence, and the possibility and meaning of salvation. The result is at once an original reading of both thinkers, a new critical theory of the socio–cultural, political and ethical function of fictionalizing, and a case study in the strange affinity, at times the uncanny similarity, between philosophy and science fiction. (shrink)

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Egal was der heutige Tag auch bringen mag, der 1. April 2063 wird zumindest als der Tag in die Geschichte des Wissenschaftsjournalismus eingehen, der die bisher aufwändigste Berichterstattung erfahren hat. So viele Kamerateams, wie hier vor den Toren der Australian National University in Canberra, hat bisher kein wissenschaftliches Experiment anziehen können. Selbst der Knüller des Vorjahres, als es einer 48jährigen Hausfrau in einem Vorort von London gelang, mit einfachsten Küchenutensilien einen kleinen Kalte-Fusion-Reaktor herzustellen, der den Staubsauger und die Mikrowelle zuverlässig (...) mit sauberer Energie versorgte, hatte bei weitem nicht ein solches Echo in der Wissenschaftspresse erfahren. Es war zwar noch nichts über den Experimentausgang zu erfahren, trotzdem wurde freilich seit drei Tagen ununterbrochen live auf fast allen Kanälen aus Canberra darüber berichtet, dass nun zwar noch nichts zu erfahren sei, dass es aber ja sehr bald soweit sein müsse. Das Experiment, dessen Ausgang man hier so gespannt erwartete, war schon im Vorfeld hitzig diskutiert worden und überhaupt nur durch einen Sonderbeschluss der Vereinten Nationen zustande gekommen. Immerhin läuft die Vorbereitung bereits seit fast 30 Jahren, als sich mehrere Philosophen und Bürgerinitiativen zusammenschlossen, die UNO um eine endgültige Klärung einer der ältesten Fragen der Menschheit zu bitten: Was ist Bewusstsein? Und insbesondere: Ist Bewusstsein etwas anderes als physikalisch beschreibbare Zustände unseres Gehirns, oder sind alle Tatsachen letztlich physikalische Tatsachen? Dass diese Fragen trotz ihres Ehrfurcht einflößenden Alters zunehmend auf den Nägeln brannten, hatte nicht zuletzt die jüngste Entwicklung der Computertechnologie befördert. Nachdem die KI in den letzten Jahrzehnten einen großen Schritt vorwärts gemacht hatte, war man in Sorge, dass ohne endgültige begriffliche Klärung dieser Fragen unser zukünftiger Umgang mit unseren elektronischen Helfern auf moralisch unsicherem Boden stehen könne. Man hatte sich daher nach langer Abwägung der ethischen Aspekte dieses Experiments dazu entschieden, ein gerade neugeborenes Waisenkind in einem völlig schwarz-weiß-grauen Raum groß werden zu lassen, sorgsam darum bemüht, dass die kleine Mary (so hatte man das Mädchen in Anlehnung an die Protagonistin einer fiktiven philosophischen Geschichte genannt) keine Farben zu Gesicht bekommt.. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the (...) work and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Thinking About Stories is a fun and thought-provoking introduction to philosophical questions about narrative fiction in its many forms, from highbrow literature to pulp fiction to the latest shows on Netflix. Written by philosophers Samuel Lebens and Tatjana von Solodkoff, it engages with fundamental questions about fiction, like: What is it? What does it give us? Does a story need a narrator? And why do sad stories make us cry if we know they aren’t real? The format (...) of the book emulates a lively, verbal exchange: each chapter has only one author while the other appears spontaneously in pop-up boxes in the text along the way, raising questions and voicing criticisms, and inviting responses from their co-author. This unique format allows readers to feel like they are a part of the conversation about the philosophical foundations of some of the fictions in their own lives. (shrink)

Salomon Maimon argued forcefully for the indispensability of what he called “the method of fictions” in mathematics and physics, but also in philosophy. This last claim provoked critical responses from G. E. Brastberger, G. E. Schultze, and K. L. Reinhold. This paper offers a brief exposition of Maimon's “method of fictions” and an analysis of his response to critics of his claims concerning the employment of this method within philosophy.

In lieu of an abstract, here is a brief excerpt of the content:Philosophies of Language in the Fictions of Jorge Luis BorgesPhilip SeargeantIIn his book The Language-Makers, Roy Harris writes that "a concept of language cannot stand isolated in an intellectual no-man's-land. It is inevitably part of some more intricate complex of views about how certain verbal activities stand in relation to other human activities, and hence, ultimately, about man's place in society and nature."1 It is one of the salient (...) features of human language that it is reflexive—that we use language to talk about language—and that this reflexivity is, in fact, a fundamental aspect of the way that language works.2 Human language is not solely a means of communication, it is also a subject for communication. It exists not simply as an entity used in everyday behavior but also as a concept; and given the fundamental role that language plays in life, it is a concept which becomes implicated in the beliefs and debates about wider human concerns. In other words, every conceptualization of language, be it a folk belief about correctness or a philosophical premise concerning truth conditions, is also in some way an implicit statement about human understanding of the world.Conceptualizations of language exist in many fields and are expressed by various means. They can be the explicit assertions of government policy; they can be practice-based guidelines which constitute an educational curriculum; or they can be ontological assumptions that provide the basis for scientific theorizing.3 In any area where language itself is the discursive focus of interest, a particular concept of language will be used, and will be expressed within that discourse. This is the case not only in areas related to social or scientific practice (language policy, [End Page 386] linguistic theory etc.), but also in fiction and literature of the imagination. In works of fiction in which language figures not merely as the medium of narration but also as a focus of that narration, a specific and historically contingent conceptualization of language will be used, and the nature of this conceptualization will, as Harris suggests, relate to wider beliefs about man's place in society and nature.There are many works of imaginative literature, particular in the genres of fantasy and science fiction, which include invented or alien languages. A general rationale for this is that works within such genres are creating new and speculative worlds, and by detailing the languages spoken in these worlds they are able to further the sense of verisimilitude. In cases where the rationale for the inclusion of such fictional languages is primarily for this particular instrumental reason, the nature of these languages may not play any wider role in the narrative, and one would not therefore suggest that linguistic concerns feature as a central theme of the narrative.It is likely, however, that cases of this sort will still reflect general contemporary beliefs about language and society, and that the reception of the narrative will also be guided by the sociolinguistic attitudes of its readership. For example, a review from the early 1970s of Anthony Burgess's A Clockwork Orange suggests that Nadsat, the fictional argot in which the narrative is told, is likely to have specific associations for the book's readership because of its linguistic complexion and, specifically, the prevalence of loanwords from the Russian:For the Anglo-American reader the Slavic words connote communist dictatorship.... The medium becomes the message in A Clockwork Orange with a vengeance, and the message is similar to that in other distopias that deal in visions of society in the future after it has become static, completely controlled, amoral, and heartless.4In this case, it is associations made between words from a particular language and the contemporary politics of the speech community most associated with that language, which create for this particular critic a significance that extends beyond the purely structural nature of the anti-language that Burgess has developed. For this critic, it is not merely the fact that Alex and his droogs have their own argot—a detail that adds texture to the imagined future in which the novel is set—but that the lexis... (shrink)

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken (...) together, a philosophy of science fiction horror emerges. Central to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre. (shrink)

"Novels, movies, and lies - these are all fictions that provoke with their as ifs and what ifs. In response to the idea that fiction has somehow become an unfashionable topic in contemporary criticism, this volume argues that the question of fiction needs to be updated in the absence of a widely accepted theory of truth. This collection, dedicated to the noted scholar and literary critic Lubomir Dolezel, covers an extensive number of theoretical and historical issues relevant to (...) our understanding of the status of fictions - literary or not." "Fiction Updated offers approaches to fiction and poetics that, in an imaginary topography of contemporary humanities, dwell at a distance from both the mimetic theory of literature and deconstruction. The contributors introduce new perspectives to the problem of fictionality, or broaden the scope of its applications, by examining the works of such authors as Homer, Casanova, Aristotle, Woolf, Vaihinger, Borges, Kundera, Coetzee, and Bakhtin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (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.

Philosophy as Fiction seeks to account for the peculiar power of philosophical literature by taking as its case study the paradigmatic generic hybrid of the twentieth century, Marcel Proust's In Search of Lost Time. At once philosophical--in that it presents claims, and even deploys arguments concerning such traditionally philosophical issues as knowledge, self-deception, selfhood, love, friendship, and art--and literary, in that its situations are imaginary and its stylization inescapably prominent, Proust's novel presents us with a conundrum. How should (...) it be read? Can the two discursive structures co-exist, or must philosophy inevitably undermine literature (by sapping the narrative of its vitality) and literature undermine philosophy (by placing its claims in the mouth of an often unreliable narrator)? In the case of Proust at least, the result is greater than the sum of its parts. Not only can a coherent, distinctive philosophical system be extracted from the Recherche, once the narrator's periodic waywardness is taken into account; not only does a powerfully original style pervade its every nook, overtly reinforcing some theories and covertly exemplifying others; but aspects of the philosophy also serve literary ends, contributing more to character than to conceptual framework. What is more, aspects of the aesthetics serve philosophical ends, enabling a reader to engage in an active manner with an alternative art of living. Unlike the "essay" Proust might have written, his novel grants us the opportunity to use it as a practice ground for cooperation among our faculties, for the careful sifting of memories, for the complex procedures involved in self-fashioning, and for the related art of self-deception. It is only because the narrator's insights do not always add up--a weakness, so long as one treats the novel as a straightforward treatise--that it can produce its training effect, a feature that turns out to be its ultimate strength. (shrink)

What role do imaginary games have in story-telling? Why do fiction authors outline the rules of a game that the reader will never watch or play? Combining perspectives from philosophy, literature and game studies, this book provides the first in-depth investigation into the significance of games in fictional worlds. With examples from contemporary cinema and literature, from The Hunger Games to the science fiction of Iain M. Banks, Stefano Gualeni and Riccardo Fassone introduce four key functions that (...) different types of imaginary games have in worldbuilding. First, fictional games can emphasize the dominant values and ideologies of the fictional society they belong to. Second, some games function as critical, utopian tools, inspiring shifts in the thinking and political orientation of the fictional characters. Third, imaginary games, especially those with a magical component, are conducive to the transcendence of a particular form of being, such as the overcoming of human corporeality. And fourth, fictional games can deceptively blur the boundaries between the contingency of play and the irrevocable seriousness of "real life", either camouflaging life as a game or disguising a game as something with more permanent consequences. With illustrations in every chapter, bringing the imaginary games to life, Gualeni and Fassone creatively inspire us to consider fictional games anew: not as moments of playful reprieve in a storyline, but as significant and multi-layered rhetorical devices. (shrink)

After first noting that I seek to broaden the definition of science fiction to a little more loosely defined speculative fiction, this essay explores four different ways in which fiction can work together with both the sciences and the philosophy of perception. This cooperation is needed because there is much about the sensory worlds of humans and non-human animals of which we continue to be ignorant. First, speculative fiction can be a source of hypotheses about (...) the nature of the senses. Second, it can help us understand the inner worlds of beings different from us. Third, speculative fiction often pushes us to investigate the ethical and social dimensions of sensory difference. Finally, speculative fiction can play an important role in reconciling our scientific understanding of the senses with a more commonsense understanding of same. (shrink)

The essays gathered here demonstrate and justify the excitement and promise of cognitive historicism, providing a lively introduction to this new and quickly growing area of literary studies. Written by eight leading critics whose work has done much to establish the new field, they display the significant results of a largely unprecedented combination of cultural and cognitive analysis. The authors explore both narrative and dramatic genres, uncovering the tensions among presumably universal cognitive processes, and the local contexts within which complex (...) literary texts are produced. Alan Richardson's opening essay evaluates current approaches to the study of literature and cognition, locating them on the map of recent literary studies, indicating their most compelling developments to date, and suggesting the most promising future directions. The seven essays that follow provide innovative readings of topics ranging from Shakespeare (Othello, Macbeth, Cymbeline, The Rape of Lucrece) through Samuel Richardson's Clarissa, to contemporary authors Ian McEwan and Gilbert Sorrentino. They underscore some of the limitations of new historicist and post-structuralist approaches to literary cultural studies while affirming the value of supplementing rather than supplanting them with insights and methods drawn from cognitive and evolutionary theory. Together, they demonstrate the analytical power of considering these texts in the context of recent studies of cultural universals, 'theory of mind, ' cognitive categorization and genre, and neural-materialist theories of language and consciousness. This groundbreaking collection holds appeal for a broad audience, including students and teachers of literary theory, literary history, cultural studies, and literature and science studies. (shrink)

The papers presented in this volume examine topics of central interest in contemporary philosophy of logic. They include reflections on the nature of logic and its relevance for philosophy today, and explore in depth developments in informal logic and the relation of informal to symbolic logic, mathematical metatheory and the limiting metatheorems, modal logic, many-valued logic, relevance and paraconsistent logic, free logics, extensional v. intensional logics, the logic of fiction, epistemic logic, formal logical and semantic paradoxes, the (...) concept of truth, the formal theory of entailment, objectual and substitutional interpretation of the quantifiers, infinity and domain constraints, the Löwenheim-Skolem theorem and Skolem paradox, vagueness, modal realism v. actualism, counterfactuals and the logic of causation, applications of logic and mathematics to the physical sciences, logically possible worlds and counterpart semantics, and the legacy of Hilbert’s program and logicism. The handbook is meant to be both a compendium of new work in symbolic logic and an authoritative resource for students and researchers, a book to be consulted for specific information about recent developments in logic and to be read with pleasure for its technical acumen and philosophical insights. Key Features - Written by leading logicians and philosophers - Comprehensive authoritative coverage of all major areas of contemporary research in symbolic logic - Clear, in-depth expositions of technical detail - Progressive organization from general considerations to informal to symbolic logic to nonclassical logics - Presents current work in symbolic logic within a unified framework - Accessible to students, engaging for experts and professionals - Insightful philosophical discussions of all aspects of logic -Useful bibliographies in every chapter - Written by leading logicians and philosophers - Comprehensive authoritative coverage of all major areas of contemporary research in symbolic logic - Clear, in-depth expositions of technical detail - Progressive organization from general considerations to informal to symbolic logic to nonclassical logics - Presents current work in symbolic logic within a unified framework - Accessible to students, engaging for experts and professionals - Insightful philosophical discussions of all aspects of logic - Useful bibliographies in every chapter. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:WORKS OF FICTION AND ILLOCUTIONARY ACTS by Gregory Currie ii O peech act theory is remarkably unhelpful in explaining what ficOtion is." So says Kendall Walton.1 My purpose here is to showjust how wrong diis judgment is. Not that I want to endorse all die attempts there have been to connect fiction with the notion of a speech act. Elsewhere I have argued diat the most prominent (...) attempt at such a theory, the one due to John Searle, fails.2 But my complaint is not mat Searle employs the idea of a speech act; rather it is that he employs it in too half-hearted a fashion. The idea of Searle and odiers is diat to write fiction is not to perform a speech act, but rather to pretend to do so. I, on the odier hand, take the view that the writer of fiction engages in an act of speech diat is distinctively fictional, and distinctively different from speech acts such as asserting, requesting, questioning, and so forth. What follows is a much simplified account of this idea.3 Following die program of Strawson and Grice, I believe diat the different kinds of speech acts are to be individuated in terms of the utterer's intentions.4 The intention of the one who asserts is to get a certain kind of response; perhaps to get the audience to believe the proposition asserted.5 The one who commands wants the audience to obey, die requester wants the audience to answer, etc. And in all these cases the utterer intends to get the response partly as a result of the audience's recognition of diat very intention. (This is the familiar Gricean mechanism.) The utterer of fiction, on the odier hand, wants to get the audience to make-believe die proposition uttered.6 Thus we have an act structurally similar to 304 Gregory Currie305 paradigmatic speech acts like asserting, commanding, and requesting (die structural similarity being given by the use in all cases of the Gricean intention ), but differing from diese odiers with respect to die content of the utterer's intention. Let us call such an act a.fictive illocutionary act. Pursuing this line in more detail leads to an intuitively satisfactory taxonomy of speech acts which places the uttering (usually writing) of fiction fully widiin die purview of the theory, rather dian shutting it off to one side as a pseudo-performance, as widi Searle. Is such a theory susceptible to the objections diat Walton brings? Walton is quite right to say (and here I suppose he has Searle in mind) that fiction is not simply the absence ofillocutionary force: "it is something positive, something special" (p. 79). As already indicated, my theory gives a positive account of fiction as a special kind of speech act. But Walton presses the issue further by suggesting that the essence of fiction has nodiing to do with die absence of assertive force. It is possible, he says, "to make an assertion by writing fiction." His point is not merely that fictional stories are sometimes told in order to get across some serious but not explicit point — everyone can agree to that. It is rather diat fictional works contain explicit assertions — e.g., some of Tolstoy's sentences about Napoleon in War and Peace — and that a fiction might contain nothing but assertions. He imagines a genre of historical fiction in which "authors are allowed no liberties with the facts, and in which they are understood to be asserting as fact whatever they write" (p. 80). Let us grant that this is a possibility. What, dien, would distinguish a piece of fiction belonging to this genre from, say, a work of historical scholarship? The answer comes when we see that the same utterance can be used to perform more than one illocutionary act. Thus if I say to someone "I have no money" it may be that I want him both to believe that I have no money and to give me the goods on credit. And in both cases I intend to get die desired responses via his recognition of my intentions. The same utterance can count both as an assertion... (shrink)

Why have theorists approached narrative primarily as a form of retrospect? Mark Currie argues that anticipation and other forms of projection into the future are vital for an understanding of narrative and its effects in the world. In a series of arguments and readings, he offers an account of narrative as both anticipation and retrospection, linking fictional time experiments (in Ali Smith, Ian McEwan, Martin Amis and Graham Swift) to exhilarating philosophical themes about presence and futurity. This is an argument (...) that shows that narrative lies at the heart of modern experiences of time, structuring the present, whether personal or collective, as the object of a future memory as much as it records the past. (shrink)

The contemporary debate in the philosophy of literature is strongly shaped by the anticognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this (...) challenge by pointing at ways in which works of literary fiction can be informative even though they lack worldly reference: it has been argued, for example, that works of fictions are thought experiments; that they add not to our theoretical knowledge, but to our know-how or to our phenomenal knowledge; or that that they help readers to understand the perspectives of others. A stubborn defense of literary cognitivism, however, risks to collapse into an instrumental understanding of literature. In my paper I suggest that both sides in the debate focus too narrowly on semantic features of the works in question that is tied to what I will call the “referential picture” of language. A shift perspective is needed: for one, we ought to fully appreciate that the term “literature” does not refer to a homogeneous phenomenon, but rather to a very heterogeneous and multifarious set of works that are read by many different readers for many different reasons in many different ways. Second, we need to understand that these works have in common much more than the semantic peculiarity of lacking worldly reference: they are a unique means of communication between authors and readers – and in particular the role of the latter is often neglected in contemporary debate. These two points should help us to get a more comprehensive understanding of the practice of literature and the vast range of values we can find works of literary fiction – and the interplay between them. (shrink)

Why do people respond emotionally to works of fiction they know are make-believe? Boruah tackles this question, which is fundamental aesthetics and literary studies, from a totally new perspective. Bringing together the various answers that have been offered by philosophers from Aristotle to Roger Scruton, he shows that while some philosophers have denied any rational basis to our emotional responses to fiction, others have argued that the emotions evoked by fiction are not real emotions at all. In (...) response to this, Boruah contends that fictional emotions are rational because they are based on the same sorts of beliefs that we form about real situations and real people. He illustrates this argument with literary examples ranging from Shakespeare to Tolstoy. (shrink)

The distinct-attitude view of fictional narratives is a standard position in contemporary aesthetics. This is the view that cognitive attitudes formed in response to fictions are a distinct kind of mental state from beliefs formed in response to non-fictional scenarios, such as pretend or imaginary states. In this paper we argue that the balance of functional, behavioral, and neuroscientific evidence best supports the genuine-attitude view of belief. According to the genuine-attitude view, cognitive responses to fictions are genuine beliefs that are (...) not a distinct kind of mental state from the beliefs that we form in response to non-fictional scenarios. We consider the implications of the genuine-attitude view for debates at the intersection of epistemology, cognitive science, and philosophy of mind. (shrink)

What can we learn from fiction? I argue that we can learn about the consequences of a certain course of action by projecting ourselves, in imagination, into the situation of the fiction's characters.

This book examines the eighteenth-century novel in the context of emerging theories of happiness in early Enlightenment Europe. This important and richly interdisciplinary book offers both a new understanding of the cultural work the eighteenth-century novel performed, as well as an original interpretation of the Enlightenment’s ethical legacy.

This book examines the eighteenth-century novel in the context of emerging theories of happiness in early Enlightenment Europe. This important and richly interdisciplinary book offers both a new understanding of the cultural work the eighteenth-century novel performed, as well as an original interpretation of the Enlightenment’s ethical legacy.

What are fictional emotions and what has phenomenology to say about them? This paper argues that the experience of fictional emotions entails a splitting of the subject between a real and a phantasy ego. The real ego is the ego that imagines something; the phantasy ego is the ego that is necessarily co-posited by any experience of imagining something. Fictional emotions are phantasy emotions of the phantasy ego. The intentional structure of fictional emotions, the nature of their fictional object, as (...) well as the process of constituting the phantasy ego in representificational acts of consciousness are further elaborated to provide the groundwork for a phenomenological analysis of fictional emotions. (shrink)

Charles Crittenden here offers an original solution to one of the traditional dilemmas of philosophy—whether there can be any thing not existing, since to say that some thing does not exist seems to presuppose its existence. Drawing on the tools of Wittgensteinian philosophy and speech act theory, Crittenden argues that we can and often do make reference to unreal objects such as fictional characters, though they do not exist in any sense at all.

What exactly are comics? Can they be art, literature, or even pornography? How should we understand the characters, stories, and genres that shape them? Thinking about comics raises a bewildering range of questions about representation, narrative, and value. Philosophy of Comics is an introduction to these philosophical questions. In exploring the history and variety of the comics medium, Sam Cowling and Wesley D. Cray chart a path through the emerging field of the philosophy of comics. Drawing from a (...) diverse range of forms and genres and informed by case studies of classic comics such as Watchmen, Tales from the Crypt, and Fun Home, Cowling and Cray explore ethical, aesthetic, and ontological puzzles, including: -/- - What does it take to create-or destroy-a fictional character like Superman? - Can all comics be adapted into films, or are some comics impossible to adapt? - Is there really a genre of “superhero comics”? - When are comics obscene, pornographic, and why does it matter? -/- At a time of rapidly growing interest in graphic storytelling, this is an ideal introduction to the philosophy of comics and some of its most central and puzzling questions. (shrink)

John Woods' The Logic of Fiction, now thirty-five years old, is a ground-breaking event in the establishment of the semantics of fiction as a stand-alone research programme in the philosophies of language and logic. There is now a large literature about these matters, but Woods' book retains a striking freshness, and still serves as a convincing template of the treatment options for the field's key problems. The book now appears in a second edition with a new Foreword by (...) Nicholas Griffin and an extended bibliography covering the period 1969-2009. As Griffin notes in his Foreword, it is "surprising on looking back to discover how little was written on the semantics of fiction before John Woods' The Logic of Fiction was published in 1974. The surprise is the greater because Woods' book appeared after almost a quarter century of fierce philosophical debate about reference Fictional discourse, one would have thought, would be an important testing ground for philosophical theories of referential expressions and one, moreover, in which the standard theories would likely be tested to destruction. " " One of the great merits of Woods' book is that it takes seriously the wide-ranging demands that fiction imposes on logic and semantics, and does not try to force fiction into some pre-conceived logical mould. but thanks to Woods' pioneering efforts, we are much closer to one now than we were when he set out to write his book. His book was not the last word on the logic of fiction; it was much more important: it was nearly the first." NICHOLAS GRIFFIN is Canada Research Chair in Philosophy at McMaster University. Recent publications include Russell vs Meinong: The Legacy of "On Denoting," edited with Dale Jacquette. JOHN WOODS is Director of the Abductive Systems Group at the University of British Columbia and Charles S. Peirce Visiting Professor of Logic in the Group on Logic and Computational Science, King's College London. He has two forthcoming books on fiction - an edited volume, Fictions and Models: New Essays, and a research monograph, Sherlock's Member: New Perspectives on the Semantics of Fiction, both to appear in 2010. (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)

The papers presented in this volume examine topics of central interest in contemporary philosophy of logic. They include reflections on the nature of logic and its relevance for philosophy today, and explore in depth developments in informal logic and the relation of informal to symbolic logic, mathematical metatheory and the limiting metatheorems, modal logic, many-valued logic, relevance and paraconsistent logic, free logics, extensional v. intensional logics, the logic of fiction, epistemic logic, formal logical and semantic paradoxes, the (...) concept of truth, the formal theory of entailment, objectual and substitutional interpretation of the quantifiers, infinity and domain constraints, the Löwenheim-Skolem theorem and Skolem paradox, vagueness, modal realism v. actualism, counterfactuals and the logic of causation, applications of logic and mathematics to the physical sciences, logically possible worlds and counterpart semantics, and the legacy of Hilbert’s program and logicism. The handbook is meant to be both a compendium of new work in symbolic logic and an authoritative resource for students and researchers, a book to be consulted for specific information about recent developments in logic and to be read with pleasure for its technical acumen and philosophical insights. Key Features - Written by leading logicians and philosophers - Comprehensive authoritative coverage of all major areas of contemporary research in symbolic logic - Clear, in-depth expositions of technical detail - Progressive organization from general considerations to informal to symbolic logic to nonclassical logics - Presents current work in symbolic logic within a unified framework - Accessible to students, engaging for experts and professionals - Insightful philosophical discussions of all aspects of logic -Useful bibliographies in every chapter - Written by leading logicians and philosophers - Comprehensive authoritative coverage of all major areas of contemporary research in symbolic logic - Clear, in-depth expositions of technical detail - Progressive organization from general considerations to informal to symbolic logic to nonclassical logics - Presents current work in symbolic logic within a unified framework - Accessible to students, engaging for experts and professionals - Insightful philosophical discussions of all aspects of logic - Useful bibliographies in every chapter. (shrink)

This volume brings together new research on fiction from the fields of philosophy and linguistics. Fiction has long been a topic of interest in philosophy, but recent years have also seen a surge in work on fictional discourse at the intersection between linguistics and philosophy of language. In particular, there has been a growing interest in examining long-standing issues concerning fiction from a perspective that is informed both by philosophy and linguistic theory. -/- (...) Following a detailed introduction by the editors, The Language of Fiction contains 14 chapters by leading scholars in linguistics and philosophy, organized into three parts. Part I, 'Truth, Reference, and Imagination', offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, 'Storytelling', deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, 'Perspective Shift', focuses on an alleged key characteristic of fictional narratives, namely how we get access to the fictional characters' inner lives, through a variety of literary techniques for representing what they say, think, or see. The volume will be of interest to scholars from graduate level upwards in the fields of discourse analysis, semantics and pragmatics, philosophy of language, psychology, cognitive science, and literary studies. -/- Table of Contents 1:Introduction, Emar Maier and Andreas Stokke Part I: Truth, Reference, and Imagination 2:Fictional reference as simulation, François Recanati 3:Sharing real and fictional reference, Hans Kamp 4:Fictional truth: In defense of the reality principle, Nils Franzén 5:On the generation of content, Sandro Zucchi 6:Do the imaginings that fictions invite have a direction of fit?, Manuel García-Carpintero Part II: Storytelling 7:In search of the narrator, Regine Eckardt 8:Extracting fictional truth from unreliable sources, Emar Maier and Merel Semeijn 9:Narrative and point-of-view, Samuel Cumming 10:A puzzle about narrative progression and causal reasoning, Daniel Altshuler 11:Isomorphic mapping in fictional interpretation, Matthias Bauer and Sigrid Beck Part III: Perspective Shift 12:Metalinguistic acts in fiction, Nellie Wieland 13:Computing perspective shift in narratives, Márta Abrusán 14:Derogatory terms in free indirect discourse, Isidora Stojanovic 15:Protagonist projection, character-focus, and mixed quotation, Andreas Stokke. (shrink)

The structure of the traditional paradigm -- Narrative fiction as philosophically interpreted in the ancient western world -- Narrative fiction as philosophically interpreted in the modern and contemporary western world -- The structure of the new paradigm -- What makes an artifact philosophy? -- Literature as philosophy -- The special logic of fictive narrative philosophy -- Constructional devices -- How do we judge fictive narrative philosophy? -- When should we use direct discourse philosophy (...) and when fictive narrative philosophy? -- How might fictive narrative philosophy change the academy? -- First order metaethical principles: my own philosophical work on ethics and personhood theory as a first step for ethics & fictive narrative philosophy -- My own work in fictive narrative philosophy. (shrink)

The use of fictional models is extensive and rewarding in modern science. This fact captured the attention of philosophers of science, who are focusing on questions such as the following: is it possible for a fictional model to be explanatory? And, if so, in virtue of what is such a fictional model explanatory? In this paper, I discuss these questions in relation to the realism vs. anti-realism debate in philosophy of science. I focus on work developed by Alisa Bokulich (...) who has argued for the explanatory role played by fictional models, claiming that it can be accommodated by realism in ‘a broad sense’. To this end, Bokulich introduced what she called ‘an eikonic conception’ of explanation, as opposed to the so-called ‘ontic’ conception. This move, Bokulich claims, allows non-causal explanations to be acceptable to a modified version, as opposed to a ‘naïve’ brand of realism. Roughly, a fictional model can capture aspects of reality if it manages to act as a proxy for a theory targeting a physical system. As Bokulich explains with the example of James Clerk Maxwell’s use of mechanical models, this is due to structural correspondences between a model and a theory at a certain level of abstraction. However, Bokulich does not explain how the model grasps reality. In this paper, I fill this missing piece of the puzzle. While I agree with Bokulich on the explanatory function of fictional models, I shall invoke her reading of Maxwell’s work to draw a different conclusion. Specifically, I argue that structural correspondences at various levels form what I call ‘a ladder of abstractions’ which connects aspects of a target system to the corresponding depths of descriptions. Modifying in these terms the scope of ‘representing a system’, I suggest that Bokulich’s proposed modification of realism is obviated. (shrink)

Only Imagine is a wonderful book. Clear and tersely written, it provides a compelling defence of a rather unpopular view : namely, extreme intentionalism about the determination of fictional content and the nature of fictionality. It thus unquestionably advances the philosophical debate. It is also a pleasure to read for those of us who like fictions and not just the philosophy thereof: Stock discusses for her arguments many examples from real fictions, systematically making perceptive remarks. Here I will respond (...) to an objection that she makes to the normative account that I have defended in previous work, arguing that it has explanatory advantages grounded on the subordination on that account of author-intentions to fictional contents independently determined by social practices. (shrink)

Landy’s book (OUP 2004; 255 pp.+ x) delivers what has gone long and scandalously missing: a philosophical analysis of Proust’s incomparable book that is muscular, concise, philosophically informed and sophisticated; logically rigorous, explanatorily fruitful, and meticulously answerable to its data, namely the text. The philosophy here is not, as often the case in writing about Proust, mere rhetoric or window-dressing, but substantive and literally believable. The book should for a long time be inescapable for anyone writing philosophically about Proust, (...) and perhaps for anyone writing philosophically about imaginative literature, full stop. It is that good, its themes that wide. (shrink)

Most commentators on Spengler's philosophy tend to focus on the details of his cyclical theory of world-history, according to which history should be understood in terms of the rise and fall of great cultures. I argue that Spengler's philosophy of history is itself an expression of his primary concern with philosophical analysis of the structures of human consciousness, and that an awareness of Spengler's account of the existential structures of subjective consciousness enables one to grasp the reasoning behind (...) some of the key features of his philosophy of history, such as his cultural isolation hypothesis and critique of Eurocentric historiography. I further argue that the way to access Spengler's theory of consciousness, and the ways in which it informs his philosophy of history, is via his critical engagement with the Kant character that recurs in the first volume of The Decline of the West. (shrink)

I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability (...) to understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (shrink)

This chapter addresses fictional narratives as a specific kind of fiction capable of eliciting particular effects on their recipients. The first section of the chapter considers the status of climate fiction (cli-fi) as a literary genre, and identifies a set of standard properties that qualify most works in the category. The second section addresses the specific fictional engagement prompted by cli-fi and discusses its relationship with thought experiments. The third section examines, from a psychological angle, whether and how (...) climate narratives can induce changes in the recipients’ beliefs and attitudes toward environmental issues. The chapter closes by listing some of the research questions raised by cli-fi that still await exploration. In the conclusion, it is tentatively suggested that, although the experience of consuming cli-fi will not change the planet, it might nonetheless heighten recipients’ concerns and willingness to take action against climate change. (shrink)

Recent developments regarding the pharmacology of psychoactive substances are significant for treating depressions or opioid addictions. Current theories, hypotheses, and models of drug effects assume a cause–effect narrative, which is based on a stimulus/response mechanism. These narratives prioritize effects rather than conscious experiences. In this sense, drug experiences are quickly subsumed into common categories and codes of biological determinism. If subjective experiences are in the focus of the research, it quickly becomes a link to mystical, spiritual, or transcendental narratives. These (...) classifications lead to epistemological doublets (Gadamer). In this article, psychedelic experiences of drug users are analyzed in the frame of the pharmaco-analysis by Deleuze/Guattari. These framed psychedelic experiences are interpreted by means of a non-philosophical approach through philo-fictions (Laruelle), i.e., contradictory assumptions and hyperspeculations. In this respect, the aim of this article is to bring philo-fictions in relation to psychedelic experiences and to discuss them with models of information science, quantum mechanics, new materialism, and the philosophy of immanence. The result will be an open synthesis, with the assumption of further reflections on the agency, immanence, and the wholeness of matter. (shrink)