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Subcategories:History/traditions: Fiction

1397 found
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Fictional Characters
  1. J K Rowling зла, чем я? (пересмотрено 2019 ).Michael Richard Starks - 2020 - In ДОБРО ПОЖАЛОВАТЬ В АД НА НАШЕМ МИРЕ : Дети, Изменение климата, Биткойн, Картели, Китай, Демократия, Разнообразие, Диссигеника, Равенство, Хакеры, Права человека, Ислам, Либерализм, Процветание, Сеть, Хаос, Голод, Болезнь, Насилие, Искусственный интелле. Las Vegas, NV USA: Reality Press. pp. 252-256.
    Как насчет другого взять на богатых и знаменитых? Во-первых, очевидное - романы о Гарри Поттере - это примитивные суеверия, которые побуждают детей верить в фантазию, а не брать на себя ответственность за мир - норма, конечно. JKR как раз как clueless о себе и мире как большинств люди,но около 200 времен как разрушительно как средний американец и около 800 времен больше чем средний китаец. Она несет ответственность за уничтожение, может быть, 30000 гектаров леса для производства этих романов мусора и все (...)
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  2. Meinongian Merits and Maladies.Samuel Hoadley-Brill - manuscript
    According to what has long been the dominant school of thought in analytic meta-ontology––defended not only by W. V. O. Quine, but also by Bertrand Russell, Alvin Plantinga, Peter van Inwagen, and many others––the meaning of ‘there is’ is identical to the meaning of ‘there exists.’ The most (in)famous aberration from this view is advanced by Alexius Meinong, whose ontological picture has endured extensive criticism (and borderline abuse) from several subscribers to the majority view. Meinong denies the identity of being (...)
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  3. "Верблюдът" Радичков: въображението като реалност.Vasil Penchev - 2019 - In Пламен Антов (ed.), Магическият реализъм. Sofia: pp. 69-86.
    The text aims to explain Radichkov's special magical capaЬility of creating imaginary worlds. His words do not mean any external reality to which they refer. Тhеу themselves are reality. Radickov's language consists of "ontological quanta". Any ontological quantum means both reality and а certain image of it, indivisiЫe and indistinguishaЫe from each other. Here we сап also involve non-Saussurean semiotics. The signifier and the signified are indivisiЫe and complementary in any sign. The meanings are areas of agreement between human beings. (...)
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  4. Радичков другарува с думите.Vasil Penchev - 2000 - "Филвест".
    A few works of the famous Bulgarian writer Yordan Radichkov (1929-2004) are interpreted philosophically. What is investigated is the availability and inovation of well-known ideas of Western philosophy in them. The great literature refers to human life and being: thus, it shares many topics with philosophy.
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  5. Empathy in Literature.Eileen John - 2017 - In Heidi L. Maibom (ed.), Routledge Handbook to Philosophy of Empathy. London: Routledge. pp. 306-16.
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  6. I Do Not Believe in Meigas, but There Are Such. A Meinongian Empirical Case Based on Galician ‘Meigas’.Olga Ramirez Calle - forthcoming - E-Logos Electronic Journal for Philosophy.
    This paper aspires to meet a philosophical challenge posed to the author to give treatment to what was seen as a particularly nice Meinongian case1; namely the case of Galician Meigas. However, through the playful footpaths of enchanted Galician Meigas, I rehabilitate some relevant discussion on the justification of belief formation and come to some poignant philosophical insights regarding the understanding of possibilities. I hope both the leading promoter of the challenge and, of course, other philosophical readers are satisfied with (...)
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  7. The Importance of Fictional Properties.Sarah Sawyer - 2015 - In Stuart Brock & Anthony Everett (eds.), Fictional Objects. Oxford, UK: pp. 208-229.
    Semantic theories of fictional names generally presuppose, either explicitly or implicitly, that fictional predicates are guaranteed a referent. I argue that this presupposition is inconsistent with anti-realist theories of fictional characters and that it cannot be taken for granted by realist theories of fictional characters. The question of whether a fictional name refers to a fictional character cannot be addressed independently of the much-neglected question of whether a fictional predicate refers to a fictional property.
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  8. Vacuous Names and Fictional Entities.Saul A. Kripke - 2011 - HORIZON. Studies in Phenomenology 8 (2):676-706.
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  9. Explaining Fictional Characters.Tatjana von Solodkoff - 2019 - Ergo: An Open Access Journal of Philosophy 6.
    Fictional characters are awkward creatures. They are described as being girls, detectives, and cats; as being famous, based on real people, and well developed, and as being paradigmatic examples of things that don’t exist. It’s not hard to see that there are tensions between these various descriptions—how can something that is a detective not exist?—and there is a range of views designed to make sense of the pre-theoretical data. Fictional realists hold that we should accept that fictional characters are part (...)
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  10. Mary Wilkins Freeman’s “Louisa” and the Problem of Female Choice.Judith P. Saunders - 2019 - Philosophy and Literature 43 (2):466-481.
    In her 1890 short story “Louisa,” Mary Wilkins Freeman explores nepotistic interference with female mate selection. Twenty-five-year-old Louisa Britton is pressured by her mother to marry against her inclinations, that is, to accept a suitor whom she does not “like.”1 The focal point of Freeman’s plot is the ensuing mother-daughter conflict, an evolutionarily significant issue that invites readers to consider the questions it raises in larger terms: What motivates parents to interfere with a daughter’s mating decisions? Is a parent’s assessment (...)
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  11. Normative Fiction‐Making and the World of the Fiction.Manuel García‐Carpintero - 2019 - Journal of Aesthetics and Art Criticism 77 (3):267-279.
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  12. Fictional Hierarchies And Modal Theories Of Fiction.Johannes Schmitt - 2009 - Postgraduate Journal of Aesthetics 6 (1):34-45.
    Some philosophers of fiction – most famously Jerold Levinson1 - have tried to argue that fictional narrators can never be identified with real authors. This argument relies on the claim that narration involves genuine assertion (not just the pretense of assertion that lacks truthfulness) and that real authors are not in a position to assert anything about beings on the fictional plain - given that they don’t rationally believe in their existence. This debate on the status of narrators depends on (...)
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  13. Ритуально-міфологічний субстрат у романі Ґ. Майрінка «Ґолем».Larysa Yatchenko - 2018 - NaUKMA Researh Papers. Literary Studies 1:143-147.
  14. Символіка образу пса у прозі Сергія Жадана.Snizhana Umanets - 2018 - NaUKMA Researh Papers. Literary Studies 1:110-113.
  15. Who Do We Think We Are?Andrea C. Westlund - 2019 - Philosophy and Literature 43 (1):173-191.
    Our moral lives are replete with acts of autobiographical story-telling. The stories we tell are intended to help others understand what we do by helping them understand “who we are” in a practical or normative sense. The act of addressing one’s stories to an audience, however, is as likely to destabilize as it is to confirm one’s understanding of “who one is”. Drawing on themes in Wally Lamb’s novel I Know This Much is True, I offer a dialogical account of (...)
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  16. Uma solução artefactual para o problema da referência de objetos fictícios.Francisco Lages - 2017 - Dissertation, Universidade Federal de Minas Gerais
    Nosso trabalho pretende traçar um percurso teórico sobre a referência de objetos fictícios. Para tanto, apresentamos o tratamento de Frege, Russell e Meinong com o intuito de fornecer o pano de fundo clássico sobre o qual nosso tema se encontra. Tentamos mostrar a insuficiência desse quadro clássico de teses tendo em vista suas soluções para a referência de objetos fictícios e o resultado esperado por nós. Por isso, sugerimos a linha argumentativa delineada por Kripke a partir de Naming and Necessity, (...)
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  17. Бітард як персонаж фольклору анонімних форумів.Kostiantyn Zadyraka - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:26-28.
    Статтю присвячено феномену Інтернет-фольклору, який розглядається на прикладі візуального образу персонажа «бітард». Наведено деякі аргументи для обґрунтування доцільності вживання поняття «Інтернет-фольклор», описано особливості комунікації через специфічний тип анонімних форумів – іміджборд, а також процес формування фольклору іміджборд. Проаналізовано один із елементів цього фольклору – персонаж «бітард», як відображення досвіду користувачів форумів. Описано його визначальні риси та головні характеристики.
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  18. Fictional Names and Semantics: Towards a Hybrid View.Daniela Glavaničová - 2018 - In Piotr Stalmaszczyk (ed.), Objects of Inquiry in Philosophy of Language and Linguistics. pp. 59-74.
    Are there fictional characters? Realists suggest that there are such entities, but these are non-concrete, non-actual or non-existent. Antirealists avoid this assumption by suggesting that fictional discourse is not to be taken at face value. However, any of these camps faces some serious troubles. This paper proposes a hybrid account that combines features of realism with features of antirealism. In particular, the semantic distinction between de dicto and de re is employed, and the resulting view suggests de dicto (role) realism (...)
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  19. Truth in Fiction, Impossible Worlds, and Belief Revision.Francesco Berto & Christopher Badura - 2019 - Australasian Journal of Philosophy 97 (1):178-193.
    We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.
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  20. Through a Telescreen Darkly.Lavinia Marin - 2018 - In Ezio Di Nucci & Stefan Storrie (eds.), 1984 and philosophy, is resistance futile? Open Court. pp. 187-198.
    “It was a peculiarly beautiful book. its smooth creamy paper, a little yellowed by age, was of a kind that had not been manufactured for at least forty years past. . . . Even with nothing written in it, it was a compromising possession. The thing that he was about to do was to open a diary. This was not illegal (nothing was illegal, since there were no longer any laws), but if detected it was reasonably certain that it would (...)
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  21. Narrative in Law and Life: Some Frequently Asked Questions.Harold Anthony Lloyd - 2015 - Second Draft 28.
    This article briefly addresses the following questions: Why should we study narrative? Does narrative have a basic overarching form or forms? How does framing drive narrative? How do concepts drive narrative? What can we do when we lack the necessary concepts for the narrative we need to tell? Are there basic storylines that repeat? Are there basic character types that we reuse? Can narrative drive the results of a Supreme Court case? Can narrative drive transactional practice? How does narrative's importance (...)
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  22. Fictional Objects, Edited by Stuart Brock and Anthony Everett: Oxford: Oxford University Press, 2015, Pp. Vii + 299, £45. [REVIEW]Emily Caddick Bourne - 2017 - Australasian Journal of Philosophy 95 (4):810-813.
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  23. Fanfiction, Canon, and Possible Worlds.Sara L. Uckelman - manuscript
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  24. Tichý and Fictional Names.Daniela Glavaničová - 2017 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 24 (3):384-404.
    The paper examines two possible analyses of fictional names within Pavel Tichý’s Transparent Intensional Logic. The first of them is the analysis actually proposed by Tichý in his (1988) book The Foundations of Frege’s Logic. He analysed fictional names in terms of free variables. I will introduce, explain, and assess this analysis. Subsequently, I will explain Tichý’s notion of individual role (office, thing-to-be). On the basis of this notion, I will outline and defend the second analysis of fictional names. This (...)
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  25. The Character of Huckleberry Finn.Kristina Gehrman - 2018 - Philosophy and Literature 42 (1):125-144.
    Ever since Jonathan Bennett wrote about Huckleberry Finn's conscience in 1974, Mark Twain's young hero has played a small but noteworthy role in the moral philosophy and moral psychology literature. Following Bennett, philosophers read Huck as someone who consistently follows his heart and does the right thing in a pinch, firmly believing all the while that what he does is morally wrong.1 Specifically, according to this reading, Huck has racist beliefs that he never consciously questions; but in practice he consistently (...)
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  26. Fictional, Metafictional, Parafictional.François Recanati - 2018 - Proceedings of the Aristotelian Society 118 (1):25-54.
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  27. Conversational Exculpature.Daniel Hoek - 2018 - Philosophical Review 127 (2):151-196.
    Conversational exculpature is a pragmatic process whereby information is subtracted from, rather than added to, what the speaker literally says. This pragmatic content subtraction explains why we can say “Rob is six feet tall” without implying that Rob is between 5'0.99" and 6'0.01" tall, and why we can say “Ellen has a hat like the one Sherlock Holmes always wears” without implying Holmes exists or has a hat. This article presents a simple formalism for understanding this pragmatic mechanism, specifying how, (...)
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  28. Justification From Fictional Narratives. Repp - 2014 - Journal of Aesthetic Education 48 (1):25.
    Many people claim that we can gain knowledge from reading novels and other forms of narrative fiction. In a trivial sense, this claim seems uncontroversial. There is no doubt that reading Pride and Prejudice can teach me, for example, what the novel is about or give me some insight into the character of Regency English. This is because a novel, like any other text, constitutes direct evidence for propositions about its own content and language. But it is widely questioned whether (...)
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  29. Is Clarissa Dalloway Special?R. Lanier Anderson - 2017 - Philosophy and Literature 41 (1A):233-271.
    My title question has something of the feel of a book club discussion starter, but it has further-reaching implications for understanding Mrs. Dalloway than might first appear. Consider two more mainstream interpretive questions. First, Virginia Woolf's novel places extensive cognitive and aesthetic demands on its readers and thereby participates in the famous "difficulty" of much high-modernist literature. Any interpretation should explain why Woolf thought such a challenge to the capacities and expectations of the reader was necessary or conducive to her (...)
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  30. Fictional Realism and Metaphysically Indeterminate Identity.Wouter A. Cohen - 2017 - Analysis 77 (3):511-519.
    Fictional realists maintain that fictional characters are part of the world’s ontology. In an influential article, Anthony Everett argues that the fictional realist is thereby committing herself to problematic entities. Among these are entities that are indeterminately identical. Recently, Ross Cameron and Richard Woodward have answered Everett’s worry using the same strategy. They argue that the fictional realist can bypass the problematic identities by contending that they are merely semantically indeterminate. This paper concisely surveys Everett’s original argument, Cameron’s and Woodward’s (...)
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  31. To Have and to Hold.Tatjana von Solodkoff & Richard Woodward - 2017 - Philosophical Issues 27 (1):407-427.
    Realists about fictional entities often distinguish the properties that a fictional character has and the properties a character holds. Roughly, this is the distinction between the properties that a character really possesses and the properties it fictionally possess. But despite the popularity of this distinction in realist circles, it gives rise to a number of subtle issues about which fictional realists can and do disagree. In this paper, we aim to clarify these issues and defend three related theses. One: that (...)
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  32. Mistake is to Myth What Pretense is to Fiction: A Reply to Goodman.Björn Lundgren - 2017 - Philosophia 45 (3):1275-1282.
    In this reply I defend Kripke’s creationist thesis for mythical objects against Jeffrey Goodman’s counter-argument to the thesis, 35–40, 2014). I argue that Goodman has mistaken the basis for when mythical abstracta are created. Contrary to Goodman I show that, as well as how, Kripke’s theory consistently retains the analogy between creation of mythical objects and creation of fictional objects, while also explaining in what way they differ.
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  33. HAGBERG, GARRY L., Ed. Fictional Characters, Real Problems: The Search for Ethical Content in Literature. Oxford University Press, 2016, Xii + 389 Pp., $90.00 Cloth. [REVIEW]Ira Newman - 2017 - Journal of Aesthetics and Art Criticism 75 (3):306-310.
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  34. Abstract Generationism: A Response to Friedell.Wesley D. Cray - 2017 - Journal of Aesthetics and Art Criticism 75 (3):289-292.
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  35. On Fictional Characters as Types.Enrico Terrone - 2017 - British Journal of Aesthetics 57 (2):161-176.
    Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...)
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  36. More on Fictional Names and Psychologistic Semantics: Replies to Comments.Emar Maier - 2017 - Theoretical Linguistics 43 (1-2):103-120.
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  37. Ficta as Contingently Nonconcrete.Lightfield Ceth - 2014 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 21 (4):431-457.
    Fictional realism allows direct reference theorists to provide a straightfor- ward analysis of the semantics of fictional discourse by admitting into their ontology a set of objects (ficta) that serve as the referents of fictional names. Ficta may be modeled using an axiomatic object theory, but actualist interpretations of the formalism have been the subject of recent objections. In this paper, I provide an interpretation of object theory’s formalism that is consistent with actualism and avoids these objections. Drawing on insights (...)
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  38. Review of Brock and Everett (Eds.) Fictional Objects. [REVIEW]Lee Walters - forthcoming - British Journal of Aesthetics.
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  39. Real Representation of Fictional Objects.Luke Manning - 2014 - Journal of Aesthetics and Art Criticism 72 (1):13-24.
    ABSTRACTAssuming there are fictional objects, what sorts of properties do they have? Intuitively, most of their properties involve being represented—appearing in works of fiction, being depicted as clever, being portrayed by actors, being admired or feared, and so on. But several philosophers, including Saul Kripke, Peter van Inwagen, Kendall Walton, and Amie Thomasson, argue that even if there are fictional objects, they are not really represented in some or all of these cases. I reconstruct four kinds of arguments for this (...)
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  40. Fictional Names Without Fictional Objects.Eleonora Orlando - 2008 - Critica 40 (120):111-127.
    In this paper, I criticize Mark Sainsbury's proposal concerning the semantic analysis of fictional discourse, as it has been put forward in chapter 6 of his Reference without Referents. His main thesis is that fictional names do not refer, and hence statements containing them are genuinely false and must be interpreted in terms of true paraphrases, arrived at on a case-by-case basis. In my opinion, the proposal has a problem derived from the fact that the relation between some problematic examples (...)
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  41. On the Semantics of Rhythm: Formal Differences Between the Characters of Oresteia in Tragedy.Maria-Kristiina Lotman - 2003 - Sign Systems Studies 31 (2):441-463.
    The paper analyses the formal features of the characters of Oresteia in Greek tragedy. The protagonists and the minor characters are compared, for which the rhythmical liveliness and variability of the personages’ utterances, the length and number of utterances, and the number of dialogue verses in the metrical repertoire of the corresponding personage are taken into account. The analysis revealed that the data of Sophocles and Euripides are more close to each other both in the respect of general “liveliness” and (...)
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  42. On the Ontology of Fictional Characters: A Semiotic Approach.Umberto Eco - 2009 - Sign Systems Studies 37 (1/2):82-97.
    Why are we deeply moved by the misfortune of Anna Karenina if we are fully aware that she is simply a fictional character who does not exist in our world?But what does it mean that fictional characters do not exist? The present article is concerned with the ontology of fictional characters. The author concludes thatsuccessful fictional characters become paramount examples of the ‘real’ human condition because they live in an incomplete world what we have cognitive access to but cannot influence (...)
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  43. Between Fiction and Reality: Transforming the Semiotic Object.Jaan Valsiner - 2009 - Sign Systems Studies 37 (1/2):99-112.
    The contrast between real and fictional characters in our thinking needs further elaboration. In this commentary on Eco’s look at the ontology of the semiotic object, I suggest that human semiotic construction entails constant modulation of the relationship between the states of the real and fictional characters in irreversible time. Literary characters are examples of crystallized fictions which function as semiotic anchors in the fluid construction — by the readers — of their understandings of the world. Literary characters are thus (...)
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  44. Identification with Characters and Narrative Persuasion Through Fictional Feature Films.Juan-José Igartua - 2010 - Communications 35 (4):347-373.
    This article presents three studies examining the importance of identification with characters in research on media entertainment. In Study 1 it was found that identification with characters was associated with spectators' degree of enjoyment of feature films of different genres. Study 2 showed that identification with characters predicts the affective impact of a dramatic film and, also, it was associated with greater cognitive elaboration and a more complex reflexive process during the viewing of the dramatic film. In Study 3 it (...)
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  45. Resolving the Paradox of Fiction.Anna Brinkerhoff - 2014 - Stance 7:41-50.
    In this paper, I examine the Paradox of Fiction: in order for us to have genuine and rational emotional responses to a character or situation, we must believe that the character or situation is not purely fictional, we believe that fictional characters and situations are purely fictional, and we have genuine and rational emotional responses to fictional characters and situations. After defending and against formidable objections and considering the plausibility of ~ in isolation of and, I conclude that we should (...)
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  46. Fictional Names and Literary Characters: A Defence of Abstractism.Eleonora Orlando - 2016 - Theoria: Revista de Teoría, Historia y Fundamentos de la Ciencia 31 (2):143-158.
    This paper is focused on the abstractist theory of fictional discourse, namely, the semantic theory according to which fictional names refer to abstract entities. Two semantic problems that arise in relation to that position are analysed: the first is the problem of accounting for the intuitive truth of typically fictive uses of statements containing fictional names; the second is the one of explaining some problematic metafictive uses, in particular, the use of intuitively true negative existentials.Este artículo se ocupa de la (...)
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  47. Truth, Fiction, and Literature: A Philosophical Perspective.Berys Gaut - 1996 - Philosophical Review 105 (1):84.
    Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...)
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  48. Mimesis as Make-Believe: On the Foundations of the Representational Arts.J. M. Moravcsik - 1993 - Philosophical Review 102 (3):440.
  49. The Nature of Fiction.Susan L. Feagin - 1992 - Philosophical Review 101 (4):948.
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  50. Review of Anthony Everett, The Nonexistent. [REVIEW]Catharine Abell - 2016 - British Journal of Aesthetics 56 (2):209-212.
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