Ontology of Literature

The semantic issues that Saul Kripke addressed in Naming and Necessity overlap substantially with those that were addressed by Michel Foucault in “What Is an Author?”. The present essay examines their area of overlap, with a view to showing that each of these works affords a perspective on the other, from which facets that are usually obscure can be brought into view. It shows that Foucault needs to take some assumptions from Kripke’s theory of naming in order to secure one (...) of his arguments for treating authorial names as special. It then shows that, once it has been placed on these Kripkean foundations, Foucault’s position avoids the metaphysically peculiar commitments that are sometimes thought to be essential... (shrink)

What does Emerson want for himself and for us, or, put another way, what does he do in his writings as a whole? Can we understand Emerson's writings today? One critic, F. O. Matthiessen, in his American Renaissance: Art and Expression in the Age of Emerson and Whitman, pithily remarks that some of Emerson's philosophical essays are "generally unreadable";1 Len Gougeon, however, argues that we can know something about Emerson. Gougeon suggests that Emerson emphasizes the individual and the American political (...) sphere, noting Emerson's increased focus on the political climate as America approached civil war.2 Crucial to his argument is the transformation of Emerson the man into one of the most... (shrink)

This paper is about non-fictional objects in fictions and their role as narrators. Two central claims are advanced. In part 1 it is argued that non-fictional objects such as you and me can be part of fictions. This commonsensical idea is elaborated and defended against objections. Building on it, it is argued in part 2 that non-fictional objects can be characters and narrators in fictional narratives. As a consequence, three fundamental and popular claims concerning narrators are rejected. In particular, it (...) is shown that some fictional narratives have non-fictional internal narrators, some have no internal fictional narrator, and, most controversially, that the author of a fictional narrative can be identical to its internal narrator. (shrink)

O presente artigo ambiciona discutir dois conceitos importantes presentes na última fase da filosofia poética de Gaston Bachelard, onde o pensador adotou o método fenomenológico das imagens poéticas, são eles: solidão e instante vertical. Logo em seguida, demonstraremos de que modo esses dois conceitos que são, diga-se de passagem, um tanto quanto curiosos, se conectam e, em certa medida, autorizam o pensador a definir precisamente o que é essa poesia produzida pelo artista, bem como, o impacto de uma obra poética (...) na vida daqueles leitores que intimamente foram sensibilizados pelo acontecimento criador e revelador de mundos que é a poesia. (shrink)

Pretendemos com esse artigo evidenciar de que modo Bachelard se ocupa da questão que versa sobre a constituição e reconstrução do Ser do homem por meio da poesia em seu pensamento fenomenológico final. Para tanto, exporemos brevemente que tipo de fenomenologia poética é essa almejada pelo autor, em seguida, destacaremos a importância a e primazia da temporalidade vertical cultivada pelos poetas e, por fim, mostrar de que maneira a partir “da solidão de um outro”, no caso, a do poeta, eu (...) me responsabilizo pela minha própria solidão em vias de construção de minha singularidade através da leitura. (shrink)

While most studies of reference focus on the relationship of the individual proposition to the world, this book looks at the problem of reference through the holistic lens of the practices and assumptions that inform the construction of literary worlds. Beginning with Balzac’s arguments for establishing his version of realism, Realism and the Drama of Reference then moves to Flaubert’s challenge to those realist norms and assumptions in its depiction of setting, narration, dialogue, and character. Henry James rejects the practices (...) of both French writers, for the fictional worlds he wants to create cannot appear inside their assumptions. Thus, each of these writers takes on the global question of worldhood, of how language generates a world and not just the task of depicting the details of contemporary life that we already know through other languages. (shrink)

У статті наведено результати дослідження функційного призначення топоніма Москва в українському поетичному дискурсі від давньої доби до сьогодні. Визначено, що найважливіша його функція – ідеологічна, вона є різновекторною та безпосередньо пов’язана з авторською оцінкою. Конотації власної назви Москва детерміновані інтерлінгвальними чинниками та мають великий діапазон – від максимально меліоративних до максимально пейоративних.

contents: -/- 1. the Romantic fragment 2. life would want to die, a little 3. pain itself is the meaning, in Nietzsche 4. martyrs do not underrate the body 5. inwardly, an Actor prepares 5b. brother, bro: it's only you that overhears you 5c. J is like Hamlet / Herzog / Holden Caulfield / Raskolnikov 5d. they take him to a basement and they feed him METH 6. a surface is revealed / the depths are all inferred 6b. my Self (...) is all depth: a long internal vertical 6c. Joyce knows not the inside of ideas 6d. perception of depth is maladaptive 7. by knowing Death, humans are the Woken Ones 8. all as straw, or graphomania 8b. i tend to write thru / tho unless i'm imitating English 9. Finnegans Wake as Literature's endgame 10. Hard Realism: Hemingway, Knausgård 11. the cause of pain, in Buddhism 11b. duḥkha is uh-hukha: the gut's double throb. (shrink)

Статтю присвячено сакральним мотивам у поезії М. Вінграновського. Розглянуто правопис слова «Бог» у ранніх і пізніших поезіях автора, вказано на тексти з релігійною образністю і тематикою (зокрема проаналізовано неопубліковані рукописи). Наведено свідчення сучасників поета про його стосунки з Богом. Зроблено спробу показати, що засвідчена заангажованість М. Вінграновського в релігійний дискурс дає підстави розгортати інтерпретацію його поезій також і в межах цього дискурсу, зокрема – в аспекті поєднання однини і множини на мовному рівні, а також в аспекті відчуття загальної всеєдності як (...) складника переживання всеприсутності Бога, яку засвідчують різні релігійні традиції. (shrink)

Typically, literature is defined ontologically as linguistically-fixed texts consisting of specific words and word order. However, some have noted that this condition is too strict for linguistically-fluid works such as the Iliad where the words and word order differ in their various instances. I argue that it is not strict enough for some works of literature, such as pattern poetry and the novels of Irvin Welsh and Mark Z. Danielewski, that have a further ontological condition. In that the graphic features (...) play an artistic role in these works, those graphic features must be reproduced in an authentic copy. Using exemplars in both poetry and prose, I define these works as graphically-fixed literature and identify a sufficient condition of such works specific to their graphic features. Finally, I examine copies of graphically-fixed works that omit their graphic features as well as audiobook and Braille editions that necessarily lack graphic components. (shrink)

The aim of this book is to investigate the nature and ontological status of fictional characters on the one hand (i. e., entities like Sherlock Holmes, Hamlet, or Anna Karenina) and literary works on the other. The overall question is: What kinds of objects are fictional characters and literary works, and how are they related to our everyday world? Thomasson advocates a realist, non-reductionist theory of fictitious objects whose main principles are: Fictional characters exist – just as literary works exist. (...) Fictional characters as well as literary works are abstract objects (i. e., lack spatiotemporal location), are created (and thus contingent), are brought into existence through the intentional acts of an author, can go on existing without intentional acts of an author, and are existentially dependent objects in a variety of ways. Thomasson develops a subtle theory of ontological dependence. The review contains a detailed account of Thomasson's "artifactual theory" as well as detailed criticism of some pivotal points. While I am, in principle, sympathetic to the non-reductionist approach, I object against some of Thomasson's specific dependency claims. Furthermore, I defend so-called "Meinongian" theories of fiction against Thomasson's objections. Finally, I raise questions concerning, among other things, the relation between a literary work and its "text", the proposed identity conditions for literary works, the relation between a literary work and its (fictitious) objects. (shrink)

I reconcile the spatiotemporal location of repeatable artworks and impure sets with the non-location of natural numbers despite all three being varieties of abstract objects. This is possible because, while the identity conditions for all three can be given by abstraction principles, in the former two cases spatiotemporal location is a congruence for the equivalence relation featuring in the relevant principle, whereas in the latter it is not. I then generalize this to other ‘physical’ properties like shape, mass, and causal (...) powers. (shrink)

Poems are treated by translators as hierarchical multilevel systems. Here we propose the notion of “multilevel poetry translation” to characterize such cases of poetry translation in terms of selection and rebuilding of a multilevel system of constraints across languages. Different levels of a poem correspond to different sets of components that asymmetrically constrain each other (e. g., grammar, lexicon, syntactic construction, prosody, rhythm, typography, etc.). This perspective allows a poem to be approached as a thinking-tool: an “experimental lab” which submits (...) language to unusual conditions and provides a scenario to observe the emergence of new patterns of semiotic behaviour as a result. We describe this operation as a problem-solving task, and exemplify with Augusto de Campos’ Portuguese translation of John Donne’s poem “The Expiration.”. (shrink)

Ingarden distinguishes four strata making up the structure of the literary work of art: the stratum of word sounds and sound-complexes; the stratum of meaning units; the stratum of represented objectivities (characters, actions, settings, and so forth); and the stratum of schematized aspects (perspectives under which the represented objectivities are given to the reader). It is not only works of literature which manifest this four-fold structure but also certain borderline cases such as newspaper articles, scientific works, biographies, and so forth. (...) Ingarden specifies what is characteristic of a work of literature by asserting that all declarative sentences appearing in the stratum of meaning units of such work possess what he calls a quasi-judgmental character. We discuss here Ingarden’s theory of quasi-judgments and draw out its implication that all works of literature are works of fiction through and through. (shrink)

The issues of this essay concern whether there are ways of experiencing time that are specific to narration and whether such ways can also be applied to the experience of time in reflection. In order to tackle these issues, we shall compare and contrast the experience of time in life with both the temporal experiences of narration and the temporal experiences of reflection. We shall begin, then, with a discussion on what the “experience of time” is, in the attempt of (...) providing a theoretical framework for our inquiry on narrative and reflective temporalities. (shrink)

The consensus is that novels can be fully appreciated only through an experiential engagement with their well-formed instances. But what are the entities that serve as such instances? According to the orthodox view, these entities are primarily inscriptions—concrete texts written or printed on something or displayed on the screen of some electronic device. In this paper, I argue that this view is misguided, since well-formed instances of a novel must manifest certain sonic properties, but such properties cannot be manifested by (...) inscriptions. As an alternative, I put forward the view that the entities that serve as well-formed instances of novels are readings and sums of readings and graphic elements. (shrink)

This is an attempt to investigate the causal relationship existing between the psychedelic literary genre in fiction and the application of trauma theory in the study of One Flew over the Cuckoo's Nest. Trauma theory, which is a psychological theory in essence; has been widely linked to the study of literature since traumatic responses take narrative forms. Scientifically, many studies have proven that the psychedelic trip leads to a deepened exploration of the unconscious tracing latent emotional traumas. Henceforth, I am (...) going to explore this novel as a psychedelic example of science fiction through a generic analysis due to the numerous parallels I have noticed with the effects of drug administration on real life patients. I will base my claim on a medical theory known as Psychedelic Information Theory which investigates psychedelic hallucinations, expanded consciousness and their impact on the metaphysical aspects of self-exploration. Consequently, I shall presuppose that psychedelics act metaphorically on the text of One Flew over the Cuckoo's Nest inducing character-based hallucinatory narratives. Hallucinations are caused by an eruption of a psychedelic consciousness that is the antithesis of the normal state of a mind. Hallucinations range from happy enjoyable experiences laden with kaleidoscopic colourful streams of visions to painful manifestations of latent trauma. I endeavour to analyze this novel as a traumatic example of psychedelic fiction through establishing a cause-result relationship between information theory and trauma theory as a fluid encounter between literature and science within science fiction framework. Finally, I attempt to link the cultural integration of psychedelics to the shift of the traumatic experience from cultural to structural. This paper explores primarily the manifestations of Chief Bromden’s historic trauma. It traces secondarily the psychedelic characteristics of the novel. Lastly, it studies the effects of Bromden’s psychedelic journey on his traumatic recovery. (shrink)

Philosophie de la vivification et de la fragilité, l’œuvre de Paul Ricœur est fertile pour qui veut penser la création littéraire. Cette pratique d’écriture, Ricœur l’envisage comme un procès complexe où l’écrivain s’individualise et s’altère d’un seul geste. Nous le verrons, l’écriture est à ses yeux distanciation, geste d’appropriation médiatisé. Cet écartèlement entre le propre et l’impropre fait la spécificité de l’écriture littéraire, où s’entrelacent la rationalité et l’irrationalité, le savoir et le non-savoir. Après avoir exposé ces vues, je les (...) mettrai en rapport avec celles de certains écrivains sur leur propre pratique : Søren Kierkegaard, Paul Valéry, Pierre Bertrand, Nancy Huston et Catherine Mavrikakis seront tour à tour convoqués à ce dialogue sur le devenir qu’implique l’écriture littéraire. Je procéderai comme Ricœur : animée par un désir de réconciliation entre les alternatives, je ferai dialoguer des voix uniques et essaierai de déceler des parentés entre elles. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

We seem to talk about repeatable artworks, like symphonies, films, and novels, all the time. We say things like, "The Moonlight Sonata has three movements" and "Duck Soup makes me laugh". How are these sentences to be understood? We argue against the simple subject/predicate view, on which the subjects of the sentences refer to individuals and the sentences are true iff the referents of the subjects have the properties picked out by the predicates. We then consider two alternative responses that (...) involve reading these sentences as generics, similar to "The polar bear has four paws". The first response takes these sentences to be about kinds, and the second takes the relevant noun-phrases to act as predicates. We reject these accounts, but offer a third alternative which is informed by both, and which enables us to deny the existence of repeatable artworks while endorsing the truth of sentences seemingly about them. (shrink)

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the validity of attempts to (...) define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (shrink)

The paper explores the relevance of irrecoverable authorial intentions to the interpretation of texts. It suggests that the ways in which different conventions of discourse take account of the existence of irrecoverable intentions (i.e. of the failure of texts perfectly to represent their authors' intentions) can guide us to a criterion for distinguishing 'literary' from 'non-literary' texts, or 'literary'(aesthetically motivated) from 'non-literary' readings of texts.

In this article I shall present a Meinong-inspired theory of fictional objects. This theory is based on two ideas: fictional objects are mental objects, i.e., they depend for their identity conditions on minded subjects thinking of them; they bear properties in two different ways, i.e., by instantiating properties and by having properties “ascribed” to them. In my perspective, ascription relations hold (at least) between an object, a property and a minded subject. After having presented some data about fictional discourse, I (...) shall defend the thesis that fictional objects are mental objects. Afterwards, I shall introduce ascription relations and I shall outline in detail my theory and a comprehensive ontology of fiction. Finally, I shall define the identity conditions of fictional objects, I shall deal with the aforementioned data and I shall summarize the advantages of my theory over rival theories of fictional objects. (shrink)

In diesem Beitrag werden drei Thesen verteidigt: 1. Interpretationen literarischer Werke (im Sinne von Aussagen über die Bedeutung literarischer Werke) können richtig oder falsch sein. 2. Werke haben eine objektive Bedeutung, unabhängig von Interpretationen. 3. Die Bedeutung eines Werks wird wesentlich durch die kommunikativen Absichten der Autorin determiniert. Die Position, dass Werk- und Textbedeutungen durch tatsächliche Autorabsichten des echten Autors konstituiert werden – die Position des aktualen Intentionalismus – wird gegen eine Reihe von Einwänden und konkurrierenden Theorien verteidigt, nämlich gegen (...) den Konstruktivismus (»Werke und Texte haben keinerlei Bedeutung unabhängig von einer Interpretation«), den Konventionalismus (»Die Werk- und Textbedeutung ist ausschließlich durch linguistische Konventionen determiniert«), den Kontextualismus (»Die Werk- und Textbedeutung ist ausschließlich durch den Äußerungskontext determiniert«) und den hypothetischen Intentionalismus (»Die Bedeutung eines Werks bzw. Textes ist identisch mit dem, was ein intendiertes bzw. ideales Publikum für die Bedeutung des Werks bzw. Textes halten würde«). (shrink)

En este trabajo analizamos la reivindicación gadameriana del valor cognitivo de arte como un ejemplo de un modo de conocimiento que permite concebir de mejor manera la comprensión que tiene lugar en las ciencias del espíritu. Dicha reivindicación presupone el desconocimiento del valor cognitivo del arte operado por la subjetivización de la estética con Kant y una vuelta a los presupuestos de la tradición humanista. Por ello en la introducción presentamos en esquema los conceptos humanistas de tacto, gusto, sentido común (...) y juicio y comparamos el concepto de experiencia que corresponde a los mismos con la noción de experiencia modelada por la ciencia moderna. En la primera parte del trabajo examinamos en detalle la subjetivización de la estética que comienza con Kant y culmina con la “conciencia estética”. En la segunda parte examinamos cómo la reivindicación del valor cognitivo del arte corre pareja con el desarrollo de una ontología de la obra de arte. Concluimos señalando cómo el recorrido realizado facilita la comprensión de la especificidad de las ciencias del espíritu (humanidades). (shrink)

Works of philosophy written in English have spawned a massive secondary literature dealing with ideas, problems or arguments. But they have almost never given rise to works of ‘commentary’ in the strict sense, a genre which is however a dominant literary form not only in the Confucian, Vedantic, Islamic, Jewish and Scholastic traditions, but also in relation to more recent German-language philosophy. Yet Anglo-Saxon philosophers have themselves embraced the commentary form when dealing with Greek or Latin philosophers outside their own (...) tradition. The paper seeks to establish the reasons for this peculiar asymmetry by examining those factors which might be conducive to the growth of a commentary literature in a given culture. (shrink)

In Poetics chapter 9, Aristotle famously claims that poetry is more philosophical than history. What does this mean? I argue that he is talking about the metaphysics of events. Poets seek causal coherence among the events in their stories. Historians must report what happened whether or not the events of history exhibit causal coherence. This makes the poet's job more philosophical than the historian's, for the poet is seeking a unified plot -- an action-type -- that serves as the backbone (...) of the story he is trying to tell. The poet's final script is a token of an Aristotelian universal, the universal being an action-type that could have been fleshed out in many different ways, although with similar characters. Hence, the poet shows us what he thinks it is likely or necessary for agents of different types to do in the circumstances that confront them. Aristotelian mimesis, on this account, is the poetic representation of "one action," that is, of one action-type. (shrink)

The paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the (...) quality of the experience the work affords. However, the overall stance is realist, defending the view that works are real, perceivable, and objectively characterisable. (shrink)

Creationism is the view that fictional individuals such as Sherlock Holmes are contingently existing abstracta that come about due to the intentional activities of authors. Author-essentialism is the stronger thesis that the author responsible for bringing a fictional individual into existence at a time is essential to the existence of that individual. Takashi Yagisawa has recently attacked this view on the following grounds: author-essentialists rely on an ontological parallelism between fictional individuals and whole works of fiction, but this parallelism fails (...) to obtain. I here argue that Yagisawa’s grounds are weak. (shrink)

The paper seeks to apply the work of the Polish phenomenologist Roman Ingarden to certain problems in literary theory; contrasts the notions of ontological and epistemological incompleteness of the represented objects of a literary work and considers the question of the nature of such objects. The paper concludes by analyzing some of the degrees of freedom possessed by the readings of literary work in relation to the work itself.

Literary ontology is essentially a phenomenological issue rather than one of epistemology, sociology, or psychology. It is a theory of the phenomenological essence intuited from a sense of beauty, based on the phenomenological ontology of beauty, which puts into brackets the sociohistorical premises and material conditions of aesthetic phenomena. Beauty is the objectified emotion. This is the phenomenological definition of the essence of beauty, which manifests itself on three levels, namely emotion qua selfconsciousness, sense of beauty qua emotion, and sentiment (...) qua sense of beauty. Art on the other hand is the objectification of emotion whose most general and closest manner to humanity is literature and poetry. Poetry is the origin of language and the linguistic essence is a metaphor. Language as the house of being is both thinking and poetry. Literature expresses the essence of art in the most direct way and, in traditional Chinese aesthetic terminology, literature is the language of emotion conveyed by the writer based on his own emotion towards the language of scene. (shrink)

What are we to make of works of art whose apparent point is to convince us of the meaninglessness and absurdity of human existence? I examine, in this paper, the attempt of Albert Camus to provide philosophical justification of art in the face of the supposed fact of absurdity and note its failure as such with specific reference to Sartre’s criticism. Despite other superficial similarities, I contrast Camus’s concept of the absurd with that of his ‘existentialist’ colleagues, including Sartre, and (...) suggest that the latter concept is more philosophically viable. I conclude that existential phenomenology consequently provides a more promising philosophical justification for artistic creation in the light of the more viable conception of absurdity. (shrink)

Although few philosophers agree about what it is for something to be art, most, if not all, agree on one thing: art must be in some sense intention dependent. Art and Art-Attempts is about what follows from taking intention dependence seriously as a substantive necessary condition for something's being art. Christy Mag Uidhir argues that from the assumption that art must be the product of intentional action, along with basic action-theoretic account of attempts (goal-oriented intention-directed activity), follows a host of (...) sweeping implications for philosophical enquiry into the nature of art and its principal relata such as authorship, art forms, and art ontology: e.g., 1) an informative distinction between art, non-art, and failed-art that any viable theory of art must capture, 2) a far more productive minimal framework for authorship not only capable of systematically addressing issues of collective authorship appropriation, etc. but also one according to which artists just are authors, 3) a coherent and structurally precise account of art forms based upon the relation between artists, artworks, and the sortal properties thereof, and 4) a unified and far less metaphysically suspect ontology of art according to which if there are such things as artworks, then artworks must be concrete things. Ultimately, Mag Uidhir aims neither to propose nor to defend any particular, precise answer to the question "What is art?" Instead, he shows the ways in which taking intention-dependence seriously as a substantive necessary condition for being art can be profoundly revelatory, and perhaps even radically revisionary, as to the scope and limits of what any particular, precise answer to such a question could viably be. -/- **Winner of The American Society for Aesthetics Outstanding Monograph Award 2013**. (shrink)

This paper takes up a series of basic philosophical questions about the nature and existence of fictional characters. We begin with realist approaches that hinge on the thesis that at least some claims about fictional characters can be right or wrong because they refer to something that exists, such as abstract objects. Irrealist approaches deny such realist postulations and hold instead that fictional characters are a figment of the human imagination. A third family of approaches, based on work by Alexius (...) Meinong, seeks an alternative to the realist/irrealist dilemma. Neo-Meinongian theories rely upon a distinction between being and existence, the key contention being that unlike human beings, fictional characters have only the former. Having surveyed relevant work by contemporary metaphysicians and philosophers of language, this paper discusses issues related to the distinction between characters and other aspects of the content of fictions, including the relation between personality theory and literary conceptions of character. (shrink)

Discusses the gulf between the individual and collective experience, and the way the gulf is bridged in two of Malraux's novels.

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

The shortest stories are zero words long. There is no maximum length.

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 (...) or plays, performances of which are naturally regarded as involving, or evoking, a “fictional world” whose fictional characters and events are what the work in question is about. Another reason for initially focusing on such narrative plays is because performances of them provide a rich source of epistemic issues about evidence for artistic authenticity or correctness of artworks, which will turn out to be of integral importance to my fictionalist account of plays. (shrink)