The question of the cognitive role of fictionality is this: what is the correct cognitive attitude to take to p, when it is fictional that p? We began by considering one answer to this question, implicit in the work of Kendall Walton, that the correct response to a fictional proposition is to imagine that proposition. However, this approach is silent in cases of fictional incompleteness, where neither p nor its negation are fictional. We argue that that Waltonians should embrace a (...) pluralistic account of the cognitive role of fictional incompleteness: in some cases of fictional incompleteness, we are permitted to resolve the incompleteness during our engagement with the target fiction, and in other cases, we are obliged not to resolve the incompleteness. But though pluralism is accommodated by Walton’s wider account of fictionality, it puts tension on his motivating idea that fictionality stands to the imagination as truth stands to belief. And so we develop a rival conception of the cognitive role of fictionality that is built around a different analogy: on this evidentialist approach, (known) fictionality stands to the imagination as evidence stands to credence. (shrink)

That we can learn something from literature, as cognitivists claim, seems to be a commonplace. However, when one considers matters more deeply, it turns out to be a problematic claim. In this paper, by focusing on general revelatory facts about the world and the human spirit, I hold that the cognitivist claim can be vindicated if one takes it as follows. We do not learn such facts from literature, if by “literature” one means the truth-conditional contents that one may ascribe (...) to textual sentences in their fictional use, i.e., in the use in which one makes believe that things unfold in a certain way. What we improperly call learning from literature amounts to knowing actually true conversational implicatures concerning the above facts as meant by literary authors. So, in one and the same shot, we learn both a general revelatory fact and the fact that such a fact is meant via a true conversational implicature by an author. The author draws that implicature from the different truth-conditional content a sentence possesses when the sentence is interpreted in a fictional context, meant as Kaplan’s (1989) narrow context, i.e., a set of circumstantial parameters (agent, space, time, and world). (shrink)

In this paper, first of all, I want to try a new defense of the utterance approach as to the relationship between fictional and nonfictional works on the one hand and between fictional and nonfictional utterances on the other hand, notably the idea that the distinction between fictional and nonfictional works is derivative on the distinction between fictional and nonfictional utterances of the sentences that constitute a text. Moreover, I want to account for the second distinction in minimally contextualist semantic (...) terms. Finally, I want to hold that what makes a fictional utterance, hence a fictional work, properly fictional is the contextually pre-semantic fact that its utterer entertains an act of make-believe, where such an act is accounted for in metarepresentational terms. This ultimately means that the fiction/nonfiction distinction is not clarified in terms of the fictional works/nonfictional works distinction, for things rather go the other way around. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

I am extremely grateful to all commentators for such patient, generous, and stimulating contributions. What follows are some thoughts to enrich the conversation, but these are by no means intended to be definitive answers to the worries they have raised.

Lackey’s (2007) class of “selfless assertions” is controversial in at least two respects: it allows propositions that express Moorean absurdity to be asserted warrantedly, and it challenges the orthodox view that the speaker’s belief is a necessary condition for warranted assertibility. With regard to the former point, I critically examine Lackey’s broadly Gricean treatment of Moorean absurdity and McKinnon’s (2015) epistemic approach. With regard to the latter point, I defend the received view by supporting the knowledge account, on which knowledge (...) is the necessary condition for warranted assertion. After examining two defenses of KA, by Montminy and Turri, I propose two alternative approaches. Although I remain neutral between them, I develop in more detail the view which classifies “selfless assertions” as “presentations”, a type of assertives distinct from genuine assertions. This account is motivated further by allowing for the expansion of the normative approach to other assertives, a feature we may be interested in, in the light of a recent wave of normative accounts of speech acts. (shrink)

Can fictions make genuine assertions about the actual world? Proponents of the ‘Assertion View’ answer the question affirmatively: they hold that authors can assert, by means of explicit statements that are part of the work of fiction, that something is actually the case in the real world. The ‘Nonassertion’ View firmly denies this possibility. In this paper, I defend a nuanced version of the Nonassertion View. I argue that even if fictions cannot assert, they can indirectly communicate that what is (...) recounted as fictional is actually true. I show that this view is supported by independent linguistic data, and that it is able to defuse the objections that are typically raised against the Nonassertion View. I conclude by showing that this position has some interesting implications for testimonial cognitivism about fiction. (shrink)

The goal of this paper is to present and defend an inferentialist account of the meaning of fictional names on the basis of Sellars-Brandom’s inferentialist semantics and a Brandomian anaphoric theory of reference. On this inferentialist account, the meaning of a fictional name is constituted by the relevant language norms which provide the correctness conditions for its use. In addition, the Brandomian anaphoric theory of reference allows us to understand reference in terms of anaphoric word-word relations, rather than substantial word-world (...) relations. In this paper I argue that this inferentialist account has many important merits over its rival theories. One important merit is that it explains why we can use fictional names to make true statements, even if they lack bearers. As a consequence, this theory allows us to use fictional names without committing ourselves to an implausible ontology of fictional entities. Another important merit is that it provides a uniform semantic account of fictional names across different types of statements in which fictional names are involved. (shrink)

The speech act of inquiry is generally treated as a default kind of asking questions. The widespread norm states that one inquires whether p only if one does not know that p. However, the fact that inquiring is just one kind of asking questions has received little to no attention. Just as in the declarative mood we can perform not only assertions, but various other speech acts, like guesses or predictions, so in the interrogative mood we can also make various (...) speech act types. I propose a speech-act-theoretic account of a distinct kind of question that I label exam questions. According to the proposed account, one performs an exam question p only if (i) one has access to the answer to p, and (ii) one does not officially know whether the hearer knows the answer to p. Exam questions satisfy all the necessary requirements of being a distinct kind of speech act. Additionally, my proposal contributes to the recent expansion of the normative approach to a variety of speech acts. (shrink)

The paper reviews proposals by Abell, Predelli, and others on the semantics of fiction, focusing on the discourse through which fictions are created. Predelli develops the radical fictionalism of former writers like Kripke and van Inwagen, on which that discourse is contentless and does not express propositions. This paper offers reasons to doubt these claims. It then explores realist proposals like Abell’s in which singular terms in fictions refer to fictional characters, understood as socially created representational artifacts, and irrealist alternatives (...) in which the discourse is fully meaningful even though those terms fail to refer. (shrink)

This paper argues for a version of metalinguistic descriptivism, the Mill-Frege view, comparing it to a currently popular alternative, predicativism. The Mill-Frege view combines tenets of Fregean views with features of the theory of direct reference. According to it, proper names have metalinguistic senses, known by competent speakers on the basis of their competence, which figure in ancillary presuppositions. In support of the view the paper argues that the name-bearing relation—which predicativists cite to account for the properties that they take (...) names to express—depends on acts of naming with a semantic significance. Acts of naming create particular words specifically designed for referential use, which they perform whether or not the language has other words articulated with the same sound or orthography. Like other forms of metalinguistic descriptivism, the Mill-Frege view affords responses to Kripke’s semantic and epistemic arguments against descriptivism. The view is prima facie more complex than predicativism; but the additional complexity is independently attested in natural languages and well-motivated. Finally, the Mill-Frege proposal deals well with Kripke’s modal argument, and accounts for modal intuitions about names, both issues that pose serious trouble to predicativism. (shrink)

Singular terms used in fictions for fictional characters raise well-known philosophical issues, explored in depth in the literature. But philosophers typically assume that names already in use to refer to “moderatesized specimens of dry goods” cause no special problem when occurring in fictions, behaving there as they ordinarily do in straightforward assertions. In this paper I continue a debate with Stacie Friend, arguing against this for the exceptionalist view that names of real entities in fictional discourse don’t work there as (...) they do in simple-sentence assertions, but rather as fictional names do. (shrink)

Some speech acts are made indirectly. It is thus natural to think that assertions could also be made indirectly. Grice’s conversational implicatures appear to be just a case of this, in which one indirectly makes an assertion or a related constative act by means of a declarative sentence. Several arguments, however, have been given against indirect assertions, by Davis (1999), Fricker (2012), Green (2007, 2015), Lepore & Stone (2010, 2015) and others. This paper confronts and rejects three considerations that have (...) been made: arguments based on the distinction between lying and misleading; arguments based on the ordinary concept of assertion; and arguments based on the testimonial knowledge that assertions provide. (shrink)

John Searle argues that fictions are constituted by mere pretense—by the simulation of representational activities like assertions, without any further representational aim. They are not the result of sui generis, dedicated speech acts of a specific kind, on a par with assertion. The view had earlier many defenders, and still has some. Stefano Predelli enlists considerations derived from Searle in support of his radical fictionalism. This is the view that a sentence of fictional discourse including a prima facie empty fictional (...) name like “Emma Woodhouse” in fact “is not a sentence, and it encodes no proposition whatsoever.” His argument is broadly abductive; he claims that this view affords compelling explanations of features of fictions he finds well-established, among them that fictions without explicit narrators nonetheless have covert ones. Here I take up his arguments, in defense of the dedicated speech act view. I thus address pressing issues about the status of fictional names and the nature and ubiquity of narrators in fictions. (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)

In recent work, Walton has abandoned his very influential account of the fictionality of p in a fictional work in terms of prescriptions to imagine emanating from it. He offers examples allegedly showing that a prescription to imagine p in a given work of fiction is not sufficient for the fictionality of p in that work. In this paper, both in support and further elaboration of a constitutive-norms speech-act variation on Walton’s account that I have defended previously, I critically discuss (...) his objections. In addition to answering his concerns and developing the account further, I provide additional abductive support for its explanatory virtues vis-à- institutional accounts like Walton’s, and Gricean speech-act proposals. (shrink)

Philosophy and Phenomenological Research, EarlyView.

Contemporary semantics assumes two influential notions of context: one coming from Kaplan (1989), on which contexts are sets of predetermined parameters, and another originating in Stalnaker (1978), on which contexts are sets of propositions that are “common ground”. The latter is deservedly more popular, given its flexibility in accounting for context-dependent aspects of language beyond manifest indexicals, such as epistemic modals, predicates of taste, and so on and so forth; in fact, properly dealing with demonstratives (perhaps ultimately all indexicals) requires (...) that further flexibility. Even if we acknowledge Lewis (1980)’s point that, in a sense, Kaplanian contexts already include common ground contexts, it is better to be clear and explicit about what contexts constitutively are. Now, Stalnaker (1978, 2002, 2014) defines context-as-common-ground as a set of propositions, but recent work shows that this is not an accurate conception. The paper explains why, and provides an alternative. The main reason is that several phenomena (presuppositional treatments of pejoratives and predicates of taste, forces other than assertion) require that the common ground includes non-doxastic attitudes such as appraisals, emotions, etc. Hence the common ground should not be taken to include merely contents (propositions), but those together with attitudes concerning them: shared commitments, as I will defend. (shrink)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ (in Tolstoy’s War and Peace) or ‘London’ (in Orwell’s Nineteen Eighty-Four). This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive semantic (...) contribution in fiction. In this paper I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

Kathleen Stock has recently argued that Gregory Currie’s account of fiction is beset by two patchwork puzzles. According to the first, Currie’s account entails that works of fiction end up being implausible heterogenous complexes of utterances that furnish a fictional world and utterances that aim at representing the actual world. According to the second, competent engagement with a fiction can implausibly result in switching from one mental attitude to another – namely, belief and make-belief. In this paper, I argue for (...) two main claims. First, that a few alterations to Currie’s account make it immune to Stock’s puzzles. And, second, that such a modified account presents clear advantages over the alternative one offered by Stock. (shrink)

In his 2014 book Fiction and Narrative, Derek Matravers mounts a concerted attack on what he terms the ‘post-Walton consensus’ as to the features that distingui.

Consider the opening sentence of Tolkien’s The Hobbit: In a hole in the ground there lived a hobbit. By writing this sentence, Tolkien is making a fictional statement. There are two influential views of the nature of such statements. On the pretense view, fictional discourse amounts to pretend assertions. Since the author is not really asserting, but merely pretending, a statement such as Tolkien’s is devoid of illocutionary force altogether. By contrast, on the alternative make-believe view, fictional discourse prescribes that (...) the reader make-believe the content of the statement. In this paper, we argue that neither of these views is satisfactory. They both fail to distinguish the linguistic act of creating the fiction, for instance Tolkien writing the sentence above, from the linguistic act of reciting it, such as reading The Hobbit out loud for your children. As an alternative to these views, we propose that the essential feature of the author’s speech act is its productive character, that it makes some state of affairs obtain in the fiction. Tolkien’s statement, we argue, has the illocutionary force of a declaration. (shrink)

The aim of this paper is to make sense of a characteristic feature of interactive fictions, such as video game fictions, adventure books and role playing games. In particular, I describe one important way consumers of interactive fiction ‘take on the role’ of a fictional character and are ‘involved’ in the story. I argue that appreciative engagement with such works requires imagining being someone else and imagining parts of the story in a self-locating manner. In short, consuming works of interactive (...) fiction involves imagining the story from the protagonist’s perspective. (shrink)

In this introduction, I consider different problems posed by the use of singular terms in fiction (section 1), paying especial attention to proper names and, in particular, to names of real people, places, etc. As we will see (section 2), descriptivist and Millian theories of reference face different kinds of problems in explaining the use of fictional names in fiction-related contexts. Moreover, the task of advancing a uniform account of names in these contexts—an account which deals not only with fictional (...) names but also with “real” names—will prove to be very hard no matter whether we favour realist or antirealist intuitions about fictional discourse (section 3). Section 4 offers an overview of the content of this volume, with emphasis on the discussion between Manuel García-Carpintero and Stacie Friend about the meaning of “real” names in fiction-related contexts, the main topic of the Third Blasco Disputatio. (shrink)

Can fictions lie? According to a classic conception, works of fiction cannot contain lies, since their content is neither presented as true nor meant to deceive us. But this classic view can be challenged. Sometimes fictions appear to make claims about the actual world, and these claims can be designed to convey falsehoods, historical misconceptions, and pernicious stereotypes. Should we conclude that some fictional statements are lies? This article presents two views that support a positive answer, and two that support (...) a negative one. After examining various ways in which fictions can deceive, it concludes in favour of the view that fictional statements can mislead, but never lie. (shrink)

According to Millianism, the meaning of a name is exhausted by its referent. According to anti-realism about fictional entities, there are no such entities. If there are no fictional entities, how can we explain the apparent meaningfulness of fictional names? Our best theory of fiction, Walton’s theory of make-believe, makes the same assumptions but lacks the theoretical resources to answer the question. In this paper, I propose a pragmatic solution in terms of two main dimensions of meaning, a subjective, psychological (...) dimension and an intersubjective, public dimension. The psychological dimension builds on the notion of mental files; the public dimension builds on Stalnaker’s notion of common ground. The account is coherent with two main theoretical principles, parsimony and uniformity. Furthermore, it satisfies three explanatory conditions posed by the intentionality of our thought and discourse about fiction, object-directedness, counterfictional imagining and intersubjective identification. (shrink)

In this thesis, I propose and defend a theory according to which committing oneself to knowing the proposition expressed counts as an assertion of that proposition. A consequence of this view is the knowledge account of assertion, according to which one asserts that p correctly only if one knows that p. In support of this approach, I offer a strategy of identifying an assertion’s “normative consequences”, types of act that normally take place as a result of one’s making an assertion (...) incorrectly. I outline two such phenomena: retraction and disavowal of knowledge. In continuation, I put the theory to test and critically examine four sets of objections against it, arguing that it can convincingly defuse them. Finally, I discuss two related issues: I maintain that by performing “aesthetic assertions” one also normally performs a non-assertoric speech act of recommendation, and argue for the possibility of “non-linguistic assertions”, whose content is expressed by gestures in appropriate contexts. (shrink)

In (1959), Carnap famously attacked Heidegger for having constructed an insane metaphysics based on a misconception of both the logical form and the semantics of ordinary language. In what follows, it will be argued that, once one appropriately (i.e., in a Russellian fashion) reads Heidegger’s famous sentence that should paradigmatically exemplify such a misconception, i.e., “the nothing nothings”, there is nothing either logically or semantically wrong with it. The real controversy as to how that sentence has to be evaluated—not as (...) to its meaning but as to its truth—lies at the metaphysico- ontological level. For in order for the sentence to be true one has to endorse an ontology of impossibilia and Leibniz’s principle of the identity of indiscernibles. (shrink)

Relatar lo ocurrido como invención: una introducción a la filosofía de la ficción contemporánea ofrece al lector en castellano una magnífica oportunidad para familiarizarse con algunos aspectos centrales de la filosofía del lenguaje contemporánea y sus implicaciones para la teoría de la ficción. García-Carpintero recorre los argumentos fundamentales en favor y en contra de cada una de las posiciones relevantes, y nos propone finalmente un análisis alternativo de la norma de la ficción y una teoría neofregeana de los términos referenciales (...) que logra esquivar algunas objeciones tradicionales. Esta discusión incluye, no obstante, dos objeciones a su norma de la ficción: una se refiere a las formas de la conciencia que esa norma presupone y la otra a la naturaleza del interés que suscitan los proyectos imaginativos vinculados a las obras de ficción. (shrink)

This paper seeks to refute the claim that architectural value is one and the same value as the artistic value of architecture. As few scholars explicitly endorse this claim, instead tacitly holding it, I term it the implicit claim. Three potential motivations for the implicit claim are offered before it is shown that, contrary to supporting the claim, they set the foundations for considering architectural value and the artistic value of architecture to be distinct. After refuting the potential motivations and (...) offering some counterexamples to the claim, I provide some comments upon the interaction(s) between aesthetic, artistic, and architectural values, which are benefitted and supported by Louise Hanson’s discussion of attributive value in the artistic domain. (shrink)

Abstract. I outline the standard picture of fiction. According to this picture, fiction is centred on making believe some truth-apt content. I take a closer look at everyday usage of the expressions ‘according to the fiction’ and ‘in the fiction’ to countervail the streamlining tendencies that come with the standard picture. Having outlined highly variegated use patterns, I argue for a metaexpressivist picture: ‘according to the fiction’ does not primarily report fictional truth but a complex pattern of reactions the fiction (...) seems intended to elicit. In the corresponding expressivist picture of the act of fiction-making, the latter is not primarily modeled on stating and believing truth but on the variegated pattern of intended reactions. (shrink)