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Postscript to truth in fiction

In Philosophical Papers. Oxford University Press. pp. 276-280 (1983)

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  1. A Pragmatic Framework for Truth in Fiction.Sandro Zucchi Andrea Bonomi - 2003 - Dialectica 57 (2):103-120.
    According to R. Stalnaker, context plays a role in determining the proposition expressed by a sentence by providing the domain of possible worlds that propositions distinguish between: a sentence expresses a proposition by selecting a subset of the set of possible situations given by the context. This is also true for embedded sentences, but these sentences express propositions by selecting subsets out of contexts derived from the basic one. In this paper we propose a semantic analysis of sentences of the (...)
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  • Imaginative Resistance, Narrative Engagement, Genre.Shen-yi Liao - 2016 - Res Philosophica 93 (2):461-482.
    Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.
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  • The Trouble with Poetic Licence.Michel-Antoine Xhignesse - 2016 - British Journal of Aesthetics 56 (2):149-161.
    It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...)
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  • Fictional Entities.Fiora Salis - 2013 - Online Companion to Problems in Analytic Philosophy.
    In this entry I present one of the most hotly debated issues in contemporary analytic philosophy regarding the nature of fictional entities and the motivations that might be adduced for and against positing them into our ontology. The entry is divided in two parts. In the first part I offer an overview of the main accounts of the metaphysics of fictional entities according to three standard realist views, fictional Meinongianism, fictional possibilism and fictional creationism. In the second part I describe (...)
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  • The Truth About Sherlock Holmes.Fredrik Haraldsen - 2017 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 24 (3):339-365.
    According to possibilism, or non-actualism, fictional characters are possible individuals. Possibilist accounts of fiction do not only assign the intuitively correct truth-conditions to sentences in a fiction, but has the potential to provide powerful explanatory models for a wide range of phenomena associated with fiction (though these two aspects of possibilism are, I argue, crucially distinct). Apart from the classic defense by David Lewis the idea of modeling fiction in terms of possible worlds have been widely criticized. In this article, (...)
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  • Expression in the Representational Arts.Catharine Abell - 2013 - American Philosophical Quarterly 50 (1):23-36.
    Understanding a work of representational art involves more than simply grasping what it represents. We can distinguish at least three types of content that representational works may possess. First, all representational works have explicit representational content. This includes the literal content of a linguistic work and the depictive content of a pictorial work. Second, they often have a conveyed content, which outstrips their explicit representational content, including much that is merely implicit in the work, and may exclude certain aspects of (...)
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  • Metaphysical Perspectives on YHWH as a Fictional Entity in the Hebrew Bible.Jacobus W. Gericke - 2017 - Hts Theological Studies 73 (3):1-6.
    Within a literary ontology, YHWH in the Hebrew Bible is technically also a fictional entity or object. In Hebrew Bible scholarship, a variety of philosophical issues surrounding fiction have received sustained and in-depth attention. However, the mainstream research on these matters tends to focus on the philosophical foundations of or backgrounds to a particular literary theory, rather than on metaphysical puzzles as encountered in the philosophy of fiction proper. To fill this gap, the present article seeks to provide a meta-theoretical (...)
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  • 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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  • Sankey's Personal Understanding.Jim Mackenzie - 2011 - Educational Philosophy and Theory 43 (9):943-959.
    This paper takes issue with Derek Sankey's: ‘Minds, Brains, and Differences in Personal Understanding’, Educational Philosophy and Theory, 39 (2007), pp. 543–558 on the questions of the post-pedagogical classroom and the forms of knowledge. I then try to show that a theory of meaning framed in terms of normative pragmatics is better able than the brain science Sankey relies on to account for the concept of a person or self; the central educational concept of personal understanding; the relation between being (...)
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  • Knowing Fictions: Metalepsis and the Cognitive Value of Fiction.Erik Schmidt - 2016 - Res Philosophica 93 (2):483-506.
    Recent discussions about the cognitive value of fiction either rely on a background theory of reference or a theory of imaginative pretense. I argue that this reliance produces a tension between the two central or defining claims of literary cognitivism that: fiction can have cognitive value by revealing or supporting insights into the world that properly count as true, and that the cognitive value of a work of fiction contributes directly to that work’s literary value. I address that tension by (...)
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  • Recent Work on Cinema as Philosophy.Paisley Livingston - 2008 - Philosophy Compass 3 (4):590-603.
    Although the cinematic medium can be used in philosophically valuable ways, bold contentions about how films 'do philosophy' in an independent, innovative and exclusively cinematic manner are highly problematic. Philosophers' interpretations of the stories conveyed in cinematic fictions do not actually support such bold claims about film's independent philosophical value; nor do they offer adequate appreciations of the films' artistic value. Different kinds of interpretations having different goals and conditions of success should be kept in view if we are to (...)
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  • Fictional Coreference as a Problem for the Pretense Theory.Anna Bjurman Pautz - 2008 - Philosophical Studies 141 (2):147 - 156.
    There seems to be a perfectly ordinary sense in which different speakers can use an empty name to talk about the same thing. Call this fictional coreference. It is a constraint on an adequate theory of empty names that it provide a satisfactory account of fictional coreference. The main claim of this paper is that the pretense theory of empty names does not respect this constraint.
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  • That’s the Fictional Truth, Ruth.Peter Alward - 2010 - Acta Analytica 25 (3):347-363.
    Fictional truth is commonly analyzed in terms of the speech acts or propositional attitudes of a teller. In this paper, I investigate Lewis’s counterfactual analysis in terms of felicitous narrator assertion, Currie’s analysis in terms of fictional author belief, and Byrne’s analysis in terms of ideal author invitations to make-believe—and find them all lacking. I propose instead an analysis in terms of the revelations of an infelicitous narrator.
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  • No Trouble with Poetic Licence: A Reply to Xhignesse.Nathan Wildman & Christian Folde - 2018 - British Journal of Aesthetics 58 (3):319-326.
    Recently, Xhignesse has argued that the principle of poetic licence, which roughly states that any class of propositions is true in some possible fiction, ought to be rejected. Here, we defend PPL from Xhignesse’s objection by demonstrating that, properly understood, his purported counter-example case is either irrelevant or unproblematic. The upshot is that Xhignesse has given us no reason to reject PPL.
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