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Andrew McGonigal (2013). Truth, Relativism, and Serial Fiction.

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  1.  99
    Fictionality and Imagination, Revisited.Lee Walters - 2017 - Journal of Aesthetics and Art Criticism 75 (1):15-21.
    I present and discuss a counterexample to Kendall Walton's necessary condition for fictionality that arises from considering serial fictions. I argue that although Walton has not in fact provided a necessary condition for fictionality, a more complex version of Walton's condition is immune from the counterexample.
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  2. Fiction Unlimited.Nathan Wildman & Christian Folde - 2017 - Journal of Aesthetics and Art Criticism 75 (1):73-80.
    We offer an original argument for the existence of universal fictions—that is, fictions within which every possible proposition is true. Specifically, we detail a trio of such fictions, along with an easy-to-follow recipe for generating more. After exploring several consequences and dismissing some objections, we conclude that fiction, unlike reality, is unlimited when it comes to truth.
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  3.  43
    The Matter of Serial Fiction.Chris Tillman - 2016 - Res Philosophica 93 (2):1-15.
    Recent work on the problem of truth in serial fiction has focused on the semantics of certain sentences used to talk about serial fictions, as in Ross Cameron’s “How to Be a Nominalist and a Fictional Realist” and Andrew McGonigal’s “Truth, Relativism, and Serial Fiction,” or semantic properties of works themselves, as in Ben Caplan’s “Serial Fiction, Continued.” Here I argue that these proposed solutions are mistaken, and, more importantly, that the general approach to the problem is mistaken: the problem (...)
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  4.  64
    Walton on Fictionality.Richard Woodward - 2014 - Philosophy Compass 9 (12):825-836.
    This paper provides an overview of the account of fictionality — i.e. the phenomenon of things being true “in” or “according to” fictions — that lies at the heart of Kendall Walton's account of representational art. Walton's central idea is that what it is for a proposition to be fictional is for there to be a prescription to imagine that proposition. As we shall see, however, properly understanding this proposal requires an antecedent grasp of Walton's picture of games of make-believe (...)
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