Results for 'Fictions, Theory of. '

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  1.  18
    Bentham's Theory of fictions.Jeremy Bentham - 1932 - New York: AMS Press. Edited by C. K. Ogden.
    Introduction, by C.K. Ogden.--The theory of fictions, by Jeremy Bentham.
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  2.  18
    Fiction updated: theories of fictionality, narratology, and poetics.Calin Andrei Mihailescu & Walid Hamarneh (eds.) - 1996 - Buffalo: University of Toronto Press.
    "Novels, movies, and lies - these are all fictions that provoke with their as ifs and what ifs. In response to the idea that fiction has somehow become an unfashionable topic in contemporary criticism, this volume argues that the question of fiction needs to be updated in the absence of a widely accepted theory of truth. This collection, dedicated to the noted scholar and literary critic Lubomir Dolezel, covers an extensive number of theoretical and historical issues relevant to our (...)
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  3. A Theory of Truthmaking: Metaphysics, Ontology, and Reality.Jamin Asay - 2020 - New York, NY: Cambridge University Press.
    The theory of truthmaking has long aroused skepticism from philosophers who believe it to be tangled up in contentious ontological commitments and unnecessary theoretical baggage. In this book, Jamin Asay shows why that suspicion is unfounded. Challenging the current orthodoxy that truthmaking's fundamental purpose is to be a tool for explaining why truths are true, Asay revives the conception of truthmaking as fundamentally an exercise in ontology: a means for coordinating one's beliefs about what is true and one's ontological (...)
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  4.  51
    A theory of fictional entities based on denoting concepts.Francesco Orilia - 2012 - Revue Internationale de Philosophie 262 (4):577-592.
    There are many data suggesting that we should acknowledge fictional entities in our ontological inventory, in spite of the paraphrasing strategies that Russell’s theory of descriptions can offer. Thus the realist attitude toward fictional entities of Meinongian and artifactualist accounts may seem well-motivated. Yet, these approaches infringe the Russellian “robust sense of reality.” A different realist account is proposed here, one that is compatible with the Russellian “robust sense of reality” in that it identifies fictional entities with denoting concepts, (...)
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  5. Fiction and theory of mind: An exchange.Lisa Zunshine - 2007 - Philosophy and Literature 31 (1):189-196.
    In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 31.1 (2007) 189-196MuseSearchJournalsThis JournalContents[Access article in PDF]Fiction and Theory of Mind: An ExchangeLisa Zunshine University of KentuckyBrian Boyd's review of my new book, Why We Read Fiction: Theory of Mind and the Novel (Ohio State University Press, 2006) engages a large variety of issues.1 I would like to address an important question about the integration of scientific methodology with literary analysis suggested by Boyd's (...)
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  6. Understanding Fictional Minds without Theory of Mind!Daniel D. Hutto - 2011 - Style 45 (2):276-282.
    This paper explores the idea that when dealing with certain kinds of narratives, ‘like it or not’, consumers of fiction will bring the same sorts of skills (or at least a subset of them) to bear that they use when dealing with actual minds. Let us call this the ‘Same Resources Thesis’. I believe the ‘Same Resources Thesis’ is true. But this is because I defend the view that engaging in narrative practices is the normal developmental route through which children (...)
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  7.  11
    Toward a General Theory of Fiction.James D. Parsons - 1983 - Philosophy and Literature 7 (1):92-94.
    In lieu of an abstract, here is a brief excerpt of the content:TOWARD A GENERAL THEORY OF FICTION by James D. Parsons When nelson Goodman writes, "All fiction is literal, literary falsehood," he seems to be disregarding at least one noteworthy tradition.1 The tradition I have in mind includes works by Jeremy Bendiam, Hans Vaihinger, Tobias Dantzig, Wallace Stevens, and a host ofother writers in many fields who have been laboring for more man two centuries to clear the ground (...)
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  8.  18
    Fictional Objects within the Theory of Mental Files: Problems and Prospects.Zoltán Vecsey - 2020 - Espes. The Slovak Journal of Aesthetics 9 (2):32-48.
    A recent version of the mental file framework argues that the antirealist theory of fictional objects can be reconciled with the claim that fictional utterances involving character names express propositions that are true in the real world. This hybrid view rests on the following three claims: character names lack referents but express a mode of presentation, fictional utterances introduce oblique contexts where character names refer to their modes of presentation, and modes of presentation are mental files. In this critical (...)
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  9.  45
    Two Theories of Fictional Discourse.John Phillips - 2000 - American Philosophical Quarterly 37 (2):107 - 119.
  10. Fregean Theories of Names from Fiction.Ben Caplan - 2021 - In Stephen Biggs and Heimir Geirsson (ed.), Routledge Handbook of Linguistic Reference. Routledge. pp. 384–396.
     
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  11. Fregean theories of fictional objects.Terence Parsons - 1982 - Topoi 1 (1-2):81-87.
  12.  58
    A Bad Theory of Truth in Fiction.Ioan-Radu Motoarc? - 2017 - British Journal of Aesthetics 57 (4):379-387.
    William D’Alessandro has recently argued that there are no implicit truths in fiction. According to the view defended by D’Alessandro, which he terms explicitism, the only truths in fiction are the ones explicitly expressed therein. In this essay, I argue that explicitism is incorrect on multiple counts. Not only is the argument D’Alessandro gives for it invalid, but explicitism as a theory of truth in fiction fails drastically to account for a number of phenomena that are crucial to our (...)
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  13.  63
    The sense of an ending: studies in the theory of fiction: with a new epilogue.Frank Kermode - 2000 - New York: Oxford University Press.
    Frank Kermode is one of our most distinguished and beloved critics of English literature. Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how (...)
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  14. 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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  15.  91
    Fiction and Theory of Mind.Brian Boyd - 2006 - Philosophy and Literature 30 (2):590-600.
    In lieu of an abstract, here is a brief excerpt of the content:Fiction and Theory of MindBrian BoydWhy We Read Fiction: Theory of Mind and the Novel, by Lisa Zunshine; 198 pp. Columbus: Ohio State University Press, 2006. $59.95Lisa Zunshine's Why We Read Fiction aims "to put the cognitive-evolutionary concept of the Theory of Mind on the map of contemporary literary studies" (p. 84). Any literary critic who has stumbled upon this active research program in recent clinical, (...)
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  16.  17
    Zum systematischen Stand der FiktionstheorieReflections on the systematic state of the theory of fiction.K. Ludwig Pfeiffer - 1990 - Journal for General Philosophy of Science / Zeitschrift für Allgemeine Wissenschaftstheorie 21 (1):135-156.
    The theory of fiction is systematically locatedbetween different types of discourse, of which philosophy, literary criticism and psychology/psychoanalysis are perhaps the most important. Mythesis is thatempiricist, mainly British philosophical approaches provide fascinatinghistorical models for an analysis of the situation in which we seem caught today between tendencies towards panfictionalization (since Vaihinger) and towards fairly rigid distinctions between fiction and reality. In my perspective, empiricist philosophy is not so much concerned with what isgiven, but with thecontrol of distinctions between the (...)
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  17. Against Truth-Conditional Theories of Meaning: Three Lessons from the Language(s) of Fiction.Sara L. Uckelman & Phoebe Chan - 2016 - Res Philosophica 93 (2):441-459.
    Fictional discourse and fictional languages provide useful test cases for theories of meaning. In this paper, we argue against truth-conditional accounts of meaning on the basis of problems posed by language(s) of fiction. It is well-known how fictional discourse -- discourse about non-existent objects -- poses a problem for truth-conditional theories of meaning. Less well-considered, however, are the problems posed by fictional languages, which can be created to either be meaningful or not to be meaningful; both of these ultimately also (...)
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  18. Learning from fiction and theories of fictional content.Kathleen Stock - 2016 - Teorema: International Journal of Philosophy 35 (3):69-83.
  19.  82
    Interacting with Fictions: The Role of Pretend Play in Theory of Mind Acquisition.Merel Semeijn - 2019 - Review of Philosophy and Psychology 10 (1):113-132.
    Pretend play is generally considered to be a developmental landmark in Theory of Mind acquisition. The aim of the present paper is to offer a new account of the role of pretend play in Theory of Mind development. To this end I combine Hutto and Gallagher’s account of social cognition development with Matravers’ recent argument that the cognitive processes involved in engagement with narratives are neutral regarding fictionality. The key contribution of my account is an analysis of pretend (...)
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  20.  40
    Event memory: A theory of memory for laboratory, autobiographical, and fictional events.David C. Rubin & Sharda Umanath - 2015 - Psychological Review 122 (1):1-23.
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  21.  18
    Mental Files and the Theory of Fiction: A Reply to Zoltán Vecsey.Eleonora Orlando - 2021 - Espes. The Slovak Journal of Aesthetics 10 (1):79-88.
    In this work I reply to Zoltán Vecsey’s criticisms of the semantic account of fictional names I put forward in Orlando. The main tenet of that proposal is that fictional names refer to individual concepts, which I understand in terms of mental files. In Vecsey, the author presents three main objections: no referential shift can be ascribed to fictional names, fictional names are supposed to play two conflicting functions, and the mental file framework is incompatible with an antirealist view of (...)
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  22.  54
    Bentham’s Theory of Fictions.C. K. Ogden - 1932 - Routledge.
    First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
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  23.  8
    Bentham's Theory of Fictions.C. K. Ogden - 1932 - Philosophical Review 43:98.
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  24.  6
    Bentham's Theory of Fictions.C. K. Ogden - 1932 - Philosophy 8 (32):501-502.
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  25.  95
    Determination and Uniformity: The Problem with Speech-Act Theories of Fiction.Stefano Predelli - 2019 - Erkenntnis 84 (2):309-324.
    Taking inspiration from Searle’s ‘The Logic of Fictional Discourse’, this essay presents an argument against different versions of the so-called ‘speech act theory of fiction’. In particular, it argues that a Uniformity Argument may be constructed, which is additional to the Determination Argument commonly attributed to Searle, and which does not rely on his presumably controversial Determination Principle. This Uniformity Argument is equally powerful against the ‘Dedicated Speech Act’ theories that Searle originally targeted, and the more recent, Grice-inspired versions (...)
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  26. The New Fiction View of Models.Fiora Salis - 2021 - British Journal for the Philosophy of Science 72 (3):717-742.
    How do models represent reality? There are two conditions that scientific models must satisfy to be representations of real systems, the aboutness condition and the epistemic condition. In this article, I critically assess the two main fictionalist theories of models as representations, the indirect fiction view and the direct fiction view, with respect to these conditions. And I develop a novel proposal, what I call ‘the new fiction view of models’. On this view, models are akin to fictional stories; they (...)
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  27. Towards a semantics for the artifactual theory of fiction and beyond.Matthieu Fontaine & Shahid Rahman - 2014 - Synthese 191 (3):499-516.
    In her book Fiction and Metaphysics (1999) Amie Thomasson, influenced by the work of Roman Ingarden, develops a phenomenological approach to fictional entities in order to explain how non-fictional entities can be referred to intrafictionally and transfictionally, for example in the context of literary interpretation. As our starting point we take Thomasson’s realist theory of literary fictional objects, according to which such objects actually exist, albeit as abstract and artifactual entities. Thomasson’s approach relies heavily on the notion of ontological (...)
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  28. On the Theory of Juridic Fictions. With Special Consideration of Vaihinger’s Philosophy of the As-If.Christoph Kletzer & Hans Kelsen - 2015 - In William Twining & Maksymilian Del Mar (eds.), Legal Fictions in Theory and Practice. Cham: Springer Verlag.
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  29. A Kantian Theory of Art Criticism.Emine Hande Tuna - 2016 - Dissertation, University of Alberta
    I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and (...)
     
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  30. Fictional Names: The Achilles Heel of Kripke's Theory of Names.Heidi Savage - manuscript
    That the existence of empty names poses a challenge for Kripke’s theories of proper names is well recognized, however, the strongest form of that challenge is not. I argue that the type of empty name posing the strongest challenge to Kripke’s theory are those drawn from works of fiction. More specifically, the challenge occurs when those names appear in sentences like this: Sherlock Holmes smokes.
     
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  31. Jeremy Bentham's Theory of Fictions: Some Reflections on Its Implications for Musical Semiosis and Ontology.Cynthia M. Grund - 1996 - In Eero Tarasti, Paul Forsell & Richard Littlefield (eds.), Musical semiotics in growth. Imatra: International Semiotics Institute. pp. 55--71.
     
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  32. Deflationary (Reductive) Theories of Fictional Objects. Review and Analysis.Jacek Gurczynski - 2011 - Filozofia Nauki 19 (1):133.
  33. Worldlines and the Artefactual Theory of Fiction.Shahid Rahman & M. Fontaine - 2012 - Revue Internationale de Philosophie 2012 (260):32-45.
     
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  34.  68
    A Theory of Criticism of Fiction in Its Moral Aspects according to Thomistic Principles. [REVIEW]R. C. Harrington - 1942 - Modern Schoolman 19 (3):60-60.
  35. On The Ambiguous Status of Pleasure in Bentham's Theory of Fictions.Jean-Pierre Cléro - 2014 - Utilitas 26 (4):346-366.
    If pleasure is more open than pain to a double definition, first as a real sensation, second as a more indirect impression, it is clear that the calculus cannot be identical for pleasure and pain alike. Sensations may be combined in the infinitesimal calculus in a substantive way, but this is impossible for the more indirect reflective impressions, which require other sorts of mathematics. For Bentham, it is not a question of eschewing calculation, but of facilitating it, perhaps through a (...)
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  36.  33
    Cross-Fictional Quantification in the Artifactual Theory of Fiction.Matthieu Fontaine - 2020 - Critica 52 (154).
    It is acknowledged by proponents of the Artifactual Theory of Fiction that literary works sometimes involve real or immigrant characters. However, their conception of cross-fictional identity faces serious difficulties. In this paper, we set the problem in the context of a modal framework, in relation to quantification across a plurality of possible worlds. Quantification is explained in terms of Hintikka’s notion of world lines; i.e. the possible values of bound variables are individuals that are not reduced to their manifestations. (...)
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  37. Towards a general theory of fiction.C. Jacquenod - 2005 - Semiotica 157 (1-4):143-167.
     
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  38. “But Is It Science Fiction?”: Science Fiction and a Theory of Genre.Simon J. Evnine - 2015 - Midwest Studies in Philosophy 39 (1):1-28.
    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 (...)
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  39.  7
    In defence of literary truth: a response to Truth, Fiction, and Literature by Peter Lamarque and Stein Haugom Olsen to inquire into no-truth theories of literature, pragmatism, and the ontology of fictional objects.Paolo Pitari - 2022 - Literature 3 (1):1-18.
    This article responds to the arguments put forth by Peter Lamarque and Stein Haugom Olsen in Truth, Fiction, and Literature: A Philosophical Perspective (1994). It argues that the said work is representative of the widespread tendency in literary theory today to discard the possibility of literary truth, and it provides counterarguments to the work’s main theses. Consequently, it criticizes the philosophy of pragmatism and its implications, and it offers a theory that defines fictional objects as existing and solves (...)
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  40.  15
    The Sense of an Ending: Studies in the Theory of Fiction with a New Epilogue.Frank Kermode - 2000 - New York: Oxford University Press USA.
    Lectures delivered as the Mary Flexner Lectures, Bryn Mawr College, fall 1965, under the title: The long perspectives.
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  41.  33
    Worlds without End: A Platonist Theory of Fiction.Patrick Grafton-Cardwell - 2021 - Dissertation, University of Massachusetts, Amherst
    I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...)
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  42.  3
    1 Marx’s Theory of Fictions.Slavoj Žižek - 2021 - In Adrian Johnston (ed.), Objective Fictions: Philosophy, Psychoanalysis, Marxism. Edinburgh University Press. pp. 13-23.
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  43.  2
    A Game Theory of Evangelical Fiction.Gregory S. Jackson - 2013 - Critical Inquiry 39 (3):451-485.
  44.  22
    Bentham's Theory of Fictions. A "Curious Double Language".Nomi Maya Stolzenberg - 1999 - Cardozo Studies in Law and Literature 11 (2):223-261.
  45.  36
    Narration in the Fiction FilmPoint of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film.Charles O'Brien, David Bordwell & Edward Branigan - 1986 - Substance 15 (3):96.
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  46. Fiction, pleasurable tragedy, and the HOT theory of consciousness.Rocco J. Gennaro - 2000 - Philosophical Papers 29 (2):107-20.
    [Final version in Philosophical Papers, 2000] Much has been made over the past few decades of two related problems in aesthetics. First, the "feeling fiction problem," as I will call it, asks: is it rational to be moved by what happens to fictional characters? How can we care about what happens to people who we know are not real?[i] Second, the so-called "paradox of tragedy" is embodied in the question: Why or how is it that we take pleasure in artworks (...)
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  47.  8
    Ficta and Amorphism: a Proposal for a Theory of Fictional Entities.Manuele Dozzi - forthcoming - Acta Analytica:1-17.
    The aim of this paper is to propose an exploratory artefactual theory of fictional objects based on Evnine’s amorphism, with the goal of reconciling the inconsistent intuitions surrounding these entities. While not presenting a fully developed and comprehensive theory, I aim to explore the possibilities of amorphism and to offer a preliminary investigation into the nature of fictional objects and the challenges posed by our basic intuitions regarding their non-existence, creation, and property attribution. I formulate a two-level criterion (...)
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  48. Does Beauty Build Adapted Minds? Toward an Evolutionary Theory of Aesthetics, Fiction, and the Arts.John Tooby & Leda Cosmides - 2001 - Substance 30 (1/2):6.
  49. Fiction and Metaphysics.Amie L. Thomasson - 1998 - New York: Cambridge University Press.
    This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to understand (...)
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  50. Creatures of fiction, objects of myth.Jeffrey Goodman - 2014 - Analysis 74 (1):ant090.
    Many who think that some abstracta are artefacts are fictional creationists, asserting that fictional characters are brought about by our activities. Kripke (1973), Salmon (1998, 2002), and Braun (2005) further embrace mythical creationism, claiming that certain entities that figure in false theories, such as phlogiston or Vulcan, are likewise abstracta produced by our intentional activities. I here argue that one may not reasonably take the metaphysical route travelled by the mythical creationist. Even if one holds that fictional characters are artefact (...)
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