This essay explains why creationism about fictional characters is an abject failure. Creationism about fictional characters is the view that fictional objects are created by the authors of the novels in which they first appear. This essay shows that, when the details of creationism are filled in, the hypothesis becomes far more puzzling than the linguistic data it is used to explain. No matter how the creationist identifies where, when and how fictional objects are created, (...) the proposal conflicts with other strong intuitions we have about fictional characters. (shrink)

According to standard Creationism about fictional characters, each fictional character is created by its single author independently, or created by its co-authors cooperatively, or created by its independent authors independently. I argue that standard Creationism faces the Creator-Determining Problem. I propose a non-standard form of Creationism, i.e., Conjunctive Creationism, according to which each fictional character is conjunctively created. I argue that Conjunctive Creationism does not face the Creator-Determining Problem. By responding to four potential worries, (...) I provide a further defense. My conclusion is that Conjunctive Creationism is a more promising form of Creationism.Selon la norme du créationnisme concernant les personnages fictifs, chaque personnage est soit créé indépendamment par son seul auteur, soit créé par ses co-auteurs en collaboration, soit encore créé indépendamment par ses auteurs indépendants. Cette norme doit cependant faire face au problème de l’identification du créateur. Pour éviter ce problème, je propose d’adopter le créationnisme conjonctif, selon lequel chaque personnage est créé conjointement. Je défends cette proposition en répondant à quatre inquiétudes potentielles. Je conclus que le créationnisme conjonctif est une forme plus prometteuse du créationnisme. (shrink)

Creationism is the conjunction of the following theses: (i) fictional individuals (e.g. Sherlock Holmes) actually exist; (ii) fictional names (e.g., 'Holmes') are at least sometimes genuinely referential; (iii) fictional individuals are the creations of the authors who first wrote (or spoke, etc.) about them. CA Creationism is the conjunction of (i) - (iii) and the following thesis: (iv) fictional individuals are contingently existing abstracta; they are non-concrete artifacts of our world and various other possible worlds. TakashiYagisawa has (...) recently provided a number of arguments designed to show that Creationism is unjustified. I here critically examine three of his challenges to CA Creationism. I argue that each fails to undermine this version of Creationism. (shrink)

In this paper I seek defend the view that fictional characters are author-created abstract entities against objections offered by Stuart Brock in his paper “The Creationist Fiction: The Case against Creationism about Fictional Characters.” I argue that his objections fall far short of his goal of showing that if philosophers want to believe in fictional characters as abstract objects, they should not view them as author-created. My defense of creationism in fiction in part rests on (...) tying the act of creating a fictional character more closely to the act of story-telling. Ultimately I aim to show that the creation of abstract entities is not as problem-laden as some may think, and that such a view is coherent. (shrink)

Creationism about fictional entities requires a principle connecting what fictions say exist with which fictional entities really exist. The most natural way of spelling out such a principle yields inconsistent verdicts about how many fictional entities are generated by certain inconsistent fictions. Avoiding inconsistency without compromising the attractions of creationism will not be easy.

Abstract creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.

ABSTRACTI propose a different account of fictional objects from the ones already present in the literature. According to my account, fictional objects are culturally created abstract objects dependent for their existence on the pretence attitude adopted by a group of people towards a single fictional content. My work is divided into three parts: in the first one, I present how fictional objects come into existence according to my proposal; in the second part, I illustrate how the existence of fictional objects (...) so conceived may be ontically indeterminate; in the last part, I consider what happens when vague existence and indeterminate identity are claimed within fictional texts. (shrink)

Amie Thomasson is well known both for defending Creationism about fictional characters (see her 1999, 2003, 2009, 2010, 2015a, and 2016) and for endorsing easy ontology (2015b). My aim in this chapter is to argue that there’s a tension between these two views. Creationism commits one to the existence of fictional characters (as abstract objects). Easy ontology commits one to the existence of abundant properties. I will argue that anyone who endorses both the existence of fictional characters (...) and property abundance is committed to an indeterminacy which violates classical logic. Since Creationists, including Thomasson, take Creationism to respect classical logic this is a surprising discovery (Thomasson 1999, van Inwagen 1977). If correct, my argument shows Thomasson must either (i) give up the property abundance which follows naturally from easy ontology, (ii) give up Creationism, or (iii) restrict classical logic. (shrink)

In ‘Against fictional realism’ Anthony Everett argues that fictional realism leads to indeterminate identity. He concludes that we should reject fictional realism. Everett’s paper and much of the ensuing literature does not discuss what exactly fictional characters are. This is a mistake. I argue that some versions of abstract creationism about fictional characters lead to indeterminate identity, and that some versions of Platonism about fictional characters lead only to indeterminate reference. In doing so I show that Everett’s (...) argument poses a more pressing problem for abstract creationism than for Platonism. The general lesson is that fictional realists should think more about the ontology of fictional characters in order to discern whether they are committed to indeterminate identity. (shrink)

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 two main kinds of arguments for or against positing fictional entities into our ontology. The first kind is traditionally inspired by the linguistic data coming from our talk about fictional characters. The second kind is more recent and it builds on genuine ontological considerations. (shrink)

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of view (...) by philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars (...) in the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (shrink)

Creationists believe that C. K. Chesterton created Father Brown in his detective stories. Since creating implies a creation, Father Brown exists. Atheists object that the same reasoning could prove the existence of God. But creationists such as Jonathan Schaffer insist atheists do believe that God exists. Serious metaphysics rarely concerns existence. The disagreement between the theist and the atheist is about the nature of God, not His existence. Schaffer underestimates the religious imagination. There could be a religion that explicitly (...) regarded God as a fictional character. The tenets of this, presently hypothetical, religion are developed in a dialogue. (shrink)

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 one ought not further hold that mythical objects are, too. (shrink)

Despite protestations to the contrary, philosophers have always been renowned for espousing theories that do violence to common-sense opinion. In the last twenty years or so there has been a growing number of philosophers keen to follow in this tradition. According to these philosophers, if a story of pure fic-tion tells us that an individual exists, then there really is such an individual. According to these realists about fictional characters, ‘Scarlett O’Hara,’ ‘Char-lie Brown,’ ‘Batman,’ ‘Superman,’ ‘Tweedledum’ and ‘Tweedledee’ are (...) not denotationless terms, but names that really refer. What is truly surprising about this situation is that almost no one has inveighed against this unfortunate real-ist tendency. My aim here will be to challenge this new orthodoxy, and to defend an anti-realist position against the arguments proffered by the realist. (shrink)

Fictionalism about fictional characters is a view according to which all claims ostensibly about fictional characters are in fact claims about the content of a story. Claims that appear to refer to or quantify over fictional objects contain an implicit prefix of the form “according to such-and-such story. In.

Sherlock Holmes is a fictional individual. So is his favorite pipe. Our pre-theoretical intuition says that neither of them is real. It says that neither of them really, or actually, exists. It also says that there is a sense in which they do exist, namely, a sense in which they exist “in the world of” the Sherlock Holmes stories. Our pre-theoretical intuition says in general of any fictional individual that it does not actually exist but exists “in the world of” (...) the relevant fiction. I wish to defend this pretheoretical intuition. To do so, I need to defend two claims: that fictional individuals do not actually exist, and that they exist “in the world of” the relevant fiction. The aim of this paper is to defend the first claim. (shrink)

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 (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (shrink)

I present a novel explanation of the apparent truth of certain remarks about fiction, such as an utterance of ''Salieri commissioned the Requiem'' during a discussion of the movie Amadeus. I criticize the traditional view, which alleges that the uttered sentence abbreviates the longer sentence ''it is true in the movie Amadeus that Salieri commissioned the Requiem''. I propose a solution which appeals to some independently motivated results concerning the contexts relevant for the semantic evaluation of indexical expressions.

A Linguistic Analysis of Prior, Quine, and Searle on Propositional Attitudes, Martinich on Fictional Reference, Taglicht on the Active/Passive Mood Distinction in English, etc.

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)

This paper delves into Jody Azzouni's ideas on the ontology of fictional characters. Azzouni interestingly maintains that even though fictional characters like Hermione Granger, Sherlock Holmes, and Mickey Mouse do not exist in reality, assertions about them can still be true. However, Azzouni dismisses the necessity of these characters to be ontologically real to validate the truth of sentences concerning them. Instead, Azzouni proposes that truth in speech and thought corresponds with the world, but not necessarily by attributing properties (...) and relations to tangible things in it. This stance opposes the conventional philosophical notion that every true statement must directly represent an aspect of reality. This paper scrutinizes Azzouni’s argument and appreciates his attempt to dissociate ontology from the truth in fictional discourse. Nonetheless, it also recognizes certain gaps in this perspective. The paper endeavors to refine and extend Azzouni's approach by introducing the concept of 'metaphysical explanation', which explains the truth of statements about fictional characters by correlating them to relevant acts of fiction, rather than positing the reality of fictional entities. This extension preserves the essence of Azzouni’s view while addressing its limitations, thus paving the way for a more comprehensive understanding of how we can talk truly about fictional characters without holding that such entities are real in any sense. (shrink)

This paper argues in favor of a treatment of discourse about fiction in terms of operators on character, that is, Kaplanesque ‘monsters’. The first three sections criticize the traditional analysis of ‘according to the fiction’ as an intensional operator, and the approach to fictional discourse grounded on the notion of contextual shifts. The final sections explain how an analysis in terms of monsters yields the correct readings for a variety of examples involving modal and temporal indexicals.

In this paper, I explore a line of argument against one form of realism about fictional characters : abstract artifact theory, the view according to which fictional characters like Harry Potter are part of our reality, but, they are abstract objects created by humans, akin to the institution of marriage and the game of soccer. I will defend artifactualism against an objection that Mark Sainsbury considers decisive against it: the category-mistake objection. The objection has it that artifactualism attributes to (...) people who produce and process sentences and thoughts about Harry Potter massive error, indeed, a category mistake about what kind of thing Harry Potter is; for an abstract object isn’t the sort of thing that can wear glasses, ride a double-decker bus, attend school. Given problems with this objection, artifactualism, I shall conclude, remains a tenable contender. (shrink)

in the treatise, hume claims to identify many “fictions of the imagination” among both “vulgar” and philosophical beliefs. To name just a few, these include the fiction of one aggregate composed of many parts,1 the fiction of a material object’s identity through change, and the fiction of a human mind’s identity through change and interruption in its existence. Hume claims that these fictions and others like them are somehow defective: in his words, they are “improper,” “inexact,” or (...) not “strict”. I will argue that this claim conflicts with other commitments.. (shrink)

The usual strawsonian account of referring won't do for fictional entities. The problem is that we still don't have a sufficiently clear notion of ordinary referring, And the root of this problem is that referring is still perceived in terms of a paradigm relation of a description to an existing thing. But that relation is preceded by the more fundamental relation of thought to an object of thought, Whether real or imaginary. The conclusion reached is that fictional reference is an (...) institutionalized partial use of ordinary referring, Parasitic on it though leading a legitimate life of its own. (shrink)

The topic of fictional objects is a familiar one, the topic of fictional properties less so. But it deserves its own place in the philosophy of fiction, if only because fictional properties have such a prominent role to play in science fiction and fantasy. What, then, are fictional properties and how does their apparent unreality relate to the unreality of fictional objects? The present paper explores these questions in the light of familiar debates about the nature of (...) fictional objects. (shrink)

In a number of places Mark Sainsbury has recently developed an attractive irrealist account of fiction and intentionality, on which there are no fictional objects or exotic intentional entities. A central component of his account is an ambitious argument, which aims to establish that the truth of intensional transitives such as “I think about Holmes” and “Alexander feared Zeus” does not require the existence of fictional or intentional objects. It would be good news indeed for the irrealist if (...) Sainsbury’s argument worked. However, I argue that Sainsbury’s argument fails. I conclude by considering how Sainsbury’s irrealist might explain our intuitions about such sentences, drawing upon another component of Sainsbury’s irrealism. (shrink)

A pressing problem for many non-realist1 theories concerning various specific subject matters is the challenge of making sense of our ordinary propositional attitude claims related to the subject in question. Famously in the case of ethics, to take one example, we have in ordinary language prima facie ascriptions of beliefs and desires involving moral properties and relationships. In the case, for instance, of “Jason believes that Kylie is virtuous”, we appear to have a belief which takes Kylie to be a (...) certain way. If Jason desires that Kylie acts as she ought, he appears to have a desire which has as its content that Kylie perform actions of a certain sort (i.e. the actions that she ought to perform). However, for non-cognitivists in ethics who reject the idea that sentences such as “Kylie is virtuous” or “Kylie acts as she ought” are in the business of making truth-apt claims, or representing that certain moral features are possessed by objects or events, or even, in extreme cases, that such claims express propositions at all, the semantic analysis of the example propositional attitude claims made about Jason will have to be non-standard. (This is merely an application of the well-known “Frege-Geach problem” (see Geach 1965) to the case of embedding moral vocabulary in propositional-attitude ascriptions.). (shrink)

Mindreading is the ability to attribute mental states to others and predict their behavior. Mindreading is commonplace in our daily lives, as well as our engagements with fictions. In this paper, I provide an account of how we mindread fictional entities that draws upon a version of theory-theory (TT). TT states that we attribute mental states through a process of inference-drawing from tacit folk psychological knowledge about mental states and information about our current environment and then conclude that (...) the target must think or feel a certain way. Philosophers of art seldom argue in favor of TT. My opinion is that TT does not appeal to those trying to explain fictional mindreading because it does not explicitly make use of the imagination or imaginary mental states. Moreover, TT faces several standard objections that philosophers of art have taken to heart. Most significantly, it is argued that TT proposes an overly complex cognitive architecture and does not capture the phenomenology of our mindreading experience. To combat such worries, I supplement the traditional account of TT with an account of social referencing. Social referencing is a heuristic model of how we quickly understand our social surroundings. I argue that this updated version of TT can adequately account for the challenges faced by standard TT and can readily explain how we mindread fictional entities. (shrink)

In this paper, I defend fictional creationism, the view that fictional objects are abstract artifacts, from the objection that the apparent truth of fictional negative existentials, such as “Sherlock Holmes does not exist,” poses a serious problem for creationism. I develop a sophisticated version of the pragmatic approach by focusing on the inconsistent referential intentions of ordinary speakers: the upshot would be that creationism is no worse —perhaps even in a better position— than anti-realism, even if we (...) restrict our linguistic data to fictional negative existentials. (shrink)

Critical statements, if true, bear ontological commitments to fictional entities. A well-known version of fictionalism about fictional characters tries to eliminate these ontological commitments by proposing that we understand critical statements as prefixed by a special sentential operator, such as ‘according to a fictional realist theory’. The aim of the present paper is to show that fictionalism about fictional characters is underdeveloped as it stands because it can be shown to be systematically inadequate. Because the fictionalist’s paraphrases of (...) critical statements suggest that fictional realists affirm the propositions expressed by critical statements, the fictionalist mistakenly attributes to fictional realists an expertise in matters that pertain to literary criticism. Importantly, this problem of misattributed expertise paves the way to other issues that might be much more devastating to the fictionalist project. It can be shown that, because she wrongly attributes expertise to fictional realists, the fictionalist unintentionally portrays fictional realist theories in a way that renders them inconsistent and self-defeating. This undermines fictionalism about fictional characters because it leaves no workable fictional realist account in which to ground a fictionalist explanation. This is why the fictionalist about fictional characters should try to eliminate the problem of misattributed expertise and its related issues. At the end of the paper, I sketch some of the available options in this regard. (shrink)

Abstract:Can the claim "Sherlock Holmes is a detective" be true if no object exists that has this property? Is it true that he is a fictional character and that he does not exist? My answers are based on Alexius Meinong's theory of objects. In contrast to other Meinongians, I argue that employing other possible worlds poses ontological problems and that existence is not a property of objects. Since we think of objects by means of only some, but not all, of (...) their properties, incomplete objects function as auxiliaries. Holmes can thus be both, detective and fictional character, while not existing. (shrink)

In this paper, I want to show that a reasonable thesis on truth in fiction, Fictional Vichianism (FV)—according to which fictional truths are true because they are stipulated to be true—can be positively endorsed if one grounds Kripke’s justification for (FV), that traces back to the idea that names used in fiction never refer to concrete real individuals, into a creationist position on fictional entities that allows for a distinction between the pretending and the characterizing use of (...) class='Hi'>fiction-involving sentences. Thus, sticking to (FV) provides a reason for a metaphysically moderate ontological realism on fictional entities. (shrink)

Ordinary language and scientific language enable us to speak about, in a singular way, what we recognize not to exist: fictions, the contents of our hallucinations, abstract objects, and various idealized but nonexistent objects that our scientific theories are often couched in terms of. Indeed, references to such nonexistent items-especially in the case of the application of mathematics to the sciences-are indispensable. We cannot avoid talking about such things. Scientific and ordinary languages thus enable us to say things (...) about Pegasus or about hallucinated objects that are true, such as "Pegasus was believed by the ancient Greeks to be a flying horse," or "That elf I'm now hallucinating over there is wearing blue shoes." Standard contemporary metaphysical views and semantic analyses of singular idioms on offer in contemporary philosophy of language have not successfully accommodated these routine practices of saying true and false things about the nonexistent while simultaneously honoring the insight that such things do not exist in any way at all. That is, philosophers often feel driven to claim that such objects do exist, or they claim that all our talk isn't genuine truth-apt talk, but only pretence. This book reconfigures metaphysics in radical ways that allow the accommodation of our ordinary ways of speaking of what does not exist while retaining the absolutely crucial presupposition that such objects exist in no way at all, have no properties, and so are not the truth-makers for the truths and falsities that are about them. (shrink)

The problem of truth in fiction concerns how to tell whether a given proposition is true in a given fiction. Thus far, the nearly universal consensus has been that some propositions are ‘implicitly true’ in some fictions: such propositions are not expressed by any explicit statements in the relevant work, but are nevertheless held to be true in those works on the basis of some other set of criteria. I call this family of views ‘implicitism’. I argue that (...) implicitism faces serious problems, whereas the opposite view is much more plausible than has previously been thought. After mounting a limited defence of explicitism, I explore a difficult problem for the view and discuss some possible responses. (shrink)

Numbers -- Hallucinations -- Fictions -- Scientific languages, ontology, and truth -- Truth conditions and semantics.

Beach's Gaelic Symphony is plausibly an abstract object that Beach created. The view that people create some abstract objects is called abstract creationism. There are abstract creationists about many kinds of objects, including musical works, fictional characters, arguments, words, internet memes, installation artworks, bitcoins, and restaurants. Alternative theories include materialism and Platonism. This paper discusses some of the most serious objections against abstract creationism. Arguably, these objections have ramifications for questions in metaphysics pertaining to the abstract/concrete distinction, (...) time, causation, vague existence, vague identity, and inadvertent creation. (shrink)

What happens if we think of children's play as a form of great art that we turn to and return to for inspiration, for education? If we can see play as art, then what and how can we learn from children's play or from playing with them? What can philosophy, or philosophers, learn from children's play? In this essay Viktor Johansson gives examples of what and when children can teach philosophers through play or, more specifically, how children's play can teach (...) philosophers about the relation between fiction and reality. It begins by exploring the educational relation between fiction and reality in recent revivals of literary humanism. Johansson gives examples from a preschool project of how children use fiction picture books and create new fiction in their play, and how they do so in ways that relate to previous philosophical considerations of literary fiction. To explore this, the essay enters into conversation with the work of Iris Murdoch on the playfulness of art. Through, and in contrast to, Murdoch's work, Johansson establishes that play can be great art through its nonpurposefulness and its use of skill and imagination. Moreover, turning to children's play becomes a method for attending to what Ludwig Wittgenstein calls philosophy's “natural history,” that is, a historicization of philosophical thinking that enables philosophers to learn from children. Johansson concludes by showing that encounters between fiction and play, and with children playing, can be an educational embroilment, not only between teacher and child, but between teacher, child, the visual, the material, and the philosophical in which all learn from one another. (shrink)

In view of the limitations of classical, free, and modal logics to deal with fictional names, we develop in this paper a four-valued logical framework that we see as a promising strategy for modeling contexts of reasoning in which those names occur. Specifically, we propose to evaluate statements in terms of factual and fictional truth values in such a way that, say, declaring ‘Socrates is a man’ to be true does not come down to the same thing as declaring ‘Sherlock (...) Holmes is a man’ to be so. As a result, our framework is capable of representing reasoning involving fictional characters that avoids evaluating statements according to the same semantic standards. The framework encompasses two logics that differ according to alternative ways one may interpret the relationships among the factual and fictional truth values. (shrink)

Why have theorists approached narrative primarily as a form of retrospect? Mark Currie argues that anticipation and other forms of projection into the future are vital for an understanding of narrative and its effects in the world. In a series of arguments and readings, he offers an account of narrative as both anticipation and retrospection, linking fictional time experiments (in Ali Smith, Ian McEwan, Martin Amis and Graham Swift) to exhilarating philosophical themes about presence and futurity. This is an (...) argument that shows that narrative lies at the heart of modern experiences of time, structuring the present, whether personal or collective, as the object of a future memory as much as it records the past. (shrink)

Creationism is an ancient worldview that was incorporated into ancient religious doctrines and survived in the western world due to its domination by religious institution such as the Catholic and Protestant Churches. Slowly, with the development of democratic political systems and science, the church lost its power of dominance over intellectual enterprises, and evolution became accepted by the majority as the inherent process in nature. Nevertheless, creationism is still very much alive among various fundamentalist churches and their organizations (...) in the United States. This article discusses the premises of the creationist movement, its varieties, and confronts it with the basic premises, characteristics, and modus operandi of the scientific enterprise. (shrink)