Results for 'fiction'

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  1. Truth in Fiction, Impossible Worlds, and Belief Revision.Christopher Badura & Francesco Berto - 2018 - Australasian Journal of Philosophy:1-16.
    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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  2. “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 (...)
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  3. Explicitism About Truth in Fiction.William D’Alessandro - 2016 - British Journal of Aesthetics 56 (1):53-65.
    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 (...)
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  4. Truth, Fiction, and Literature: A Philosophical Perspective.Peter Lamarque & Stein Haugom Olsen - 1994 - Oxford University Press.
    This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...)
  5.  15
    Engaging with Works of Fiction.Wolfgang Huemer - forthcoming - Rivista di Estetica 70 (1/2019).
    The contemporary debate in the philosophy of literature is strongly shaped by the anticognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this challenge (...)
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  6.  21
    Deep Indeterminacy in Physics and Fiction.George Darby, Martin Pickup & Jon Robson - 2017 - In Otávio Bueno, Steven French, George Darby & Dean Rickles (eds.), Thinking About Science, Reflecting on Art: Bringing Aesthetics and Philosophy of Science Together. Routledge.
    Indeterminacy in its various forms has been the focus of a great deal of philosophical attention in recent years. Much of this discussion has focused on the status of vague predicates such as ‘tall’, ‘bald’, and ‘heap’. It is determinately the case that a seven-foot person is tall and that a five-foot person is not tall. However, it seems difficult to pick out any determinate height at which someone becomes tall. How best to account for this phenomenon is, of course, (...)
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  7. Truth and Reference in Fiction.Stavroula Glezakos - forthcoming - In Gillian Russell & Delia Graff Fara (eds.), Routledge Companion to the Philosophy of Language. Routledge.
    Fiction is often characterized by way of a contrast with truth, as, for example, in the familiar couplet “Truth is always strange/ Stranger than fiction" (Byron 1824). And yet, those who would maintain that “we will always learn more about human life and human personality from novels than from scientific psychology” (Chomsky 1988: 159) hold that some truth is best encountered via fiction. The scrupulous novelist points out that her work depicts no actual person, either living or (...)
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  8. Popular Fiction.Aaron Meskin - 2016 - In John Gibson & Noel Carroll (eds.), The Routledge Companion to Philosophy of Literature. Routledge.
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  9. The Epistemic Value of Speculative Fiction.Johan De Smedt & Helen De Cruz - 2015 - Midwest Studies in Philosophy 39 (1):58-77.
    Speculative fiction, such as science fiction and fantasy, has a unique epistemic value. We examine similarities and differences between speculative fiction and philosophical thought experiments in terms of how they are cognitively processed. They are similar in their reliance on mental prospection, but dissimilar in that fiction is better able to draw in readers (transportation) and elicit emotional responses. By its use of longer, emotionally poignant narratives and seemingly irrelevant details, speculative fiction allows for a (...)
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  10. Korsmeyer on Fiction and Disgust.Filippo Contesi - 2015 - British Journal of Aesthetics 55 (1):109-116.
    In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.
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  11. Pornography at the Edge: Depiction, Fiction, & Sexual Predilection.Christy Mag Uidhir & Henry Pratt - 2013 - In Hans Maes & Jerrold Levinson (eds.), Art and Pornography: Philosophical Essays. Oxford University Press. pp. 137-160.
    The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...)
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  12. 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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  13. Fact, Fiction, and Fantasy.Ben Blumson - 2015 - Midwest Studies in Philosophy 39 (1):46-57.
    This paper argues: (1) All knowledge from fiction is from imagination (2) All knowledge from imagination is modal knowledge (3) So, all knowledge from fiction is modal knowledge Moreover, some knowledge is from fiction, so (1)-(3) are non-vacuously true.
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  14. Le paradoxe de la fiction: le retour.Florian Cova & Fabrice Teroni - 2015 - L'expression des Émotions: Mélanges En l'Honneur de Patrizia Lombardo.
    Tullmann et Buckwalter (2014) ont récemment soutenu que le paradoxe de la fiction tenait plus de l’illusion que de la réalité. D’après eux, les théories contemporaines des émotions ne fourniraient aucune raison d’adopter une interprétation du terme « existence » qui rende les prémisses du paradoxe incompatibles entre elles. Notre discussion a pour but de contester cette manière de dissoudre le paradoxe de la fiction en montrant qu’il ne prend pas sa source dans les théories contemporaines des émotions. (...)
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  15. Is the Paradox of Fiction Soluble in Psychology?Florian Cova & Fabrice Teroni - 2016 - Philosophical Psychology 29 (6):930-942.
    If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for scholars to (...)
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  16. Self-Reflection: Beyond Conventional Fiction Film Engagement.Margrethe Bruun Vaage - 2009 - Nordicom Review 30:159-178.
    Idiosyncratic responses as more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that draw the (...)
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  17. Does the Paradox of Fiction Exist?Katherine Tullmann & Wesley Buckwalter - 2014 - Erkenntnis 79 (4):779-796.
    Many philosophers have attempted to provide a solution to the paradox of fiction, a triad of sentences that lead to the conclusion that genuine emotional responses to fiction are irrational. We suggest that disagreement over the best response to this paradox stems directly from the formulation of the paradox itself. Our main goal is to show that there is an ambiguity regarding the word ‘exist’ throughout the premises of the paradox. To reveal this ambiguity, we display the diverse (...)
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  18.  92
    "It's Only a Game!" Sports As Fiction.Kendall L. Walton - 2015 - In In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press. pp. 75-83.
    Sports and competitive games of many kinds—from tag to chess to baseball—are often occasions for make-believe. To participate either as a competitor or as a spectator is frequently to engage in pretense. The activities of playing and watching games have this in common with appreciating works of fiction and participating in children’s make-believe activities, although the make-believe in sports, masked by real interests and concerns, is less obvious than it is in the other cases. What is most interesting about (...)
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  19. According to the Fiction. A Metaexpressivist Account.Daniel Dohrn - 2015 - Proceedings of the European Society of Aesthetics 7.
    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 (...)
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  20.  90
    Lying and Fiction.Emar Maier - forthcoming - In Jörg Meibauer (ed.), The Oxford Handbook of Lying. Oxford: Oxford University Press.
    Lying and fiction both involve the deliberate production of statements that fail to obey Grice’s first Maxim of Quality (“do not say what you believe to be false”). The question thus arises if we can provide a uniform analysis for fiction and lies. In this chapter I discuss the similarities, but also some fundamental differences between lying and fiction. I argue that there’s little hope for a satisfying account within a traditional truth conditional semantic framework. Rather than (...)
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  21.  64
    Fiction and Thought Experiment - A Case Study.Daniel Dohrn - 2016 - Teorema: International Journal of Philosophy 35 (3):185-199.
    Many philosophers are very sanguine about the cognitive contributions of fiction to science and philosophy. I focus on a case study: Ichikawa and Jarvis’s account of thought experiments in terms of everyday fictional stories. As far as the contribution of fiction is not sui generis, processing fiction often will be parasitic on cognitive capacities which may replace it; as far as it is sui generis, nothing guarantees that fiction is sufficiently well-behaved to abide by the constraints (...)
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  22. Science and Fiction: Analysing the Concept of Fiction in Science and its Limits.Ann-Sophie Barwich - 2013 - Journal for General Philosophy of Science / Zeitschrift für Allgemeine Wissenschaftstheorie 44 (2):357-373.
    A recent and growing discussion in philosophy addresses the construction of models and their use in scientific reasoning by comparison with fiction. This comparison helps to explore the problem of mediated observation and, hence, the lack of an unambiguous reference of representations. Examining the usefulness of the concept of fiction for a comparison with non-denoting elements in science, the aim of this paper is to present reasonable grounds for drawing a distinction between these two kinds of representation. In (...)
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  23. Getting Carried Away: Evaluating the Emotional Influence of Fiction Film.Stacie Friend - 2010 - Midwest Studies in Philosophy 34 (1):77-105.
    It is widely taken for granted that fictions, including both literature and film,influence our attitudes toward real people, events, and situations. Philosopherswho defend claims about the cognitive value of fiction view this influence in apositive light, while others worry about the potential moral danger of fiction.Marketers hope that visual and aural references to their products in movies willhave an effect on people’s buying patterns. Psychologists study the persuasiveimpact of media. Educational books and films are created in the hopes (...)
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  24. Ingarden Vs. Meinong on the Logic of Fiction.Barry Smith - 1980 - Philosophy and Phenomenological Research 41 (1/2):93-105.
    For Meinong, familiarly, fictional entities are not created, but rather merely discovered (or picked out) from the inexhaustible realm of Aussersein (beyond being and non-being). The phenomenologist Roman Ingarden, in contrast, offers in his Literary Work of Art of 1931 a constructive ontology of fiction, which views fictional objects as entities which are created by the acts of an author (as laws, for example, are created by acts of parliament). We outline the logic of fiction which is implied (...)
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  25. Emotional Imagining and Our Responses to Fiction.Fabian Dorsch - 2011 - Enrahonar: Quaderns de Filosofía 46:153-176.
    The aim of this article is to present the disagreement between Moran and Walton on the nature of our affective responses to fiction and to defend a view on the issue which is opposed to Moran’s account and improves on Walton’s. Moran takes imagination-based affective responses to be instances of genuine emotion and treats them as episodes with an emotional attitude towards their contents. I argue against the existence of such attitudes, and that the affective element of such responses (...)
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  26.  19
    Literature and Madness: Fiction for Students and Professionals. [REVIEW]Paul Crawford & Charley Baker - 2009 - Journal of Medical Humanities 30 (4):237-251.
    Psychiatry studies the human mind within a medical paradigm, exploring experience, response and reaction, emotion and affect. Similarly, writers of fiction explore within a non-clinical dimension the phenomena of the human mind. The synergism between literature and psychiatry seems clear, yet literature—and in particular, fiction—remain the poor relation of the medical textbook. How can literature be of particular relevance in psychiatry? This paper examines these issues and suggests a selection of useful texts.
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  27. Pejoratives as Fiction.Christopher Hom & Robert May - forthcoming - In David Sosa (ed.), Bad Words. Oxford University Press.
    Fictional terms are terms that have null extensions, and in this regard pejorative terms are a species of fictional terms: although there are Jews, there are no kikes. That pejoratives are fictions is the central consequence of the Moral and Semantic Innocence (MSI) view of Hom et al. (2013). There it is shown that for pejoratives, null extensionality is the semantic realization of the moral fact that no one ought to be the target of negative moral evaluation solely in virtue (...)
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  28.  40
    ’No Poetry, No Reality:’ Schlegel, Wittgenstein, Fiction and Reality.Keren Gorodeisky - 2014 - In Dalia Nassar (ed.), The Relevance of Romanticism. pp. 163-185.
    Friedrich Schlegel’s remarks about poetry and reality are notoriously baffling. They are often regarded as outlandish, or “poetically exaggerated” statements, since they are taken to suggest that there is no difference between poetry and reality or to express the view that there is no way out of linguistic and poetic constructions (Bowie). I take all these responses to be mistaken, and argue that Schlegel’s remarks are philosophical observations about a genuine confusion in theoretical approaches to the distinction between fiction (...)
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  29.  78
    Attending Emotionally to Fiction.Cain Todd - 2012 - Journal of Value Inquiry 46 (4):449-465.
    This paper addresses the so-called paradox of fiction, the problem of explaining how we can have emotional responses towards fiction. I claim that no account has yet provided an adequate explanation of how we can respond with genuine emotions when we know that the objects of our responses are fictional. I argue that we should understand the role played by the imagination in our engagement with fiction as functionally equivalent to that which it plays under the guise (...)
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  30. Modal Monsters and Talk About Fiction.Stefano Predelli - 2008 - Journal of Philosophical Logic 37 (3):277-297.
    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.
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  31. Review of Amie L. Thomasson, Fiction and Metaphysics[REVIEW]Achille C. Varzi - 2001 - Philosophy and Phenomenological Research 63 (3):723-727.
    Book Information: Thomasson, Amie L., Fiction and Metaphysics (Cambridge: Cambridge University Press, 1999), pp. xii, 175, $49.95.
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  32. Paradoxes of Emotion and Fiction.Robert J. Yanal - 1999 - Pennsylvania State University Press.
    How can we experience real emotions when viewing a movie or reading a novel or watching a play when we know the characters whose actions have this effect on us do not exist? This is a conundrum that has puzzled philosophers for a long time, and in this book Robert Yanal both canvasses previously proposed solutions to it and offers one of his own. First formulated by Samuel Johnson, the paradox received its most famous answer from Samuel Taylor Coleridge, who (...)
     
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  33.  95
    Fiction and Indexinames.Alberto Voltolini - 2014 - Journal of Literary Theory 8 (2):293–322.
    In this paper, I will first of all claim that once one takes proper names as indexicals of a particular sort, indexinames for short, one may account for some tensions that affect our desiderata regarding the use of such names in sentences directly or indirectly involving fiction. According to my proposal, a proper name “N.N.” is an indexical whose character is roughly expressed by the description “the individual called ‘N.N.’ (in context)”, where this description means “the individual one’s interlocutor’s (...)
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  34.  59
    Against Truth-Conditional Theories of Meaning: Three Lessons From the Language of Fiction.Sara L. Uckelman & Phoebe Chan - 2016 - Res Philosophica 93 (2):1-19.
    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 (...)
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  35. The Fiction of Paradox: Really Feeling for Anna Karenina.Daniéle Moyal-Sharrock - 2009 - In Ylva Gustafsson, Camilla Kronqvist & Michael McEachrane (eds.), Emotions and Understanding: Wittgensteinian Perspectives. Palgrave-Macmillan.
    How is it that we can be moved by what we know does not exist? In this paper, I examine the so-called 'paradox of fiction', showing that it fatally hinges on cognitive theories of emotion such as Kendall Walton's pretend theory and Peter Lamarque's thought theory. I reject these theories and acknowledge the concept-formative role of genuine emotion generated by fiction. I then argue, contra Jenefer Robinson, that this 'éducation sentimentale' is not achieved through distancing, but rather through (...)
     
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  36.  35
    Truth-Claiming in Fiction: Towards a Poetics of Literary Assertion.Jukka Mikkonen - 2009 - Nordic Journal of Aesthetics 20 (38):34.
    In the contemporary analytic philosophy of literature and especially literary theory, the paradigmatic way of understanding the beliefs and attitudes expressed in works of literary narrative fiction is to attribute them to an implied author, an entity which the literary critic Wayne C. Booth introduced in his influential study The Rhetoric of Fiction. Roughly put, the implied author is an entity between the actual author and the narrator whose beliefs and attitudes cannot be appropriately ascribed to the actual (...)
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  37.  58
    Philosophical Fiction and the Act of Fiction-Making.Jukka Mikkonen - 2008 - SATS 9 (2):116-132.
    In this paper, I shall sketch a preliminary ground for a cognitivist theory of fiction and argue that theories which align fiction-making with (aesthetically valuable) story-telling consider the act of fiction-making too narrowly. As a paradigmatic example of such anti-cognitivist theories, I shall examine Peter Lamarque and Stein Haugom Olsen’s influential theory of fiction, which suggests that recognizing the author’s fictive and literary intentions manifested in the text would lead to dismissing her aims to make genuine (...)
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  38.  69
    How to Live Forever: Science Fiction and Philosophy.Stephen R. L. Clark - 1995 - Routledge.
    Immortality is a subject which has long been explored and imagined by science fiction writers. In his intriguing new study, Stephen R.L.Clark argues that the genre of science fiction writing allows investigation of philosophical questions about immortality without the constraints of academic philosophy. He reveals how fantasy accounts of issues such as resurrection, disembodied survival, reincarnation and devices or drugs for preserving life can be used as an important resource for philosophical inquiry and examines how a society of (...)
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  39.  48
    Frege, Fiction and Force.Jessie Munton - 2017 - Synthese 194 (9):3669-3692.
    Discussion of Frege’s theory of fiction has tended to focus on the problem of empty names, and has consequently missed the truly problematic aspect of the theory, Frege’s commitment to the view that even fictional sentences that contain no empty names fail to refer. That claim prima facie conflicts with his commitment to the cognitive transparency of sense, and the determination of reference by sense. Resolving this tension compels us to recognize that fiction for Frege is a special (...)
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  40. 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 (...)
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  41. Phenomenology and Fiction in Dennett.David Carr - 1998 - International Journal of Philosophical Studies 6 (3):331-344.
    In Consciousness Explained and other works, Daniel Dennett uses the concept of phenomenology (along with his variant, called heterophenomenology) in almost complete disregard of the work of Husserl and his successors in German and French philosophy. Yet it can be argued that many of the most important ideas of Husserl, Merleau-Ponty and others (and not just the idea of intentionality) reappear in Dennett's work in only slightly altered form. In this article I try to show this in two ways, first (...)
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  42.  97
    Science Fiction and Philosophy: From Time Travel to Superintelligence.Susan Schneider (ed.) - 2009 - Wiley-Blackwell.
    A timely volume that uses science fiction as a springboard to meaningful philosophical discussions, especially at points of contact between science fiction and new scientific developments. Raises questions and examines timely themes concerning the nature of the mind, time travel, artificial intelligence, neural enhancement, free will, the nature of persons, transhumanism, virtual reality, and neuroethics Draws on a broad range of books, films and television series, including _The Matrix, Star Trek, Blade Runner, Frankenstein, Brave New World, The Time (...)
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  43.  87
    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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  44.  97
    Fiction, Emotion and ’Belief’: A Reply to Eva Schaper.Brian Rosebury - 1979 - British Journal of Aesthetics 19 (2):120-130.
    The paper argues that our emotions in response to fictional representations are best explained, not as requiring a suspension of diselief, but as resembling the emotions we feel when we propound a hypothetical case to ourselves, such as the imagined happiness or suffering of ourselves or another. In reading fiction we voluntarily participate in a hypothesis represented by the work. If this explanation is accepted, we can retain the view that beliefs always entail commitment to the reality of what (...)
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  45.  54
    Pretense and Fiction-Directed Thought.Michael R. Hicks - 2015 - Philosophical Studies 172 (6):1549-1573.
    Thought about fictional characters is special, and needs to be distinguished from ordinary world-directed thought. On my interpretation, Kendall Walton and Gareth Evans have tried to show how this serious fiction-directed thought can arise from engagement with a kind of pretending. Many criticisms of their account have focused on the methodological presupposition, that fiction-directed thought is the appropriate explanandum. In the first part of this paper, I defend the methodological claim, and thus the existence of the problem to (...)
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  46.  45
    Agency and Fictional Truth: A Formal Study on Fiction-Making.Giuseppe Spolaore - 2015 - Synthese 192 (5):1235-1265.
    Fictional truth, or truth in fiction/pretense, has been the object of extended scrutiny among philosophers and logicians in recent decades. Comparatively little attention, however, has been paid to its inferential relationships with time and with certain deliberate and contingent human activities, namely, the creation of fictional works. The aim of the paper is to contribute to filling the gap. Toward this goal, a formal framework is outlined that is consistent with a variety of conceptions of fictional truth and based (...)
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  47.  51
    Reasoning to What is True in Fiction.Peter Lamarque - 1990 - Argumentation 4 (3):333-346.
    The paper discusses the principle by which we reason to what is ‘true in fiction’. The focus is David Lewis's article ‘Truth in Fiction’ (1978) which proposes an analysis in terms of counterfactuals and possible worlds. It is argued thatLewis's account is inadequate in detail and also in principle in that it conflicts radically with basic and familiar tenets of literary criticism. Literary critical reasoning about fiction concerns not the discovery of facts in possible worlds but the (...)
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  48. The Nature of Fiction/Al Utterances.Alberto Voltolini - 2016 - Kairos 17:28-55.
    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 (...)
     
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  49.  58
    Sutrop on Literary Fiction-Making: Defending Currie.Jukka Mikkonen - 2010 - Disputatio 3 (28):151-157.
    In her study Fiction and Imagination: The Anthropological Function of Literature (2000), Margit Sutrop criticizes Gregory Currie’s theory of fiction-making, as presented in The Nature of Fiction (1990), for using an inappropriate conception of the author’s ‘fictive intention.’ As Sutrop sees it, Currie is mistaken in reducing the author’s fictive intention to that of achieving a certain response in the audience. In this paper, I shall discuss Sutrop’s theory of fiction-making and argue that although her view (...)
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  50.  66
    Intentions and Interpretations: Philosophical Fiction as Conversation.Jukka Mikkonen - 2009 - Contemporary Aesthetics 7.
    Appeals to the actual author's intention in order to legitimate an interpretation of a work of literary narrative fiction have generally been considered extraneous in Anglo-American philosophy of literature since Wimsatt and Beardsley's well-known manifesto from the 1940s. For over sixty years now so-called anti-intentionalists have argued that the author's intentions – plans, aims, and purposes considering her work – are highly irrelevant to interpretation. In this paper, I shall argue that the relevance of the actual author's intentions varies (...)
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