All atheists think that the central claims of religion are false, but not all atheists think that religion is useless. Some believe that, despite its falsehood, religious language and rituals are pragmatically valuable because they lead to goods worth getting. However, it is not easy for an atheist to engage in religion to obtain these goods because they can feel intellectually or morally insincere in saying and doing things they consider false or faulty. Religious fictionalism aims to address this (...) by claiming that atheists can take part as they would in a fictional game of make-believe, and as they do so knowingly, they do so sincerely. We examine religious fictionalism from a Wittgensteinian perspective, which holds religious language as not in the business of asserting factual beliefs and religious rituals as not methods for achieving things. This leads to two challenges that indicate prima facie incompatibility between Wittgenstein and religious fictionalism: religious fictionalists are usually presented as atheists who think religious beliefs are false and are motivated to participate in religion because they believe it remains useful. We conclude with some responses to each challenge, showing that hermeneutic fictionalism is the most promising form of fictionalism from a Wittgensteinian view. (shrink)

In recent decades, a novel theoretical account of folk psychology has emerged that challenges traditional assumptions: mental fictionalism. Rather than treating mental states as things in creatures’ minds that we are really tracking, mental fictionalists argue that folk psychology is best understood as a collective fiction that we partake in. On this account, it is this fiction rather than an ability to track mental states that enables us to predict/explain one another’s behavior, or to coordinate our affective states to (...) grow and maintain social relationships. I provide an overview of the evidence from comparative and developmental psychology that is inconsistent with mental fictionalism, arguing that both views considered here are unable to account for the mindreading abilities of non-linguistic primates and children. I then offer an ontogenetic challenge, arguing that mental fictionalism faces the difficult task of explaining how mindreading could emerge from what are thought to be more sophisticated cognitive mechanisms, such as those underlying participation in either pretense or collective narratives. I conclude by highlighting the specific body of evidence that a more robust version of mental fictionalism should account for, especially as it continues to be refined and emerges as a serious competitor amongst interpretations of folk psychology. (shrink)

In our everyday discourse, most of us use modal statements to express possibility, necessity, or contingency. Logicians, linguists, and philosophers of language tend to use the possible world discourse to analyse the semantics of this kind of sentences. There is a disadvantage of this method: in the usual Quinean meta-ontology it commits the users to the existence of possible worlds. Even though there are many theories on metaphysics of these possible worlds, I will focus on the fictionalist approach, which aims (...) to suspend the undesired ontological commitment. Therefore it is an anti-realist theory. The fictionalist strategy is based on the idea that according to our common-sense ontology, fictions and fictional entities do not exist, and one can treat the possible world discourse as a fiction, and the possible worlds as fictional entities. However, in the last two decades, realist theories about fictions and fictional entities have arisen, especially the abstract artefact theory. In this paper I try to revise the fictionalist approach to modality by keeping the main idea that possible worlds are fictional entities, while accepting that fictional entities are abstract artefacts. The result is a new realist theory of modal fictionalism. (shrink)

This paper examines the prospects of hermeneutic mental fictionalism as a descriptive account of folk commitments regarding mental state discourse. According to fictionalism, mental state talk arises from interpreting behavior through the lens of these public, shared representations. However, this paper argues that this view struggles to adequately account for the developmental and cross-linguistic data on the acquisition and use of some mental state concepts. Specifically, the paper argues that some basic mental concepts – such as knowledge and (...) desire – are too foundational to be explained in terms of public representations. As a result, mental fictionalism lacks the necessary explanatory resources to account for how human beings conceptualize the mind and mental states at the basic level. (shrink)

Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our understanding of unreliable narrators and unreliable narration (...) in fiction needs to accommodate stories that, on the face of it, cannot possibly be true. (shrink)

A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we are (...) inclined to resist imagining (or even accepting as true in the fiction) what’s explicitly stated in the text. But if we can’t take the text’s word for it, how do we determine what’s true in a fiction? We propose an account of fiction interpretation in a dynamic setting (a version of DRT with a mechanism for opening, updating, and closing temporary ‘workspaces’) and combine this framework with belief revision logic. With these tools in hand we turn to modelling imaginative resistance and unreliable narrators. (shrink)

Can fictions make genuine assertions about the actual world? Proponents of the ‘Assertion View’ answer the question affirmatively: they hold that authors can assert, by means of explicit statements that are part of the work of fiction, that something is actually the case in the real world. The ‘Nonassertion’ View firmly denies this possibility. In this paper, I defend a nuanced version of the Nonassertion View. I argue that even if fictions cannot assert, they can indirectly communicate that what is (...) recounted as fictional is actually true. I show that this view is supported by independent linguistic data, and that it is able to defuse the objections that are typically raised against the Nonassertion View. I conclude by showing that this position has some interesting implications for testimonial cognitivism about fiction. (shrink)

This article defends a theory of fictional truth. According to this theory, there is a fact of the matter concerning the number of hairs on Sherlock Holmes’s head, and likewise for any other meaningful question one could ask about what’s true in a work of fiction. This article argues that a theory of this form is needed to account for the patterns in our judgments about attitude reports that embed fictional claims. It contrasts this view with one of the dominant (...) approaches to fictional truth, which originates with David Lewis. Along the way it explores the relationship between fiction, counterfactuals, and vagueness. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...) provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

Despite widespread evidence that fictional models play an explanatory role in science, resistance remains to the idea that fictions can explain. A central source of this resistance is a particular view about what explanations are, namely, the ontic conception of explanation. According to the ontic conception, explanations just are the concrete entities in the world. I argue this conception is ultimately incoherent and that even a weaker version of the ontic conception fails. Fictional models can succeed in offering genuine explanations (...) by correctly capturing relevant patterns of counterfactual dependence and licensing correct inferences. Using the example of Newtonian force explanations of the tides, I show how, even in science, fiction can be a vehicle for truth. (shrink)

Easy-road mathematical fictionalists grant for the sake of argument that quantification over mathematical entities is indispensable to some of our best scientific theories and explanations. Even so they maintain we can accept those theories and explanations, without believing their mathematical components, provided we believe the concrete world is intrinsically as it needs to be for those components to be true. Those I refer to as “mathematical surrealists” by contrast appeal to facts about the intrinsic character of the concrete world, not (...) to explain why our best mathematically imbued scientific theories and explanations are acceptable in spite of having false components, but in order to replace those theories and explanations with parasitic, nominalistically acceptable alternatives. I argue that easy-road fictionalism is viable only if mathematical surrealism is and that the latter constitutes a superior nominalist strategy. Two advantages of mathematical surrealism are that it neither begs the question concerning the explanatory role of mathematics in science nor requires rejecting the cogency of inference to the best explanation. (shrink)

Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while plain assertions (...) are updates on a belief component. Proper names – regular, empty, or fictional – are uniformly analyzed as presupposition triggers. The possibility of different attitude components referentially depending on each other is what ultimately allows us to account for the central paradox mentioned above. (shrink)

Mental fictionalism is the view that, even if mental states do not exist, it is useful to talk as if they do. Mental states are useful fictions. Recent philosophy of mind has seen a growing interest in mental fictionalism. To date, much of the discussion has concerned the general features of the approach. In this paper, I develop a specific form of mental fictionalism by drawing on Kendall Walton’s work on make-believe. According to the approach I propose, (...) talk of mental states is a useful pretence for describing people and their behaviour. I try to clarify and motivate this approach by comparing it to well-known alternatives, including behaviourism, instrumentalism and eliminativism. I also consider some of the challenges that it faces. (shrink)

Science fiction is a kind of fictional narrative that is characterised by novelty, rationality, and realism. It typically and centrally imagines future developments in social organisation, science, and/or technology, though it sometimes depicts amazing inventions in the present day, present-day invasions from space, or events that happened in the deep past, in prehistoric times. Science fiction can take many forms, but at its core it is fiction about the future. Science-fiction writers are not prophets, and they cannot simply provide a (...) transparent window that opens upon the future. Hence, the title of this paper refers to a lens into the future: something more probing – and perhaps more difficult to use, requiring more activity, interpretation, and skill – than a window overlooking a future vista. In some cases, setting narratives in the future (much like the use of extraterrestrial settings) merely provides writers with exotic locales for adventure stories, something that came in handy as a plot device during a time when the surface of the Earth was increasingly being explored and mapped. However, science fiction writers often engage more meaningfully than that with ideas of the future, or of possible futures. (shrink)

Creationism about fictional and theoretical names holds that seemingly empty names such as ‘Sherlock Holmes’ and ‘Vulcan’ refer to abstract objects created by authors and scientific theorists. This paper poses an objection to creationism: in cases of fiction writing or scientific theorising where it is indeterminate whether one succeeds or fails in referring to an object in the world, creationism renders it metaphysically indeterminate whether an abstract object is created. However, the indeterminate existence of abstract objects constitutes an untenable metaphysical (...) commitment, offering a compelling reason to reject creationism. (shrink)

Toon’s (2023) Mind as Metaphor defends a fictionalist view of propositional attitude ascriptions, according to which propositional attitudes are metaphors projecting the use of certain representational media “inside” the agent. Ascribing a belief, for example, means treating a person as if they had an “inner notebook” storing the relevant information. Such a link between propositional attitude ascriptions and our material culture puts Toon’s view in the immediate vicinity of the extended mind thesis, of which Toon tries to offer a fictionalist (...) rendition. Yet, Toon misses one of the most important connections between his brand of fictionalism and the extended mind thesis. For, as I shall show, his fictionalism entails a specific form of the extended mind thesis. Given how Toon analyzes the literal meaning of propositional attitudes ascriptions, then some ascriptions of extended propositional attitudes are literally true, in a way that entails the existence of the relevant, extended, propositional attitude. This, I shall further argue, is actually good news for Toon’s fictionalist proposal. For, the real existence of extended propositional attitudes is not just compatible with Toon’s fictionalism, but also able to bolster its explanatory power. (shrink)

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that have (...) been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

Abstract Impossible fictions have lessons to teach us about linguistic representation, about mental content and concepts, and about uses of conceivability in epistemology. An adequate theory of impossible fictions may require theories of meaning that can distinguish between different impossibilities; a theory of conceptual truth that allows us to make useful sense of a variety of conceptual falsehoods; and a theory of our understanding of necessity and possibility that permits impossibilities to be conceived. After discussing these questions, strategies for resisting (...) the picture of impossible fictions presented here and in Part I are discussed. Perhaps apparently impossible fictions describe possibilities after all; or perhaps impossible fictions are all trivial; or perhaps some apparently intelligible impossible fictions are unintelligible after all. (shrink)

The main aim of this dissertation is to model the different ways in which we use language when we engage with fiction. This main aim subdivides itself into a number of puzzles. We all know that dragons do not exist. Yet, when I read the Harry Potter novels, I do accept the existence of dragons. How do we keep such fictional truths separate from ‘ordinary’ non-fictional truths? What is the difference between Tolkien writing down all sorts of falsities, and a (...) liar who also says all sorts of untrue things? How can it be true that Frodo was born in the Shire while it is also true that he was invented by Tolkien? Given that a fiction such as Pride and Prejudice is not about the actual world, how can I learn things about 19th century etiquette in England by reading this novel? -/- I develop a coherent semantic analysis of these different puzzles: the ‘workspace account’. This theory is an extension of Stalnaker’s famous pragmatic ‘common ground’ framework. In this framework, assertions are modelled as proposals to update the ‘common ground’ (the set of shared assumptions) between conversational interlocutors. (shrink)

What does it mean for a proposition to be "true in a fiction"? According to the account offered by Kendall Walton in Mimesis as Make-Believe (1990), what is fictionally true, or simply fictional, is what a work of fiction invites or prescribes that we imagine. To say that it is fictional that Okonkwo kills Ikemefuna in Chinua Achebe's Things Fall Apart, for example, is to say that we are supposed to imagine that event. Yet Walton gives no account of the (...) kind of imagining relevant to understanding fictionality. In this paper I argue that the relevant kind of imagining is imagining a storyworld. I propose an account of this sort of imagining, as well as the nature of the invitations or prescriptions to imagine generated by fiction. I show that this account can be defended against various criticisms of Walton's original view, including his own argument in 2015 that prescriptions to imagine provide only necessary conditions for fictionality. (shrink)

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.

Causation appears to present us with an interpretative difficulty. While arguably a redundant relation given fundamental physics, it is nevertheless apparently pragmatically indispensable. This chapter revisits certain arguments made previously by the author for these claims with the benefit of hindsight, starting with the role of causal models in the human sciences, and attempting to explain why it is not possible to straightforwardly ground such models in fundamental physics. This suggests that further constraints, going beyond physics, are needed to legitimate (...) such models. These supplementary constraints could be reified, but that would seem to conflict with the completeness of physics. A response is to emphasize the practical role of causal talk, and the author suggests that a fictionalist approach might be worth exploring. After clarifying fictionalism as a general approach, they carry out in some detail the project of clarifying what a fictionalist attitude to causation would involve. (shrink)

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

Can fictions lie? According to a classic conception, works of fiction can never contain lies, since their content is not presented as true, nor is it meant to deceive us. But this classic view can be challenged. Sometimes fictions appear to make claims about the actual world, and these claims can be designed to convey falsehoods, historical misconceptions, and even pernicious stereotypes. Should we conclude that some fictional statements are lies? This article introduces two views that support a positive answer, (...) and two that support a negative one. After examining various ways in which fictions can deceive, it concludes in favour of the view that fictional statements can mislead, but never lie. (shrink)

Fictionalism in ontology is a mixed bag. Here I focus on three main variants—which I label after the names of Pascal, Berkeley, and Hume—and consider their relative strengths and weaknesses. The first variant is just a version of the epistemic Wager, applied across the board. The second variant builds instead on the fact that ordinary language is not ontologically transparent; we speak with the vulgar, but deep down we think with the learned. Finally, on the Humean variant it’s the (...) structure of the ontological inventory, not its content, that may turn out to involve fictional elements. That is, for the Humean the fiction lies, not in the reality of common-sense ontology, but in the laws—of unity, identity, causation, etc.—in terms of which we articulate our experience of that reality. In the end, this is the kind of fictionalism that I find most interesting, sensible, and tenable. And I argue that it is even compatible with the sort of “naive” realism we have all come to appreciate in the work of Paolo Bozzi, to whom the paper is dedicated. (shrink)

In this paper I confront what I take to be the crucial challenge for fictional realism, i.e. the view that fictional characters exist. This is the problem of accounting for the intuition that corresponding negative existentials such as ‘Sherlock Holmes does not exist’ are true (when, given fictional realism, taken literally they seem false). I advance a novel and detailed form of the response according to which we take them to mean variants of such claims as: there is no concrete (...) x such that x is Sherlock Holmes. (shrink)

Fictionalism plays a significant role in philosophy today, with defenses spanning mathematics, morality, ordinary objects, truth, modality, and more.1 Fictionalism in the philosophy of science is also gaining attention, due in particular to the revival of Hans Vaihinger’s work from the early twentieth century and to heightened interest in idealization in scientific practice.2 Vaihinger maintains that there is a ubiquity of fictions in science and, among other things, argues that Nietzsche supports the position. Yet, while contemporary commentators have (...) focused on fictionalism in Nietzsche’s moral philosophy, his view of fictions in science has remained largely unexamined.3 In this article, I begin... (shrink)

A well-known theory about under which circumstances a statement is true in a fiction is The Reality Principle, which originate in the work of David Lewis: (RP) Where p1... pn are the primary fictional truths of a fiction F , it is true in F that q iff the following holds: were p1 ... pn the case, q would have been the case (Walton 1990: 44). RP has been subjected to a number of counterexamples, up to a point where, in (...) the words of Stacie Friend “it is widely recognized that the Reality Principle […] cannot be a universal inference rule for implied story-truths” (Friend 2017: 33). This chapter argues that the strength of these counterexamples is widely overestimated, and that they do not, on closer scrutiny, constitute reasons for rejecting RP. (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)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

Fictional realists hold that fictional characters are real entities. However, Anthony Everett [“Against Fictional Realism”, Journal of Philosophy (2005)] notes that some fictions leave it indeterminate whether character A is identical to character B, while other fictions depict A as simultaneously identical and distinct from B. Everett argues that these fictions commit the realist to indeterminate and impossible identity relations among actual entities, and that as such realism is untenable. This paper defends fictional realism: for fictions depicting non-classical identity between (...) A and B, the realist should hold that there are two salient fragments, one with a single character (named both ‘A’ and ‘B’) and the other with two (named ‘A’ and ‘B’, respectively). Truth according to the fiction depicting indeterminate identity is determined by supervaluating over truth according to those salient fragments. For fictions depicting impossible identity, truth is determined by subvaluating over truth according to those two salient fragments. (shrink)

In a series of papers, Robin Jeshion has forcefully criticized both Donnellan's and Evans’ claims on the contingent a priori, and she has developed an “acquaintanceless” account of singular thoughts as an alternative view. Jeshion claims that one can fully grasp a singular thought expressed by a sentence including a proper name, even if its reference has been descriptively fixed and one’s access to the referent is “mediated” by that description. But she still wants to reject “semantic instrumentalism”, the view (...) that “there are no substantive conditions of any sort on having singular thought. We can freely generate singular thoughts at will by manipulating the apparatus of direct reference.” Her account of singular thoughts is a psychological one, rejecting any epistemic requirement. Having singular thoughts is for her a matter of deploying “mental files” or “dossiers” that play a significant role in the cognitive life of the individual. This paper elaborates on an alternative descriptivist-friendly view, which has important points of contact with Jeshion’s. It differs, particularly in that it is an epistemic view; it is only a broadly understood acquaintance view, as it will transpire, but this does not make it a mere terminological variation on Jeshion’s acquaintanceless one. To argue for it, the paper discusses some relevant aspects of the semantics of fictional discourse. (shrink)

The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not just concern (...) language, but also states of imagining themselves, and then presents a solution. The solution draws on the idea that many reports of imagining conceal a distinctive kind of question, and such concealed questions have an extra argument place for (what we will call) an experiencer from whose perspective things are imagined. This solution has a range of advantages over other proposals in the literature, and helps to advance two debates concerning perspectival engagement with fiction. (shrink)

Our paper consists of three parts. In the first part we explain the concept of mental fictionalism. In the second part, we present the various versions of fictionalism and their main sources of motivation.We do this because in the third part we argue that mental fictionalism, as opposed to other versions of fictionalism, is a highly undermotivated theory.

Current debate in the metaphysics of time ordinarily assumes that we should be realists about time. Recently, however, a number of physicists and philosophers of physics have proposed that time will play no role in a completed theory of quantum gravity. This paper defends fictionalism about temporal thought, on the supposition that our world is timeless. We argue that, in the face of timeless physical theories, realism about temporal thought is unsustainable: some kind of anti-realism must be adopted. We (...) go on to provide an argument against eliminativism about temporal thought. While it doesn't follow from this argument that fictionalism about temporal thought is true, we suggest that this nonetheless shows that fictionalism should be regarded as the preferred view. (shrink)

There is uneasy tension between our ordinary talk about beliefs and desires and the ontological facts supported by neuroscience. Arguments for eliminative materialism are persuasive, yet error theory about folk psychological discourse seems unacceptable. One solution is to accept mental fictionalism: the view that we are (or should be) fictionalists about mentality. My aim in this paper is to explore mental fictionalism as a viable theoretical option, and to show that it has advantages over other fictionalist views in (...) the literature, as well as advantages over other theories of mind. However, mental fictionalism faces objections that do not plague other fictionalist accounts, nor other theories of the mind. These objections may provide some explanation as to why mental fictionalism has not (until recently) gained much traction in the literature. I end with some suggestions on how the mental fictionalist can address these objections, hopefully paving the way for further development of mental fictionalism as a live philosophical position in philosophy of mind. (shrink)

Andrew McGonigal presents some interesting data concerning truth in serial fictions.1 Such data has been taken by McGonigal, Cameron and Caplan to motivate some form of contextualism or relativism. I argue, however, that many of these approaches are problematic, and that all are under-motivated as the data can be explained in a standard invariantist semantic framework given some independently plausible principles.

I present and discuss a counterexample to Kendall Walton's necessary condition for fictionality that arises from considering serial fictions. I argue that although Walton has not in fact provided a necessary condition for fictionality, a more complex version of Walton's condition is immune from the counterexample.

Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role in (...) the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model-systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model-systems is misguided. If model-systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model-systems. (shrink)

The moral error theorist maintains that our ordinary use of moral discourse involves ontological commitments that the world fails to satisfy. What, then, should we do with our broken moral discourse? The revolutionary fictionalist recommends maintaining it but removing the problematic ontological commitment, in a manner modeled on our familiar engagements with fictions. The hermeneutic fictionalist, by contrast, claims that this is already how we use moral discourse. One problem for the revolutionary fictionalist is that there is a multitude of (...) possible moral fictions, so why prefer one to another? One problem for the hermeneutic fictionalist is that it really doesn’t feel as if moral discourse resembles an engagement with fiction. Reflection on the nature of the familiar “mini-fictions” of metaphorical language—whereby we say something false as a way of conveying something true—helps solve both these problems in the moral fictionalist’s favor. (shrink)

The Brock-Rosen problem has been one of the most thoroughly discussed objections to the modal fictionalism bruited in Gideon Rosen’s ‘Modal Fictionalism’. But there is a more fundamental problem with modal fictionalism, at least as it is normally explained: the position does not resolve the tension that motivated it. I argue that if we pay attention to a neglected aspect of modal fictionalism, we will see how to resolve this tension—and we will also find a persuasive (...) reply to the Brock-Rosen objection. Finally, I discuss an alternative reading of Rosen, and argue that this position is also able to fend off the Brock-Rosen objection. (shrink)

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

Religious fictionalism is the theory that it is morally and intellectually legitimate to affirm religious sentences and to engage in public and private religious practices, without believing the content of religious claims. This article discusses the main features of fictionalism, contrasts hermeneutic, and revolutionary kinds of fictionalism and explores possible historical and recent examples of religious fictionalism. Such examples are found in recent theories of faith, pragmatic approaches to religion, and mystical traditions in religious theology.

Psychological studies on fictional persuasion demonstrate that being engaged with fiction systematically affects our beliefs about the real world, in ways that seem insensitive to the truth. This threatens to undermine the widely accepted view that beliefs are essentially regulated in ways that tend to ensure their truth, and may tempt various non-doxastic interpretations of the belief-seeming attitudes we form as a result of engaging with fiction. I evaluate this threat, and argue that it is benign. Even if the relevant (...) attitudes are best seen as genuine beliefs, as I think they often are, their lack of appropriate sensitivity to the truth does not undermine the essential tie between belief and truth. To this end, I shall consider what I take to be the three most plausible models of the cognitive mechanisms underlying fictional persuasion, and argue that on none of these models does fictional persuasion undermine the essential truth-tie. (shrink)

What has fiction to do with science? At first glance, the two activities seem to have entirely different aims and products. Science aims at truth, while fiction can deviate wildly from it. Science produces theories, which we are asked to believe. Fiction produces stories, which we are asked to imagine. Given these differences, associating science and fiction might seem like a serious mistake, or even a threat to science. And yet many authors have tried to understand science by looking to (...) fiction. This article will consider three strands of thought on the topic: Hans Vaihinger’s classic work on fictions; fictionalist views, especially van Fraassen’s constructive empiricism; and recent work on models and fiction. As we will see, none of these strands pose a threat to science. Instead, each tries to understand the nature of scientific knowledge by drawing on fiction in different ways, and for different theoretical purposes. (shrink)

In this paper, I will argue that the main contrast between religious fictionalism and other recently developed fictionalist positions in other non-religious fields of enquiry is the sort of personal and affective relationship said to be felt by the religious person between them and God, the feeling of being in a loving and personal communion with God. I will argue that a realist, non-Meingonian artifactual fictionalist understanding of God, along the lines that philosophers such as Schiffer and Thomasson have (...) already defended on non-religious grounds regarding fictional characters, seems to be the most direct way of preserving the possibility of the religious person standing in an actual relation to God while also maintaining a fictionalist understanding of religious faith. Last, I will argue that conceiving of God in these realist artifactual terms, and despite allowing the possibility of the religious person standing in an actual relation to God, fails to preserve a genuine personal relationship between the concrete religious person and God. (shrink)

McTaggart, Le Poidevin, and Currie argue that fictional events can only be discussed in tenseless terms. In this paper, I argue this is true only of some fictions, and that fictional events, in principle, can be tensed. The reality assumption, intentionalism, and make‐believe provide mechanisms for generating tensed fictional truths, and fictions beyond paradigmatic examples, such as self‐involving interactive fictions, provide access the fictional timelines, thereby allowing us to attribute A‐properties to fictional events. I argue that our linguistic practice and (...) phenomenology support taking the possibility of a fictional A‐series seriously. I also show that attempts to explain away fictional tense are unsuccessful given constitutive differences between fiction and reality. Acknowledging the possibility of a fictional A‐series provides significant upshots for the nature of fiction, time, and the aesthetics of tense. (shrink)

In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...) are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw. (shrink)

Whether we like it or not, we have emotional reactions to fiction. We may cry when Anna Karenina dies, or feel joy when the characters we are rooting for achieve a happy ending. Yet what do these reactions tell us about ourselves? Are they mere emotional outbursts that are unconnected with who we are, or are they in some sense a source of self-knowledge? In this paper, I argue that emotional engagement with fiction can lead to knowledge of our moral (...) character. I do this by suggesting that emotional reactions to fiction constitute evidence that we have certain desires for the course of the narrative, which in turn serve as evidence for the presence of moral character traits. (shrink)

Presentists hold that only present things exist. But we all, presentists included, utter sentences that appear to involve quantification over non-present objects, and so we all, presentists included, seem to commit ourselves to such objects. Equally, we all, presentists included, take utterances of many past-tensed (and some future-tensed) sentences to be true. But if no past or future things exist, it’s hard to see how there can be anything that those utterances are about, which makes them true. This paper presents (...) a hitherto unexplored response to both problems: pretence fictionalism about the non-present. This view combines semantic factualism with psychological non-cognitivism. Sentences that appear to quantify over the non-present have propositional content and (almost all of) those propositions are false because the thing they are about—the non-present—does not exist. Nevertheless when we utter such sentences we don’t thereby utter something false. Our utterances do not report the belief that the propositional content of the sentence uttered is true; rather, they express a non-cognitive attitude towards that content: namely an attitude of pretence. Hence by thinking various thoughts, and uttering various sentences we are, collectively, pretending as though things were (or will be) thus and so. (shrink)