Zalta on Encoding Fictional Properties

2014 ◽  
Vol 8 (2) ◽  
Author(s):  
Tobias Klauk

AbstractTheories which take fictional objects to be a kind of abstract object are faced with the obvious problem of how to explain the seeming truth of sentences ascribing internal properties. Abstract objects cannot be cynical, be magicians or smoke pipe. Call this the problem of the wrong kind of object. There are a number of well-known strategies which abstractists have employed to evade the problem. In this paper, I discuss whether Edward Zalta’s distinction between two kinds of predication, exemplifying and encoding, can help us solve the problem.I start out in section 2 by reviewing the general debate between realists and antirealists concerning fictional objects. Realists think that fictional objects exist, while antirealists deny this. It is however useful to remember that participants in the debate differ in their interpretation of »exists« and »fictional«. Remembering this helps to locate Zalta’s account in the realist camp.Section 3 introduces the problem of the wrong kind of object, namely of how we can simultaneously take fictional objects to be abstract objects and understand sentences like »Rick Blaine is cynical« as straightforwardly true. I distinguish five strategies of dealing with this problem. Abstractists can (a) assume that fictional names are ambiguous, (b) distinguish between two kinds of properties, (c) understand such sentences as being governed by a fiction operator, (d) distinguish between two kinds of predication, or (e) take the predicate to be evaluated in some special way (which needs to be specified). I shortly comment on (a) and (b), then a problem for strategy (c) is discussed: It seems to commit us to the view that fictions prescribe recipients to imagineSection 4 introduces strategy (d), Zalta’s distinction between exemplifying and encoding. The distinction turns out to be a remedy against the problem of the wrong kind of object. Unfortunately it reintroduces the problem identified for strategy (c). I explore a radical way of evading the problem by understanding fictional objects to be representations. Although the idea can be found in Zalta’s writings, it leads to internal tensions in his account, cannot solve the problem at hand, and seems to generate additional problems. Additionally, Zalta’s assumption that fictional objects have their individuation conditions via the properties they encode is shown to be problematic on independent grounds.Section 5 discusses whether Zalta’s distinction between exemplifying and encoding is compatible with an artefactualist account of fictional characters. Assuming that most artefactualists would not want to understand existence as a discriminating predicate, I argue that combining this idea with the exemplifying/encoding distinction goes at least against the spirit of the artefactualist account.Section 6 introduces the idea of different evaluations of predicates without simultaneously being committed to Zalta’s strong assumptions. While this seems to be possible, such accounts also need to find a way of answering the argument given at the end of section 3.

Philosophy ◽  
2019 ◽  
Author(s):  
Mark Balaguer

An abstract object is a non-physical, non-mental object that exists outside of space and time and is wholly unextended. For example, one might think that numbers are abstract objects; e.g., it is plausible to think that if the number 3 exists, then it is not a physical or mental object, and it does not exist in space and time. Likewise, one might think that properties and relations are abstract objects; e.g., it is plausible to think that if redness exists, over and above the various red balls and red houses and so on, then it is an abstract object—i.e., it is non-physical, non-mental, non-spatiotemporal, and so on. Other kinds of objects that are often taken by philosophers to be abstract objects are propositions, sentence types, possible worlds, logical objects, and fictional objects. The view the that there are abstract objects—known as platonism—is of course extremely controversial. Many philosophers think there are just no such things as abstract objects. Philosophers who endorse this antiplatonist view have to endorse some other view of objects of the above kinds—i.e., numbers, properties, propositions, etc.; in particular, in connection with each of these kinds of objects, they have to say either that these objects are physical or mental objects or that there are just no such things. There is a vast literature on the existence and nature of abstract objects. This article focuses mostly (but not entirely) on the existence question—that is, the question of whether there are any such things as abstract objects. In addition, it focuses to some extent (though, again, not entirely) on the specific version of this question that is concerned with the existence of abstract mathematical objects.


The Language of Fiction brings together new research on fiction from philosophy and linguistics. Fiction is a topic that has long been studied in philosophy. Yet recently there has been a surge of work on fictional discourse in the intersection between linguistics and philosophy of language. There has been a growing interest in examining long-standing issues concerning fiction from a perspective informed both by philosophy and linguistic theory. The Language of Fiction contains fourteen essays by leading scholars in both fields, as well as a substantial Introduction by the editors. The collection is organized in three parts, each with their own introduction. Part I, “Truth, reference, and imagination”, offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, “Storytelling”, deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, “Perspective shift”, zooms in on an alleged key characteristic of fictional narratives, viz. the way we get access to the fictional characters’ inner lives, through a variety of literary techniques for representing what they say, think, or see.


Author(s):  
Daniela Glavaničová

Abstract Role realism is a promising realist theory of fictional names. Different versions of this theory have been suggested by Gregory Currie, Peter Lamarque, Stein Haugom Olsen, and Nicholas Wolterstorff. The general idea behind the approach is that fictional characters are to be analysed in terms of roles, which in turn can be understood as sets of properties (or alternatively as kinds or functions from possible worlds to individuals). I will discuss several advantages and disadvantages of this approach. I will then propose a novel hyperintensional version of role realism (which I will call impossibilism), according to which fictional names are analysed in terms of individual concepts that cannot be matched by a reference (a full-blooded individual). I will argue that this account avoids the main disadvantages of standard role realism.


Philosophy ◽  
2010 ◽  
Author(s):  
Peter Lamarque

Aspects of fiction or fictionality have long intrigued and puzzled philosophers across a surprisingly wide range of the subject, including metaphysics, epistemology, logic, philosophy of language, and aesthetics. What is fiction exactly, and how is it distinguished from nonfiction? One prominent set of problems relates to fictional names (such as “Sherlock Holmes,” “the Time Machine,” “Casterbridge”), concerning how they might fit into a general semantics for natural languages. Should they be eliminated by paraphrase or should they be acknowledged as proper names, albeit referring to nonreal items? Related problems arise for ontology. Should we admit fictional entities into our ontology, affording them some kind of being (as abstract entities, perhaps, or as possible objects)? Or again, should we find ways to eliminate them? Another difficulty stems from the fact that well-developed fictional characters in realist novels can often seem more real than actual people. Not only are they spoken and thought about but they can also occupy a significant role in ordinary people’s lives, including their emotional lives. How can this be explained? How can people respond with such powerful feelings to beings they know are merely made up? Also, how is it that readers sometimes have difficulty imagining the content of stories? Philosophers writing in aesthetics about literature as an art form have explored the modes of representing fictional characters, the values storytelling might have, and the potential for works of literary fiction to convey truths about the real world. Finally, appeals to fiction are sometimes made to explain whole areas of discourse, such as mathematics or morals, where there is a reluctance to admit familiar kinds of propositions as literal truths because of their ontological commitments. Thus, “fictionalism” has been promoted: the idea that strictly speaking it is better to view the discourse as a species of fiction, even while acting as if the discourse contained straightforward truths.


2014 ◽  
Vol 8 (2) ◽  
Author(s):  
Anthony Everett

AbstractOne argument for fictional realism, the view that there are such things as fictional characters, proceeds by arguing that we need to accept there are fictional characters in order to provide an adequate account of intuitively true and meaningful reports containing fictional names, reports such as »In


2016 ◽  
Vol 59 (2) ◽  
pp. 5-18
Author(s):  
Andrej Jandric

Amie Thomasson has developed a theory of fictional entities, according to which they exist as contingent abstract objects. In her view, fictional characters are cultural artifacts just as the works of fiction they feature in. They are doubly dependent objects: for their becoming they depend on creative intentional acts of their author, and for maintaining their existence they depend on preservation of a copy of any fictional work they appear in. Thomasson claims that her theory has the advantage of vindicating the common beliefs about fictional entities embodied in the study, evaluation and interpretation of literature. However, I argue that, under this theory of fictional entities, no account of reference of fictional singular terms ? neither the descriptive, nor the causal, nor Thomasson?s preferred hybrid account ? can accommodate all the aspects of our literary practices.


Author(s):  
Stefan Gruner

When I wrote my above-mentioned letter to the editor of SACJ several years ago (2007), I had not been aware of the fact that the Austrian computer pioneer Heinz Zemanek (1920-2014) had published an article of the same title already in the year 1972 in the Management Informatics journal. In that publication, Zemanek had characterised informatics as a new type of an engineering discipline - i.e.: the informatician emerges as new type of engineer for abstract objects (instead of material devices). His notion of 'abstract object' Zemanek had defined already four years earlier in the journal Elektronische Rechenanlagen (1968): abstract objects can generally represent both the structure of linguistic expressions as well as the various sub-states of finite automata. Zemanek reconfirmed his point of view in the Nachrichtentechnische Zeitschrift (1973), in which he stated with regard to the goals and purposes of informatics: "man braucht dazu Ingenieure neuer Art: sie hantieren mit abstrakten Objekten, wie sie bisher nur in der Mathematik vorkamen". Though further definitions of the term 'informatics' have been numerous since then, Zemanek's early definition continues to possess (i.m.h.o.) a true core, and is also by-and-large compatible with the opinion which I had expressed previously about this topic in this journal.


2019 ◽  
pp. 239-266
Author(s):  
Francesco Berto ◽  
Mark Jago ◽  
Christopher Badura

This chapter begins with the problem of what counts as true in a given fiction, beyond what’s explicitly given in that fiction. It then considers the problem of inconsistent fictions, which are naturally handled using impossible worlds. An account of truth in fiction is presented, which develops one of Lewis’s analyses into an approach which can handle inconsistent fictions with ease. The chapter then turns to the second main topic: how we should think about fictional entities. Realism and fictionalism about fictional characters are contrasted. A third option is then considered, which takes the Meinongian line that fictional characters are non-existent objects. Several versions of this idea and their various issues are discussed.


Author(s):  
Amie L. Thomasson

There has been growing interest in the idea that model descriptions should be thought of as similar to stories, and model systems should be thought of as akin to fictional characters. But if model systems were (like) fictional characters, what would they be? Two prominent approaches to fictional discourse have been pursued in the literature on models: realist approaches, which take models to be abstract objects that (in some sense) fit the model descriptions, and anti-realist approaches, which typically hold that the relevant discourse involves pretense in a way that enables us to deny that we ever refer to models. Both of these views have problems well known in the literature on fiction. These problems have motivated a third, increasingly popular approach to the ontology of fiction: an artifactual approach, according to which our (external) discourse about fiction refers to abstract artifacts. This approach has been little considered in the literature on scientific models—but this chapter argues that it has important advantages over the familiar alternatives. Most notably, an artifactualist approach can retain the advantages of the pretense view while giving a far more straightforward account of external historical, theoretical, and critical discourse about models. In short, bearing in mind the full range of discourse about models gives us reason to accept that there are model systems, where these are considered as a kind of abstract artifact. The main perceived drawback to artifactualist views is their supposed “ontological costs.” In closing, the chapter suggests why ontological qualms of this sort should be discounted.


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