By Alberto Voltolini
This ebook provides a singular concept of fictional entities that is syncretistic insofar because it integrates the paintings of past authors. It places ahead a brand new metaphysical notion of the character of those entities, in line with which a fictional entity is a compound entity equipped up from either a make-believe theoretical aspect and a suite theoretical point. the fictitious entity is developed by way of imagining the life of anyone with definite houses and including a set-theoretical aspect which include the set of homes comparable to the homes of the imagined entity.
Moreover, the booklet advances a brand new mixed semantic and ontological defence of the life of fictional entities.
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Additional resources for How Ficta Follow Fiction: A Syncretistic Account of Fictional Entities
Sample text
According to another option, a fictional entity is once again a Meinongian object, which is generated via an application of the Principle of Freedom of Assumption by mobilizing a certain collection of properties. 37 From this standpoint, a fictional entity is a thing like the generic triangle or 35 In (1996), Linsky and Zalta attenuate the concrete/abstract distinction by viewing concreta as contingently—and (ordinary) abstracta as necessarily—abstract beings. I suspect that this move makes no significant difference.
Due to these options, one will be able to maintain that stories are logically closed sets of propositions. Alternatively, one may take it that such a derivation holds by means of a strong inductive argument or by appeal to some rationality principle [cf. Phillips (1999: 280, 287)]. The question of how far the subset of the implicit propositions in a story must go amounts to the question of determining a principle of story composition, that is, of “determining precisely which propositions are contained in a given story” [Phillips (1999: 274)].
27 If we have not previously individuated the possible golden mountains in question and found them to be the same or different entities, this question is in principle unanswerable. So, says the possibilist fictionalist, suppose we have a workable criterion of identity for merely possible individuals. 28 As a result, 24 This example comes from Twardowski (1982[1894]: 106). Lewis is tempted to account for “blatantly impossible” ficta (such as the one presented here) in terms of impossible possible worlds, but he himself immediately admits that speaking of impossible possible worlds does not provide a serious solution to the problem represented by those characters.