Nonfiction 1

How Ficta Follow Fiction: A Syncretistic Account of by Alberto Voltolini

By Alberto Voltolini

This publication provides a singular thought of fictional entities that's syncretistic insofar because it integrates the paintings of earlier authors. It places ahead a brand new metaphysical notion of the character of those entities, based on which a fictional entity is a compound entity outfitted up from either a make-believe theoretical point and a suite theoretical point. the fictitious entity is developed through imagining the lifestyles of a person with convinced houses and including a set-theoretical point which includes the set of homes akin to the houses of the imagined entity.

Moreover, the e-book advances a brand new mixed semantic and ontological defence of the lifestyles of fictional entities.

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Additional resources for How Ficta Follow Fiction: A Syncretistic Account of Fictional Entities

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For instance, with respect to the actually uninstantiated individual essence constituted by the property of being the offspring of a certain sperm of Philip II of Spain and of a certain ovum of Elizabeth I of England, if both a in w and b in w* are the offspring of those (actually existing) gametes, then they are the same entity, the same possible individual. Once that criterion is adopted for possibilia, the possibilist fictionalist could go on to say that it may also hold for fictional entities.

What we often say is that they inhabit fictional worlds, the worlds of imagination described in the literary works that tell us about them. Nevertheless, speaking of fictional worlds suggests that there is a natural candidate for a place in which to locate, if not Meinongian objects as such, at least those Meinongian objects which are fictional entities: that is, possible worlds. From this perspective, fictional objects are possibilia or entities that do not actually exist, not because they are “beyond being and non-being” but, rather, because they exist in possible worlds different from the real world.

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)]. Yet, whatever its solution, this question arises apart from the issues focused on here, namely, the issues regarding what kind of things fictional entities would be if there were any and whether fictional characters really exist.

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