Peter Alward

performances. But comparatively little work has been by way of elucidating such speech acts,[1] and without an adequate account of them, such comparisons will ultimately prove to be empty. In this paper, I will defend an illocutionary pretense view, according to which actors pretend to perform various kinds of illocutionary acts rather than genuinely performing them. This is, of course, a fairly intuitive position to take. What I want to argue, however, is that this is the route one must take: there are simply no tenable alternatives

Kim has defended a solution to the exclusion problem which deploys the «causal inheritance principle» and the identification of instantiations of mental properties with instantiations of their realizing physical properties. I wish to argue that Kim's putative solution to the exclusion problem rests on an equivocation between instantiations of properties as bearers of properties and instantiations as property instances. On the former understanding, the causal inheritance principle is too weak to confer causal efficacy upon mental properties. And on the latter understanding, the identification of mental and physical instantiations is simply untenable.

Functionalism cannot accommodate the possibility of mad pain—pain whose causes and effects diverge from those of the pain causal role. This is because what it is to be in pain according to functionalism is simply to be in a state that occupies the pain role. And the identity theory cannot accommodate the possibility of Martian pain—pain whose physical realization is foot-cavity inflation rather than C-fibre activation (or whatever physiological state occupies the pain-role in normal humans). After all, what it is to be in pain according to the identity theory is to be in whatever state that occupies the pain role for us.

Egan argues against Lewis’s view that properties are sets of actual and possible individuals and in favour of the view that they are functions from worlds to extensions (sets of individuals). Egan argues that Lewis’s view implies that 2nd order properties are never possessed contingently by their (1st order) bearers, an implication to which there are numerous counter-examples. And Egan argues that his account of properties is more commensurable with the role they play as the semantic values of predicates than is Lewis’s.

In this chapter, a positive account of reader engagement with fiction will developed. According to this picture, the basic reader attitude towards fictional works is imaginative. But, in my view, engagement with fiction does not require any de se imagining on the part of readers; it requires only de dicto and de re imagining. The account of reader engagement is modelled on the attitudes of story-listeners to the stories to which they listen and the performers who tell them. In engaged reading, however, the activity of story-listening is, in an important sense, truncated: reader engagement with the text occurs without the mediation of a storyteller. As a result, readers have to imaginatively supply a substitute – a fictionalized version of the author.

A common approach to drawing boundary between fiction and non-fiction is by appeal to the kinds of speech acts performed by authors of works of the respective categories. Searle, for example, takes fiction to be the product of illocutionary pretense of various kinds on the part of authors and non-fiction to be the product of genuine illocutionary action.1 Currie, in contrast, takes fiction to be the product of sui generis fictional illocutionary action on the part of authors and non-fiction to be the product of assertion and other familiar kinds of illocutionary action.2 The central thesis of this paper is that the speech act approach to fictionality is simply a non-starter. Now it is, of course, commonplace to note that approaches of this kind run into difficulty accommodating nonliterary fictions3 and uncomposed or authorless fictions. What will be argued here, however, is that speech acts analyses are inadequate even understood narrowly as accounts of composed literary fiction. And the reason is that they fail to adequately attend to the distinction between composition and storytelling.

I have been dissatisfied with Walton’s make-believe model of appreciator engagement with fiction ever since my first encounter with it as a graduate student.1 What I have always objected to is not the suggestion that such engagement is broadly speaking imaginative; rather, it is the suggestion that it specifically involves de se imaginative activity on the part of appreciators. That is, while I concede that appreciators imagine (de re) of the fictional works they experience that they are thus and so, I deny that they imagine (de se) experiencing an object that is thus and so.2 The main source of my dissatisfaction with the make-believe model is that it is phenomenologically unfamiliar; I have never been aware of de se imaginings of the requisite sort while appreciatively engaged with fiction.3 Of course, one could argue that it nevertheless occurs, albeit sub-consciously. But in order for this manoeuvre to be plausible, it would have to be established that there are appreciative phenomena that can only (or best) be explained by the supposition that appreciators engage in de se imagining, and which cannot be adequately explained by the supposition that they merely engage in de re imagining. Currie, for example, has argued that we need to make the former supposition in order to find a solution to the “problem of personality,” the problem of explaining why our emotional reactions to the plights of fictional characters often differ from our reactions to the similar plights of actual people.4 What I want to argue in this paper is that Currie’s defense of de se imaginative engagement is..