Kent Bach

There is a simple view of motivation on which desires are like pain-killers; they come in different strengths, and their strength determines their efficacy. That is, the stronger a desire the greater its motivational force and, when two desires conflict, the stronger one “wins out” over the weaker. This view makes it puzzling how anyone could ever exhibit “strength of will” and act on the weaker desire, even when it is a desire for something more highly valued than what is more strongly desired. When the will, as the agent of reason, enters the fray, an explanation of what a person is motivated enough to do must reckon not only with competing desires and their motivational forces, but also with the will’s capacity to be affected by different ones in ways not proportional to their force. However, this complication sheds little light, for if the will must bestow its stamp of approval on a desire before the desire leads to action, then, it would seem, motivational force should be measured by strength of effect on the will. And if that’s the way to measure motivational force, then, since by that measure one always acts on the desire that affects one’s will most, there is no problem of strength of will after all. But the problem seems real, however inapt the label.

Nothing can be said about a nonexistent object, but something can be said about the act of (unsuccessfully) attempting to refer to one or, as in fiction, of pretending to refer to one. Unsuccessful reference, whether by expressions or by speakers, can be explained straightforwardly within the context of the theory of speech acts and communication. As for fiction, there is nothing special semantically, as to either meaning or reference, about its language. And fictional discourse is just a distinctive use of ordinary language: pretended communication and within it, pretended reference. However, discourse about fiction is not pretense but is normal communication, a kind of indirect discourse. To describe the world of a fiction is to state what the fiction says (or implies); and what seems to be reference to a fictional character is really attributing (usually implicitly) a feigned reference by the author.

Think of linguistification by analogy with personification: attributing linguistic properties to nonlinguistic phenomena. For my purposes, it also includes attributing nonlinguistic properties to linguistic items, i.e., treating nonlinguistic properties as linguistic. Linguistification is widespread. It has reached epidemic proportions. It needs to be eradicated. That’s important because the process of communication is not simply a matter of one person putting a thought into words and another decoding them back into the same thought. Much of what a speaker means cannot be traced to what his words mean or to their possibly context-sensitive semantic contents. Words carry information all right, but that information hardly determines what speakers mean in uttering them. They leave plenty of pragmatic gaps and sometimes even semantic slack. I’ll mention various reasons for that, but the important thing is to recognize how much people exploit extralinguistic information in communicating and to avoid confusing this process with semantic context sensitivity. To appreciate the limitations of semantics, we shouldn’t fall for the fallacy of misplaced information or for the more specific fallacies enumerated below

Nothing can be said about a nonexistent object, but something can be said about the act of (unsuccessfully) attempting to refer to one or, as in fiction, of pretending to refer to one. Unsuccessful reference, whether by expressions or by speakers, can be explained straightforwardly within the context of the theory of speech acts and communication. As for fiction, there is nothing special semantically, as to either meaning or reference, about its language. And fictional discourse is just a distinctive use of ordinary language: pretended communication and within it, pretended reference. However, discourse about fiction is not pretense but is normal communication, a kind of indirect discourse. To describe the world of a fiction is to state what the fiction says (or implies); and what seems to be reference to a fictional character is really attributing (usually implicitly) a feigned reference by the author.