Zsofia Zvolenszky

My aim is to show that once we appreciate how Searle (1958) fills in the details of his account of proper names – which I will dub the presuppositional view – and how we might supplement it further, we are in for a twofold discovery. First, Searle’s account is crucially unlike the so-called cluster-of-descriptions view, which many philosophers take Searle to have held. Second, the presuppositional view he did hold is interesting, plausible, and worthy of serious reconsideration. The idea that Searle’s account is a largely Fregean interlude between the Fregean description theory of proper names and Kripke’s proposals presented in “Naming and Necessity” is in major ways a myth, a mythical chapter in how the story of 20th-century philosophy of language is often told.

In his influential Naming and Necessity lectures, Saul Kripke made new sense of modal statements: “Kant might have been a bachelor”, “Königsberg is necessarily identical with Kaliningrad”. Many took the notions he introduced-metaphysical necessity and rigid designation -- to herald new metaphysical issues and have important consequences. In fact, the Kripkean insight is at bottom semantic, rather than metaphysical: it is part of how proper names work that they purport to refer to individuals to whom modal properties can be ascribed. We can see this by reflecting on analytic truths that ground modal claims like the two examples above.

Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be exploring Kripke’s fleeting remarks in his “Naming and Necessity” lectures (1972, 156–7) about expressions like ‘unicorn’ and ‘Harry Potter’. Elsewhere, Kripke motivates artifactualism by suggesting that incorporating authorial creation (as artifactualism does) is a move that is intuitive and natural; but beyond this, he doesn’t provide any arguments in favor of such a move. My purpose in this paper is to construct such an argument based on considerations about Kripke’s general view about proper names, in particular, his seminal causal-historical chain account of reference determination.

My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract artifact, then the “inadvertent creation” element turns out to be inescapable yet theoretically unattractive. Based on considerations about actually existing concrete objects featured in fictional works (as Napoleon is in Tolstoy’s War and Peace), I argue that independently of one’s stand on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the challenge at hand; yet this very point serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome as Goodman suggests. Indeed, the inadvertent creation phenomenon’s generality extends far beyond objects of fiction and myth, and I will use this observation to counter a further objection. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option.

Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be exploring Kripke’s fleeting remarks in the Addenda to his “Naming and Necessity” lectures about expressions like ‘unicorn’ and ‘Harry Potter’. Elsewhere, Kripke motivates artifactualism by suggesting that incorporating authorial creation (as artifactualism does) is a move that is intuitive and natural; but beyond this, he doesn’t provide any arguments in favor of such a move. My purpose in this paper is to construct such an argument based on considerations about Kripke’s general view about proper names, in particular, his seminal causal-historical chain account of reference determination, and its consequences for fictional names as well as nonfictional names without bearers such as ‘Vulcan’.

In “Naming with Necessity”, it is argued that Kripke’s thesis that proper names are rigid designators is best seen as being motivated by an individual-driven picture of modality, which has two parts. First, inherent in proper-name usage is the expectation that names refer to modally robust individuals: individuals that can sustain modal predications like ‘is necessarily human’. Second, these modally robust individuals are the fundamental building blocks on the basis of which possible worlds should be conceived in a modal semantics intended to mirror the conceptual apparatus behind ordinary modal talk. The individual-driven picture is distinct from two views inspired by Kripke, direct reference theory and Millianism. The former covers only the first half of the picture, while the latter explicitly gives up on that half even, opting to remain neutral about what expectation expressions impose on the nature of their referents.