The article deals with a seldom exposed but ubiquitous method in the 18th century philosophy, named conjectural history by Dugald Stewart. Its characteristic feature is a peculiar combination of historically verified facts and speculations, which in some authors are even openly fictitious. The hypotheses about prehistory (always set forth in the form of temporal historical narrative) are meant to aid a certain classic philosophical topos of the 18th century: the quest for origins. The article first surveys and compares common points (...) as well as peculiarities of various “treatises on the origins” in the Scottish and French Enlightenment. In the second half it focuses on an implicit but clearly identifiable conjectural history in Diderot's Supplement to the Voyage of Bougainville, and on the application of conjectural history in the domain of the intellect and knowledge in the Encylopédie. It seems that the genealogy of knowledge in d'Alembert's Preliminary Discourse most manifestly confirms the initial designation of conjectural history: that it is in fact another name for philosophy. If this holds true, than it might prove useful to search for its first seeds in Descartes’ Discourse on method, a work which places itself on the cross-section of history and fable. (shrink)

Some authors defend literary cognitivism – the view that literary fiction is cognitively valuable – by drawing an analogy between cognitive values of thought experiments and literary fiction. In this paper my aim is to analyse the reasons for drawing this analogy and to see how far the analogy can be stretched. In the second part, I turn to the claim put forward by literary anti-cognitivists according to which literature can at best be the source of hypotheses, not of knowledge. (...) I challenge this claim by showing that hypotheses can have valuable cognitive benefits on their own, thus hoping to restore cognitive benefits readers get from literature.Neki autori brane književni kognitivizam – stajalište da književna fikcija ima spoznajnu vrijednost – povlačeći analogiju između spoznajne vrijednosti misaonih eksperimenata i književne fikcije. U ovome ću radu analizirati razloge za ovu analogiju te vidjeti koliko se njen doseg može proširiti. U drugome dijelu razmotrit ću tvrdnju književnih antikognitivista prema kojoj književnost u najboljem slučaju može biti samo izvor hipoteza, a ne znanja. Ovu ću tvrdnju dovesti u pitanje pokazujući da hipoteze same mogu imati vrijedne spoznajne koristi, u nadi da se na taj način mogu obnoviti spoznajne koristi koje čitatelji pronalaze u književnosti.Certains auteurs défendent le cognitivisme littéraire – position selon laquelle la fiction littéraire a une valeur cognitive – en établissant une analogie entre les valeurs cognitives de l’expérience mentale et la fiction littéraire. Dans cet article, j’analyserai les raisons de cette analogie et verrai jusqu’où cette analogie peut s’étendre. Dans la seconde partie, j’examinerai l’affirmation des anti-cognitivistes littéraires selon lesquels la littérature peut tout au plus être une source d’hypothèses et non pas du savoir. Je mets cette affirmation au défi en montrant que les hypothèses à elles seules peuvent avoir de précieux avantages cognitifs, dans l’espoir de restaurer ainsi les avantages cognitifs que les lecteurs tirent de la littérature.Einige Verfasser verteidigen den literarischen Kognitivismus – einen Standpunkt, nach welchem die literarische Fiktion erkenntnismäßig ersprießlich ist – indem sie eine Parallele zwischen den Erkenntniswerten der Gedankenexperimente und der Literaturfiktion ziehen. In dieser Schrift fasse ich den Vorsatz, die Ursachen für diese Parallelisierung auszukundschaften wie auch zu ermitteln, inwieweit sich diese Analogie ausdehnen lässt. In dem zweiten Teil wende ich mich der vonseiten der literarischen Antikognitivisten vorgebrachten Behauptung zu, welcher zufolge die Lieratur günsigstensfalls eine Hypothesen- und keineswegs eine Wissensquelle zu sein vermag. Ich hinterfrage diese These, indem ich die Anschauung erhärte, dass Hypothesen über eigene wertvolle erkenntnisbezogene Vorzüge verfügen können; all dies in der Hoffnung, kognitive Vorteile herzustellen, welche die Leserschaft aus der Literatur herausliest. (shrink)

U ovome tekstu ispituju se odnosi izmedju pojmova drustvenog ugovora, suverenosti i opste volje kod Rusoa. S jedne strane ti pojmovi proizlaze jedan iz drugog i uzajamno se podrzavaju. S druge strane samo pojam suverenosti uspeva da izbegne metafizickim implikacijama koje bi ga ostavile u stanju teorijsko-politicke fikcije. Opsta volja, medjutim, uprkos Rusoovim naporima da je artikulise kroz zakone, ostaje teorijsko-politicka fikcija zbog pretpostavke po kojoj jedinstvo politickog tela ne sme biti naruseno, iznutra, frakcijama ili partijama. Da je dopustio (...) takvu mogucnost, Ruso je morao da odustane od organskog razumevanja zajednice, odnosno morao bi delu da d? prednost nad celinom, za sta nije imao dovoljno pojmovnih sredstava. (shrink)

U suvremene rasprave o svjedočanstvu C. A. J. Coady uveo je pojam patologije. Radi se o stanovitim otklonima od normalnih slučajeva svjedočenja zbog kojih epistemička vrijednost takvih iskaza postaje dvojbena. Temeljem Coadyjeve analize komunikacijskih akata pokušale smo identificirati uvjete ne-patološkog svjedočanstva kako bismo propitale može li se fikcija smatrati svjedočanstvom. U članku argumentiramo u prilog stava da je moguće govoriti o fikcijskom svjedočanstvu jer praksa fikcije ne krši postavljene uvjete epistemičke odgovornosti govornika/autora; proizvodi epistemičku korist za čitatelja koja predstavlja (...) legitimni epistemički cilj. (shrink)

A lie is neither a false proposition, nor a mistake, nor a mere fiction; it is a type of fiction, an act, and precisely an intentional act. An act calls for a subject, and therefore a lie is inseparable from its subject. Together, they make up a real object: it has to be real, since a lie produces effects, and the cause-effect relationship only holds between real beings. Like every real object, a lie unfolds in a context. But there is (...) more: it identifies a context. Laz nije ni pogresna tvrdnja, ni greska, niti pak puka fikcija; ona predstavlja odredjeni tip fikcije, cin - tacnije - intencionalni cin. Cinu je potreban subjekat, te je stoga laz neodvojiva od svog subjekta. Oni zajedno cine stvaran objekat: on mora biti stvaran,buduci da laz proizvodi posledice, a odnos uzroka i posledice vazi jedino izmedju stvarnih bica. Kao i svaki objekat, laz se obelodanjuje u kontekstu. Ali to nije sve, ona identifikuje kontekst. (shrink)

Quite often, for one or the other purpose, the fact (or phenomenon) that does not exist is presented to the society or individuals as the real, really existing although it (the fact or phenomenon) simply does not exist in the real life. And often the term “fiction” is used to describe such phenomena. Although fiction is considered an inseparable companion of a social life, the question arises what the actual (true) fiction is and whether the use of it in criminal (...) proceeding does not mean an intentional law maker’s (or the person’s applying the law) fraud, deceit directed towards the addressee of the applicable law. Fiction and its impact on criminal proceedings is analyzed in this article. Features, characterizing fiction are discussed here as well. (shrink)

The problem of the fictional truthfulness of deviant evaluations is a description of a paradox that has become the subject of debate in the philosophy of literature of the analytical tradition in the last thirty years. Philosophers such as Walton, Tanner, Moran, Gendler, and others have constructed “mini-stories” in order to show that the authors of fiction, regardless of the almost unlimited powers of what they can make true in their fictional storyworlds cannot successfully construct a fiction in which an (...) objectively false evaluation would nevertheless be fictionally true in the story. For example, someone comes up with a fictional account in which a brutal unmotivated murder takes place. The author merely postulates such an event, and then readers accept it as true in the story. But let us imagine that the description of the murder also contains the evaluation of such an act as a morally right thing to do. We do not accept an evaluation that we consider “deviant” in relation to our current (moral) beliefs as an integral part of the fictional world, even though the author asks us to do so. The paradox is that it seems to be a basic convention of fiction that all third-person narrative statements that cannot be attributed to fictional characters are always fictionally true. This seems to constitute a major restriction to the narratorial authority prompting us to question our usual understanding of the phenomenon of fiction. However, by analysing specific “mini-fictions”, the article argues that (i) there is no good reason to assume that deviant evaluations in these mini-stories are uttered by some thirdperson narratorial voice that cannot be identified with a fictional character; (ii) that deviant evaluations must always be voiced by a personal narrator; (iii) that such personal narrators are never sensu stricto “omniscient” and that we do not need to trust them unquestioningly when, for example, they evaluate a murder as “the right thing to do”. The whole paradox, we claim, is just a pseudo-problem generated by ignoring concrete reading practices and a simplified understanding of narrative conventions. (shrink)