正文
ah thank you, he spoke of the peace of world , a piece of a nose of world, it's not a technical term, okay it's not a fit of philosophical way to uh define the ontological status of the fable , the fictional world, so non technical term indicates, it indicates something important , that is to say this table the fictional world is by definition incomplete .
it's by definition incomplete of course, and frankly there is hardly no reason , hardly any reason to think that giving it by principle , the context of a truly possible world will be essential forgetting to the bottom of its statues, in the world , in a word we cannot see how this highly costly postulate, would add anything to the intel to the intelligence of fiction itself .
it's a very highly costly postulate of possible world , and we don't see clearly , how we add something to the intelligence of the status of the fable , you have to know that this major definition there are difficulty , this major difficulty inevitably affects an aesthetic definition of fiction based on the semantic of possible worlds , even today these difficulty affects any aesthetic definition based of the fiction based on the thematic of possible worlds , it is too costly.
you see referring fictions to a possible world , is both uh very tempting, it's very tempting, but it is both very tempting and somewhat awkward .
but this was about literary fictions, novels , so to difficulties what about novels that do not respect the principle of contradictions , and how can we do meet to postulate the whole structure of a possible world in order to understand . it's a very incomplete structure of a novel , how can we justification search , of course we postulate a whole world , if i had enough time, i would i would speak tell you a few words about the semantic of possible worlds in logic today , the semantic of possible world was introduced by a very important contemporary philosophers descartes, we had some of them some of you heard of him a few decades ago.
he introduced the semantic of possible worlds in order to understand the conditions of our belief , in fact the grounds of our knowledge , if i had enough time i would show you that the difficulties and objections , the difficulties of the theory and the objections , it inspired are very similar with the problems.
we are now discovering during the eighteenth century especially the highly costly postulate of the whole world in order to justice our belief in a very incomplete structure , that is the main problem for the semantic of possible worlds , but i repeat it is a fact that those difficulties do not inevitably contaminate the philosophical use the philosophical use of narrative fictions.
i mean that philosophical use of narrative fiction be the interpreted according do the same expectations , and this is the second aspect of the most trick , three strictly leibniz and approach to uh these fictional accounts the tests, so we are going back to leibniz now, considering the second perspective the role of rules fictions considered on the model point of view , in metaphysics second point for today.
it is use up to the founders of aesthetics to burnt of fear , that the fable gives other chronicle of a possible world , there did it, there were not only feels off as they were interested in aesthetics , okay they explode themselves to difficulties, that in the end i just told you , characterize a scientific conception of fiction okay, but remember leibniz does not expressly take the step , he does not go so far, leibniz will not face that a fable or a novel is a piece of another world , you know , they did it because they were far more interested in literature than they were in philosophy , though they have this need to make it clear what fictions are referring to, and they used the leibniz , and anti convulsion interact semantic of possible worlds , but leibniz didn't go that far .
it is underneath that the element of fictional possibility , that is something he said leibniz talking about fictional possibility no doubt , it is underneath that these elements and counterfactual relationship self can possibility take shape , this is however attested to including in its instability,by leibniz positive , and no longer merely critical positive use of the argument regarding novels , so you have to consider leibniz, it's positive use of the argument of novels, i told you that according to me , novel characters , novel heroes do not have the same status as a vague adam, and now we have some proofs , there is little sense in fact there is no sense for leibniz, in imagining in the abstract and adam who does not seen.
