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Fictional characters belong to the class of entities variously known as fictional entities or fictional objects or ficta, a class that includes not just animate objects of fiction (fictional persons, animals, monsters, and so on) but also inanimate objects of fiction such as fictional places (Anthony Trollope's cathedral town of Barchester and Tolkien's home of the elves, Rivendell, for example).
Van Inwagen applies this distinction exclusively to objects of fiction (in the narrower sense, connected to the ontology of art), but in its function and spirit it seems to be analogous to the ones of Mally and Castañeda.
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They are what have kept readers going back for more during the last 150 years, and they bear testament to the value of Collins's self-professed, "old-fashioned" opinion that "the primary object of a work of fiction should be to tell a story..."...
A theory that holds that possible worlds are to be treated as having the status of fictional objects immediately gives rise to questions about the status of fictions and fictional objects more generally.
In the case of mathematical fictionalism, in order to preserve verbal agreement with the platonist despite the denial of the existence of mathematical objects, fiction operators (such as, 'According to arithmetic…') are introduced (Field 1989).
A great many people object to Holocaust films as well, particularly works of fiction (and usually not the filmed testimonies of survivors collected by Steven Spielberg's Shoah Foundation).
A romance, its life and death, represented and defined by physical objects: what a perfect framework the idea provides for a piece of fiction or art.
You may object that this is to read the Bible like a work of fiction.
Beginning with Terry Brooks's mid-seventies "The Sword of Shannara" — which is almost a straight retelling, with the objects altered — fantasy fiction, of the sword-and-sorcery kind, has been an annex of Tolkien's imagination.
Part of fiction series.
A lot of fiction — most?
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