let us know that the Cartesian postulate, we quiet for strictly mechanical concept of the world, also produced in the context of fiction.
it is received by Leibniz as a general model principle，remember, when Descartes explain this principle，it was about fiction， and Leibniz is considering it as a general model principle， that Leibniz it is a very clever man.
he's fully aware of it, and this is also the reason why he's talking about novels, Descartes was talking about a fable, so Leibniz is taking the example of novels, this we have the someday to through narrative fictions, the characters of novels are also fifteen just like the Cartesian arrangements of material things in the fable, they were consulted as effective by the Descartes.
characters of novels are fiftieth just like your Cartesian arrangements of material things, but according to Leibniz, this means they are simply possible, and therefore supposition of the principles of feel, as if you have the Descartes, this postulate makes those be understood as a statement on the exhaustion, not only a matter of material forms, but on the exhaustion of possibilities.
let's now consider the argument on novels in itself independently of its application to the Cartesian formulation, I think that to comments must be made here, to many comments relative, to one of Leibniz general for this and two more delicate appraisal of the status of fictions.
first, when I was talking about the model square, I made an illusion to a very important Leibniz contribution on modality. let's go into this, one of Leibniz most not worth a contribution can be directly applied in the care of fictions, it lies and this is something Leibniz invented, and this contribution lies in the dissociation created between modality and temporality.
this is very important, this dissociation between modality and temporality, this is something that Leibniz introduced and this is it went that right this undertaking is concentrated in the ids at past events, past events are no less contingent than laws of the future.
this is very important for Leibniz, best events are no less contingent than even in the future, if you remember what I said before, you will admit this easily, I tried to show you that contingency, it's not the contingency is not the property of one event, one separated even one isolated events.
it's a property of a whole world, and in this whole world, it does not introduce any difference any model difference to consider even in the past or even in the future. there are all contingent according to Leibniz, he knows the worlds, the fact that Caesar did cross the Rubicon River doesn't make it necessary.
it is still contingent, because this proposition is determined by its insertion in the whole world, and this world is contingent, so this is a very important point. dissociation between modality and temporality, as well the faith hypothesis on the exhaustion of possibilities announce to a faming that novel characters.
novel characters should exist at any moment in time passed present or future, without the situation in the time, affecting their model status, it does not affect their model stages, so read this other fixed, I don't believe at all, that is panelist would said that all of the novels we can imagine, truly exist at present or existed or will continue to exist somewhere in the universe.
this is important, this does not change anything to the model stages of the novel of the fiction, the situation in time doesn't change anything according to Leibniz to the model status of the fiction, so even a specialist would not say that the novel is existed or will exist.
however, we cannot deny the fact that nervous such as those of mademoiselle de strawberry very important well none a French writer, it doesn't matter I will choose another example of novel later, are possible, and therefore Leibniz believes that the contradiction of this decision is demonstrated, even the specialist has to consider that the novels those that don't exist, even if they are possible.
therefore, certain possibilities never exist and if certain possibilities don't exist, then the necessary and theory of Spinoza is criticized, I read this again, I don't believe that all that spin assist would say that all the novels we can imagine truly exist at present or existed or will continue to exist somewhere in the universe.
so even the specialist will easily admit that novels don't come to existence in this world, but however we can't deny the fact that novels are possible, and Leibniz as showed that certain possibilities don't come to existence against Spinoza, the necessity would therefore mean that these fictions come into being at the moment, this would be the meaning of necessity.
the necessity would mean that these fictions come into being at the moment in history old time, and the fact that it is in the past moment or in a future moment change absolutely nothing in their model stages, of course we're talking about novels, and I guess you will not eat that applied to narrative fiction, this dissociation between modality and temporality and shouts another consequence.
it hasn't as a consequence, that I will examine at the end of my lecture, you see it's not that easy to admit, that temporality has no importance in considering novels, now it's about a story, Leibniz isn't only talking about possible events, but the story is not only a collection of possible events, there is a story inside of it with past present and future.
this is something that Leibniz is not considering at all, I will come to this later, there is something much more difficult, and I will deal with it not only today, but probably next week at the very beginning of my lecture at least, there is something dedicate, it is for this claiming that characters in novels characters in novels, and novels themselves are broadly speaking narrative fictions, have the value of possibilities, the city is not that obvious now, this is not that easy in fact, it is very dedicated, the ideas at the novels the characters inside of it, and any narrative fictions have the value of possibilities.
it's not that easy in fact, so this says it spontaneously appears more easily admissible, but and in fact it forms the bad dropped to model conception of fictions today, but there are many problems in it, first the readers of Leibniz at the same time, the readers of line, it's the consider as insufficient to say that fictions are possible insofar as they do not contain any contradiction, here possible means those characters of novels don't contain any contradiction for the regular readers of Leibniz.
this is quite insufficient to define the possibility of a novel, being works of fiction, it's very easy to understand their point of view, being works of fiction, it seems that possibility moreover signifies realism for then for the readers, possibility signifies real reason in other words.
now you are fully able to understand, what is the signification of realism here, this will become possibility being worth of fictions of feature and it seems that possibility signifies realism, in other words the compatibility of the fictional system of facts with our world, when we say that the novel is possible, we don't want to say that it does not contain any contradiction.
we all mean that it has some compatibility with our world, and it was the same for Leibniz readers, confronted to this objection Leibniz can only hear this demand at the assertion of a compulsivity, the recession of a compatibility between fictions and the created world fictions and there should be according to those readers.
a compatibility between fictions and the created world, and Leibniz claims that in this hypothesis, if the compatibility of fictions with our world means the compressibility between fictions and the created world, Leibniz claim that in this hypothesis, so we should conclude that fictions are not only possible, but present actual real, so he is rejecting this point of view.
I would like to and we will and the with this before the break, I would like to examine with your announce were laid needs gave to one of those readers remarkable one, I don't have to present him because you probably won't ever meet him again Borges, but he's a very clever man, and he's objecting to Leibniz that possibility concerning a novel, can't only mean none contradiction, it has to mean realism that is to say compulsive, this is Leibniz answer.
I don't agree at all, but in order to know if the novel as tide this is a title, for two reasons, it would be funny if you could remember this teacher, I will tell you after we read this text, by a French novel lastly, I don't agree at all that in order to know if the novel Australia is possible, we must know it's connection with the rest of the universe, this would be necessary to determine if it is compatible with it, and if as a result this novel was or is or will be as usual.
it doesn't change anything to its model statutes, don't you before, as a result this if this novel was or easel will be in some part of the universe, if it is so there's something important, if it is compatible with the universe, then it has to exist in this universe, it has to, there is no abstract possibility for certainly without this.
there is no place at all for it, and it is very true that what is not a tone has not been at all, and will not be at all is not at all possible if possible is taken to mean compatible, every event that is compatible with our universe will exists in our universe, because if it didn't exist our universe would not be entirely dirty determinate it, it has to contain all the compatible possibility, to be entirely determine it.
you have to understand these complex statement on three levels, first，and obviously can possibly applies to an entire world system, of course this is the definition of it, and concerning the contingent, contingent truth that it associates, it implies at the same time, if this world if this possible world is chosen by god, that they would all be brought into existence.
they would all be brought into existence, even if they were to succeed one another at different moments in the development of the series, it doesn't matter, this is the first level, next this decision which involves refusing to consider the possibility of a novel, as a compatibility with our world, this decision which involves refusing to consider the possibility of a novel as a compatibility with our world.
this decision in fact leads to an expansion a fictional possibilities, it doesn't have to seem real, finally, it is very striking that being excluded from relationships of compressibility, fiction does not find itself, pay much attention to this, fiction does not find itself relegated to the wrong of an abstract notion.
this is very striking, I will insist on it later, fiction is not compatible with our world, but however it does not only present the possibility of rules abstract notions, it is something more, it does not concern simply a given imaginary individual, a fiction does not only concern a given imaginary in individual, such as Adam that would be wrong.
it concerns a system of facts connected with one another, as well as with the characters that the stage, so this say is, on the possibility of fiction is applied to a system, not to unobstructed notion to a structured whole that appears to have some consistency even efficient.
it's not compatible our world such as the vague Adam, is not compatible with our world, however it has more consistency, this will be very important and this is a very original point of view, so short break and then as usual I will finish my lecture, and we will guys to your questions this is a break.
