“Talking Back to Frida: Houses of Emotional Mestizaje” is, in part, a historical meditation on the silencing of three women, Frida Kahlo, Maria Enríquez, a Mexican woman who was sexually assaulted in 1924, and me. Written in an innovative historical fashion that joins techniques drawn from fiction, journalism, and history, the article attempts to understand specific assaults on women’s voices by drawing readers into the historical worlds of the protagonists. “Talking Back” also seeks to respond to Hans Kellner’s (...) incisive theoretical challenge: how do historians’ person histories affect their historical choices? The article’s organization depends on my understanding of language, color, and physicality, as the emotional architecture of the Deep Southern and Mexican places tend to both enclose and partially free the protagonists. The essay begins by leading the reader into my own past in the Deep South, a past where German Jewish and Russian Jewish relatives engaged in a cultural battle over form, personal style, and will. Confronting a German Jewish world where only things—never feelings—seemed to matter, I found solace in the friendship of a black servant. That friendship, in turn, helped prompt a particularly empathic historical voice. The southern section is followed by a journey into Frida Kahlo’s Mexican world. In that world, Kahlo’s severe physical pain and solitude construct inner and outer universes. The people who populate these worlds are friends, lovers, husband, and the Mexican poor. Kahlo’s artistic renditions of these people reflect, the article suggests, both the depth of her love for them and a tendency to use them in response to her despair. Finally, “Talking Back” reconstructs the world of María Enríquez, a Michoacán peasant woman assaulted in public by her former boyfriend. Abandoned by friend, sister, and Catholic women on the way to church, Enríquez develops a voice laced with generosity, cultural insight, and a rare self-possession. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Elliot Rubinstein BUÑUEL'S WORLD, OR THE WORLD AND BUNUEL* THE line OF descent from Surrealist cinema to chosiste fiction—the line which all the remarks that follow are meant at least to trace—is, if not direct, surely collateral. But the genealogy is so complex as to resist detailing in a brief paper. What I offer may be taken for preliminaries, observations on the cinema of Bunuel prompted in large (...) part by a rereading of Robbe-Grillet's For a New Novel. ' The world of any Bunuel film is first of all, in William S. Pechter's phrase, the worst of all possible.2 But the phrase misleads, implying that better worlds are imaginable, let alone photographable, let alone otherwise available. Neithersexual fascination {L'Aged' or, El [ This Strange Passion], Ensayo de un crimen [The Criminal Life ofArchibaldo de la Cruz], Abismos de pasión [Wuthering Heights], Diary ofa Chambermaid, Belle de Jour) nor faith (Nazartn, Robinson Crusoe, Vindiana, The Milky Way), nor any other agency of spiritual transcendence delivers us to a world fit for human habitation. Trailing clouds, but not of glory, do we come, and beneath these clouds we proceed to make fools and martyrs and killers of one another, of ourselves. Unhappily, such views, seized upon as novelties, leave Buñuel at the mercy of some of the most sophomoric adulators ever to hound a major artist. Happily, Buñuel's vision justifies his views; happily, his career transcends his vision. His particular achievement is the sheer variety of worlds he has discovered or reanimated, none quite like *This article, and the one by Stanley Cavell which follows it, grew out of remarks presented at the annual convention of the Modern Language Association, December 30, 1977. The title of the symposium was "Chosisme and the Cinema: the Perception of Physical Reality in Cinema and Literature." 237 238Philosophy and Literature another except in the way it is seen—and each the worst of all possible. The world of Nazartn appears, on the relentlessly gray surface of its film stock, the most conventional in any of Buñuel's works. (I am not thinking of, for one must try to think as little as possible of, some of the potboilers Buñuel had to produce during his Mexican captivity of the late 1940s and 1950s.) Its story of a persecuted priest is left to progress without worrisome spatial or temporal discontinuities. The myth on which its story feeds, explicit in the title, is the most familiar of all, and the inescapable implications of the Quixote and of Dostoyevsky 's tale of the Grand Inquisitor further cater to our certainty of the correctness of our responses. The sole plainly Surreal moment occurs when the picture of Jesus on the priest's wall explodes into a wicked Bosch-like grin, but the image is subjective, "psychological," reflecting the delirium of a wounded prostitute whom the priest is sequestering, and seen only by her. Emotional valences are respected: there is nothing perplexing about the characters' reactions and interplayings. And things are in their place. Such an account of Nazartn recalls Robbe-Grillet's account of Balzacian fiction: All the technical elements of narrative—systematic use of the past tense and the third person, unconditional adoption of chronological development, linear plots, regular trajectory of the passions, impulses of each episode toward a conclusion, etc.—everything tended to impose the image of a stable, coherent, continuous, unequivocal, decipherable universe. Since the intelligibility of the world was not even questioned, to tell a story did not raise a problem. The style of the novel could be innocent, (p. 32) I trust there is no reason to belabor the frailness (I mean with respect to any reading of Balzac) of an argument that pushes to that last sentence. Still, the point is plain enough, and, in its way, and, in its limits, true enough. Because Nazarin (based, by the way, on a novel of Galdós) tells a story in an age when "To tell a story has become strictly impossible" (p. 33) it cannot lay claim to a place in the realm of New Narrative. But there is more to Nazarin than... (shrink)

In his new foreword to this edition, Hilary Putnam forcefully rejects these nativist claims.

What does it mean for a proposition to be "true in a fiction"? According to the account offered by Kendall Walton in Mimesis as Make-Believe (1990), what is fictionally true, or simply fictional, is what a work of fiction invites or prescribes that we imagine. To say that it is fictional that Okonkwo kills Ikemefuna in Chinua Achebe's Things Fall Apart, for example, is to say that we are supposed to imagine that event. Yet Walton gives no account (...) of the kind of imagining relevant to understanding fictionality. In this paper I argue that the relevant kind of imagining is imagining a storyworld. I propose an account of this sort of imagining, as well as the nature of the invitations or prescriptions to imagine generated by fiction. I show that this account can be defended against various criticisms of Walton's original view, including his own argument in 2015 that prescriptions to imagine provide only necessary conditions for fictionality. (shrink)

Several philosophers including Kripke have contended that fictional entities do exist as abstract objects, and fictional names refer to such abstract entities. Kripke and Thomasson compare fictional entities to existing social entities. Kripke also reflects on fictions inside fictions to support his view. Many philosophers appeal to the apparent fact that we quantify over fictional entities. Such arguments in favor of the existence of fictional entities are critically scrutinized. It is argued that they are much less compelling than their proponents (...) suggest and involve various obscurities. (shrink)

The problem of intersubjective identification arises from the difficulties of explaining how our thoughts and discourse about fictional characters can be directed towards the same (or different) characters given the assumption that there are no fictional entities. In this paper I aim to offer a solution in terms of participation in a practice of thinking and talking about the same thing, which is inspired by Sainsbury's name-using practices. I will critically discuss a similar idea that was put forward by Friend (...) in terms of participation in what Perry calls a notion-network. I will then argue in favor of Sainsbury's baptism-based approach against Perry's information-based approach and I will answer some recent objections that Friend put forward against the former. (shrink)

Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our (...) understanding of unreliable narrators and unreliable narration in fiction needs to accommodate stories that, on the face of it, cannot possibly be true. (shrink)

Can fictions lie? According to a classic conception, works of fiction can never contain lies, since their content is not presented as true, nor is it meant to deceive us. But this classic view can be challenged. Sometimes fictions appear to make claims about the actual world, and these claims can be designed to convey falsehoods, historical misconceptions, and even pernicious stereotypes. Should we conclude that some fictional statements are lies? This article introduces two views that support a positive (...) answer, and two that support a negative one. After examining various ways in which fictions can deceive, it concludes in favour of the view that fictional statements can mislead, but never lie. (shrink)

Authors have a lot of leeway with regard to what they can make true in their story. In general, if the author says that p is true in the fiction we’re reading, we believe that p is true in that fiction. And if we’re playing along with the fictional game, we imagine that, along with everything else in the story, p is true. But there are exceptions to these general principles. Many authors, most notably Kendall Walton and Tamar (...) Szabó Gendler, have discussed apparent counterexamples when p is “morally deviant”. Many other statements that are conceptually impossible also seem to be counterexamples. In this paper I do four things. I survey the range of counterexamples, or at least putative counterexamples, to the principles. Then I look to explanations of the counterexamples. I argue, following Gendler, that the explanation cannot simply be that morally deviant claims are impossible. I argue that the distinctive attitudes we have towards moral propositions cannot explain the counterexamples, since some of the examples don’t involve moral concepts. And I put forward a proposed explanation that turns on the role of ‘higher-level concepts’, concepts that if they are satisfied are satisfied in virtue of more fundamental facts about the world, in fiction, and in imagination. (shrink)

A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we (...) are inclined to resist imagining (or even accepting as true in the fiction) what’s explicitly stated in the text. But if we can’t take the text’s word for it, how do we determine what’s true in a fiction? We propose an account of fiction interpretation in a dynamic setting (a version of DRT with a mechanism for opening, updating, and closing temporary ‘workspaces’) and combine this framework with belief revision logic. With these tools in hand we turn to modelling imaginative resistance and unreliable narrators. (shrink)

Despite widespread evidence that fictional models play an explanatory role in science, resistance remains to the idea that fictions can explain. A central source of this resistance is a particular view about what explanations are, namely, the ontic conception of explanation. According to the ontic conception, explanations just are the concrete entities in the world. I argue this conception is ultimately incoherent and that even a weaker version of the ontic conception fails. Fictional models can succeed in offering genuine explanations (...) by correctly capturing relevant patterns of counterfactual dependence and licensing correct inferences. Using the example of Newtonian force explanations of the tides, I show how, even in science, fiction can be a vehicle for truth. (shrink)

The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences (...) identify their contents, or to identify the norms governing the correct understanding and interpretation of works of fiction. -/- This book answers a wide range of both metaphysical and epistemological questions concerning fiction in a way that clarifies the relations between them. The metaphysical questions include: What distinguishes works of fiction from works of non-fiction?; What is the nature of fictive utterances?; What determines the contents of works of fiction?; What kinds of fictive content are there?; How broad in scope is fictive content?; and What kinds of things are fictional entities? The epistemological questions include: How do audiences identify the contents of authors’ fictive utterances?; How does understanding a work of fiction differ from interpreting it?; and What role does thinking and talking about fiction from an external perspective play in enabling communication through fiction? It develops the first single theory that provides answers to all these questions. (shrink)

How can we ameliorate the current immigration policies toward Mexican people immigrating to the United States? This study re-examines how the development of scenarios assisted South Africa to dismantle apartheid without engaging in a bloody civil war. Following the scenario approach, we articulate positions taken by different interest groups involved in the debate concerning immigration from Mexico. Next, we formulate a set of scenarios which are evaluated as to how well each contributes to the well-being of the populace both (...) of Mexico and of the United States. The South African scenario model has proven to be an effective tool in times of political disagreement. It fosters a common language among competing groups, non-hierarchal communication among groups, and acknowledgement of the concerns of each group involved. (shrink)

Sanchez and Sanchez have selected, edited, translated, and introduced some of the most influential texts in Mexican philosophy, which constitute a unique and robust tradition that will challenge and complicate traditional conceptions of philosophy. The texts collected here are organized chronologically and represent a period of Mexican thought and culture that emerged from the Mexican Revolution of 1910 and which culminated in la filosofia de lo mexicano (the philosophy of Mexicanness). Though the selections reflect on a variety (...) of philosophical questions, collectively they represent a growing tendency to take seriously the question of Mexican national identity as a philosophical question--especially given the complexities of Mexico's indigenous and European ancestries, a history of colonialism, and a growing dependency on foreign money and culture. More than an attempt to describe the national character, however, the texts gathered here represent an optimistic period in Mexican philosophy that aimed to affirm Mexican culture and philosophy as a valuable, if not urgent, contribution to universal culture. (shrink)

This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we (...) come to understand how other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)

Introduction: Mexican Philosophy: What Is It and Why It Matters -- Relajo -- Nepantla -- Zozobra -- Corazonada -- Tik -- Figure of the World -- Mexistentialism.

Dès l'Antiquité, puis ensuite à l’âge classique, se développe toute une littérature qui aborde des questions relatives à la politique au travers de récits de fiction, satires ou utopies. Le récit est alors utilisé comme un moyen d’éviter la censure dans l’analyse critique du régime en place ou du discours dominant ; comme une façon de mettre en scène des expériences philosophiques sur des sociétés imaginaires, ou encore comme une manière détournée d’éveiller l’intelligence politique du lecteur.

"Novels, movies, and lies - these are all fictions that provoke with their as ifs and what ifs. In response to the idea that fiction has somehow become an unfashionable topic in contemporary criticism, this volume argues that the question of fiction needs to be updated in the absence of a widely accepted theory of truth. This collection, dedicated to the noted scholar and literary critic Lubomir Dolezel, covers an extensive number of theoretical and historical issues relevant to (...) our understanding of the status of fictions - literary or not." "Fiction Updated offers approaches to fiction and poetics that, in an imaginary topography of contemporary humanities, dwell at a distance from both the mimetic theory of literature and deconstruction. The contributors introduce new perspectives to the problem of fictionality, or broaden the scope of its applications, by examining the works of such authors as Homer, Casanova, Aristotle, Woolf, Vaihinger, Borges, Kundera, Coetzee, and Bakhtin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

The discovery of transgenes in maize landraces in Mexico, a center of diversity for this crop, raises questions about the potential impact of transgene diffusion on maize diversity. The concept of diversity and farmers’ role in maintaining diversity is quite complex. Farmers’ behavior is expected to have a significant influence on causing transgenes to diffuse, to be expressed differently, and to accumulate within landraces. Farmers’ or consumers’ perceptions that transgenes are “contaminants” and that landraces containing transgenes are “contaminated” could cause (...) these landraces to be rejected and trigger a direct loss of diversity. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

Certain realists about properties and relations identify them with universals. Furthermore, some hold that for a wide range of meaningful predicates, the semantic contribution to the propositions expressed by the sentences in which those predicates figure is the universal expressed by the predicate. I here address ontological issues raised by predicates first introduced to us via works of fiction and whether the universal realist should accept that any such predicates express universals. After assessing arguments by Braun, D. and Sawyer, (...) S. for fictional universal anti-realism, I propose a novel, Kripke-inspired argument for the same conclusion. I ultimately defend the claim that while this argument presents the strongest case for fictional universal anti-realism, it is nonetheless unsound. I conclude that nothing stands in the way of accepting that some fictional predicates express fictional universals. (shrink)

Abstract Impossible fictions have lessons to teach us about linguistic representation, about mental content and concepts, and about uses of conceivability in epistemology. An adequate theory of impossible fictions may require theories of meaning that can distinguish between different impossibilities; a theory of conceptual truth that allows us to make useful sense of a variety of conceptual falsehoods; and a theory of our understanding of necessity and possibility that permits impossibilities to be conceived. After discussing these questions, strategies for resisting (...) the picture of impossible fictions presented here and in Part I are discussed. Perhaps apparently impossible fictions describe possibilities after all; or perhaps impossible fictions are all trivial; or perhaps some apparently intelligible impossible fictions are unintelligible after all. (shrink)

Some things that we take to be the case in a fictional work are never made explicit by the work itself. For instance, we assume that Sherlock Holmes does not have a third nostril, that he wears underpants and that he has never solved a case with a purple gnome, even though neither of these things is ever mentioned in the narration. This article argues that examples like these can be accounted for through the same content-enriching reasoning that we employ (...) when confronted with non-fictional discourse, with the important difference that fictional discourse essentially involves pretence. Fictional discourse works in much the same way as non-fictional discourse, and what is conveyed without being stated can accordingly be explained through familiar pragmatic mechanisms. It is argued that this account carries some distinct advantages over competing views. (shrink)

The epistemology of models has to face a conundrum: models are often described as highly idealised, and yet they are considered to be vehicles for scientific explanations. Truth-oriented—veritist—conceptions of explanation seem thereby undermined by this contradiction. In this article, I will show how this apparent paradox can be avoided by appealing to the notion of fiction. If fictionalism is often thought to lead to various flavours of instrumentalism, thereby weakening the veritist hopes, the fiction view of models offers (...) a framework much richer than it seems at first sight. To do so, I will call upon the concepts of modality, counterfactual structure and credible worlds. In the end, veritism of explanation and fiction can indeed go hand in hand, but the scope of explanations we can hope to draw from models must be more precisely delineated. (shrink)

Importation in fictional discourse is the phenomenon by which audiences include information in the story over and above what is explicitly stated by the narrator. This paper argues that importation is distinct from generation, the phenomenon by which truth in fiction may outstrip what is made explicit, and draws a distinction between fictional truth and fictional records. The latter comprises the audience’s picture of what is true according to the narrator. The paper argues that importation into fictional records operates (...) according to principles that also govern ordinary conversation. An account of fictional records as a species of common ground information is proposed. Two sources of importation are described in detail, presupposition accommodation and conversational implicatures. It is shown that presuppositions are both mandatorily imported and mandatorily generated. By contrast, conversational implicatures are neither mandatorily imported nor mandatorily generated. The paper distinguishes conversational implicatures from contextual inferences. Both rely on background assumptions, yet conversational implicatures moreover depend on assumptions concerning Gricean cooperation. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence (...) between the world and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role (...) in the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model-systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model-systems is misguided. If model-systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model-systems. (shrink)

Since the mid-1990s, there has been a rise in the number of deaths of undocumented Mexican migrants crossing the U.S./Mexican border. Who is responsible for these deaths? This article examines the culpability of (1) migrants, (2) humanitarian volunteers, (3) the Mexican government, (4) the U.S. government, and (5) U.S. businesses. A significant portion of the blame is assigned to U.S. free trade policies and U.S. businesses employing undocumented immigrants.

This essay examines Gloria Anzaldúa’s critical appropriation of two Mexican philosophers in the writing of Borderlands/La Frontera: Samuel Ramos and Octavio Paz. We argue that although neither of these authors is cited in her seminal work, Anzaldúa had them both in mind through the writing process and that their ideas are present in the text itself. Through a genealogical reading of Borderlands/La Frontera, and aided by archival research, we demonstrate how Anzaldúa’s philosophical vision of the “new mestiza” is a (...) critical continuation of the broader tradition known as la filosofía de lo mexicano, which flourished during a golden age of Mexican philosophy (1910–1960). Our aim is to open new directions in Latinx and Latin American philosophy by presenting Anzaldúa’s Borderlands/La Frontera as a profound scholarly encounter with two classic works of Mexican philosophy, Ramos’ Profile of Man and Culture in Mexico and Paz’s The Labyrinth of Solitude. (shrink)

Mexican thinkers in recent generations have sought a philosophy emphasizing the ends of human activity as contrasted with one stressing means or techniques. According to Professor Weinstein's interpretation, an integrated perspective toward all aspects of the human condition characterizes Mexican philosophy and social thought, incorporating close attention to the aesthetic dimension of human experience and the tensions of human existence. The distinctive Mexican world-view provides a needed supplement to the analytical approach of North American philosophy and Marxist (...) determinism. (shrink)

This paper defends a theory of fictional truth. According to this theory, there is a fact of the matter concerning the number of hairs on Sherlock Holmes' head, and likewise for any other meaningful question one could ask about what's true in a work of fiction. We argue that a theory of this form is needed to account for the patterns in our judgments about attitude reports that embed fictional claims. We contrast our view with one of the dominant (...) approaches to fictional truth, which originates with David Lewis. Along the way we explore the relationship between fiction, counterfactuals, and vagueness. (shrink)

Fictional realists maintain that fictional characters are part of the world’s ontology. In an influential article, Anthony Everett argues that the fictional realist is thereby committing herself to problematic entities. Among these are entities that are indeterminately identical. Recently, Ross Cameron and Richard Woodward have answered Everett’s worry using the same strategy. They argue that the fictional realist can bypass the problematic identities by contending that they are merely semantically indeterminate. This paper concisely surveys Everett’s original argument, Cameron’s and Woodward’s (...) responses, and then argues that the strategy employed by Cameron and Woodward fails to satisfactorily answer Everett’s worries. (shrink)

Can fictions make genuine assertions about the actual world? Proponents of the ‘Assertion View’ answer the question affirmatively: they hold that authors can assert, by means of explicit statements that are part of the work of fiction, that something is actually the case in the real world. The ‘Nonassertion’ View firmly denies this possibility. In this paper, I defend a nuanced version of the Nonassertion View. I argue that even if fictions cannot assert, they can indirectly communicate that what (...) is recounted as fictional is actually true. I show that this view is supported by independent linguistic data, and that it is able to defuse the objections that are typically raised against the Nonassertion View. I conclude by showing that this position has some interesting implications for testimonial cognitivism about fiction. (shrink)

This is a largely historical study of Mexican social policy and its 20th century course to social development in such areas as income, education, health, nutrition, social safety, social security, with an emphasis on the motive forces. The overall pattern is examined in terms of affordability, rhetoric generated, and comparisons with other countries in the same stage of enhancement.

In this chapter, I argue that the insurrectionist ethics initially articulated by Leonard Harris, and further developed by other scholars such as Lee McBride III, Jacoby Carter, and Kristie Dotson, can fruitfully be deployed to understand how resistance movements and liberatory struggles have been framed in Mexico by some prominent intellectuals. To be more precise, I argue that one can read the historical work México a través de los siglos. El Virreinato from the nineteenth century Mexican historian and novelist (...) Vicente Riva Palacio as articulating a form of insurrectionist ethics adapted to the Mexican context to the extent that it exemplifies the core features that Harris identifies in insurrectionist ethics. (shrink)

Do fictions depend upon imagination? Derek Matravers argues against the mainstream view that they do, and offers an original account of what it is to read, listen to, or watch a narrative. He downgrades the divide between fiction and non-fiction, largely dispenses with the imagination, and in doing so illuminates a succession of related issues.