The challenge of handling fictional discourse is to find the best way to resolve the apparent inconsistencies in our ways of speaking about fiction. A promising approach is to take at least some such discourse to involve pretense, but does all fictional discourse involve pretense? I will argue that a better, less revisionary, solution is to take internal and fictionalizing discourse to involve pretense, while allowing that in external critical discourse, fictional names are used seriously to refer to fictional (...) class='Hi'>characters. I then address two objections to such realist theories of fiction: One, that they can't adequately account for the truth of singular nonexistence claims involving fictional names, and two, that accepting that there are fictional characters to which we refer is implausible or ontologically profligate. (shrink)

This paper advances the development of a phylogeny-based psychology in which cognitive ability types are individuated as characters in the evolutionary biological sense. I explain the character concept and its utility in addressing (or dissolving) conceptual problems arising from discoveries of cognitive abilities across a wide range of species. I use the examples of stereopsis in the praying mantis, internal cell-to-cell signaling in plants, and episodic memory in scrub jays to show how anthropocentric cognitive ability types can be reformulated (...) into cognitive characters, thereby promoting the integration of psychology with other sciences of evolved traits. (shrink)

In this paper, the author replies to a question raised about theories of nonexistent objects. The question concerns the way names of fictional characters, when analyzed as names which denote nonexistent objects, acquire their denotations. Since nonexistent objects cannot causally interact with existent objects, it is thought that we cannot appeal to a‘dubbing’or a‘baptism’. The question is, therefore, what is the starting point of the chain? The answer is that storytellings are to be thought of as extended baptisms, and (...) the details of this response receive attention in the paper. Once the storytelling is complete, and the characters have been baptized, a priori metaphysical principles linking the storytelling with the realm of nonexistent objects provide the referential, non‐causal connection between the names used in the storytelling and the objects denoted by such names. (shrink)

In this article, I will discuss some differences between empathy with real persons and empathy with fictional characters. Philosophers who have thought about th.

There is no straightforward inference from there being fictional characters to any interesting form of realism. One reason is that “fictional” may be an intensional operator with wide scope, depriving the quantifier of its usual force. Another is that not all uses of “there are” are ontologically committing. A realist needs to show that neither of these phenomena are present in “There are fictional characters”. Other roads to realism run into difficulties when negotiating the role that presupposition plays (...) when we make intuitive evaluations of the truth or falsehood of sentences involving fiction, for we may presuppose things we do not believe. This means that a judgment of truth, implicitly relative to a presupposition we do not believe, can be sincerely made by someone who, from a more austere perspective, would regard the judgment as false. (shrink)

This article is a reaction to the following argument that has been offered in favor of abstract realism about fictional characters: fictional characters do not impose any extra ontological cost on our ontology, because they belong to the same ontological kind as literary works, which we already accept. I address arguments that have been adduced by Jeffrey Goodman in defense of this argument, and I show that there is no relevant parallelism between fictional entities and literary works that (...) the abstract fictional realist can use to bolster her theory. (shrink)

This article presents three studies examining the importance of identification with characters in research on media entertainment. In Study 1 it was found that identification with characters was associated with spectators' degree of enjoyment of feature films of different genres. Study 2 showed that identification with characters predicts the affective impact of a dramatic film and, also, it was associated with greater cognitive elaboration and a more complex reflexive process during the viewing of the dramatic film. In (...) Study 3 it was observed that identification with characters predicted the incidental impact of a full length fictional film on attitudes and beliefs. These results support the centrality of the construct of identification with characters in narrative persuasion research. (shrink)

Résumé Alberto Voltolini préconise une analyse syncrétique des entités fictives, affirmant qu'elle satisfait tous les desiderata d'une analyse appropriée des entités fictives. Cet article présente une analyse des personnages fictifs qui réponde à ces critères, tout en évitant les problèmes que rencontre l'analyse de Voltolini. Selon mon analyse antiréaliste et leibnizienne, un personnage fictif peut être identifié par la collection de prédicats attribués à son nom. Cette analyse offre le bénéfice de la théorie des faisceaux, puisqu'elle écarte la question des (...) porteurs des noms fictifs, tout en expliquant pourquoi un personnage fictif est plus qu'une simple collection de prédicats. (shrink)

The architects of punctuated equilibrium and species selection as well as more recent workers (Vrba) have narrowed the original formulation of species selection and made it dependent upon so-called emergent characters. One criticism of this narrow version is the dearth of emergent characters with a consequent diminution in the robustness of species selection as an important evolutionary process. We argue that monomorphic species characters may at times be the focus of selection and that under these circumstances selection (...) at the organism level is by-passed due to the absence of critical variance. Selection therefore shifts to the species level where variability reemerges in a clade. The absence of critical variance among organisms prevents effect macroevolution from operating. If species-wide properties are important in macroevolutionary processes, as we contend, systematists should pay more attention to their elucidation. (shrink)

Playing videogames ranks among the most popular activities on the contemporary media menu. However, just what ‘play’ entails remains poorly researched and consequently little is written on the role and subject positions of the player in relation to on-screen characters. This article offers a way of thinking about the player's subject position that moves attention away from identification with on-screen characters and towards the engagement with the videogame as a simulation. In doing so, and drawing on Fuller and (...) Jenkins (Nintendo and new world travel writing: A dialogue, Sage, 1995) and Friedman (Civilization and its discontents: Simulation, subjectivity, and space, New York University Press, 1999) for example, the author suggests that the videogame player engages not with any single element of the system such as a character or ‘avatar,’ but rather apprehends the videogame as a system — a mathematical model. This mode of engagement encourages and requires that the player ‘think like the computer’ in exploring its boundaries, scrutinizing its rules, exploiting its potentialities, and ultimately becoming part of the system itself. [ABSTRACT FROM AUTHOR]. (shrink)

In this paper, I will explore how the work of Wallace Stevens constitutes a phenomenology that resonates strongly with that of William James. I will, first, explore two explicit references to James in the essays of Stevens that constitute a misrepresentation of a rather duplicitous quote from James’ personal letters. Second, I will consider Stevens’ little known lecture-turned-essay, “A Collect of Philosophy,” and the poem, “Large Red Man Reading,” as texts that are both about a conception of poetryphilosophy as well (...) as being performances of poetry-philosophy. Finally, I will compare James’ and Stevens’ thought on the imagination, highlighting both form and content and the poetic-philosophical union or blend that makes possible those similarities. (shrink)

This essay explains why creationism about fictional characters is an abject failure. Creationism about fictional characters is the view that fictional objects are created by the authors of the novels in which they first appear. This essay shows that, when the details of creationism are filled in, the hypothesis becomes far more puzzling than the linguistic data it is used to explain. No matter how the creationist identifies where, when and how fictional objects are created, the proposal conflicts (...) with other strong intuitions we have about fictional characters. (shrink)

In order to make Mukund Lath’s thoughts on music and identity accessible to a broader audience, and to call attention to links between Hindustānī musical theory and classical Indian philosophical notions, Lath’s paper “Identity Through Necessary Change: Thinking About ‘Rāga-Bhāva,’ Concepts and Characters” is being republished here with an introduction by David Shulman and explanatory notes. Mukund Lath argues that identity is usually understood as something that remains the same despite change. His endeavor is to explore an alternative to (...) this convention. The case study for Lath’s philosophical exploration is rāga music, i.e. Hindustānī classical music. He argues that the identity of the rāga is maintained not despite change, but owing to the necessary change in every execution of “the same” rāga. But how are we to even start thinking about a notion of identity that embraces rather than rejects change, a notion of identity that is based on and is rooted in change, not in stability or perpetuity? Lath explores this alternative and its consequences for the notion of identity at large. (shrink)

Phylogenetic systematics is one of the most important analytical frameworks of modern Biology. It seems to be common knowledge that within phylogenetics, ‘groups’ must be defined based solely on the synapomorphies or on the “derived” characters that unite two or more taxa in a clade or monophyletic group. Thus, the idea of synapomorphy seems to be of fundamental influence and importance. Here I will show that the most common and straightforward understanding of synapomorphy as a shared derived character is (...) not sufficient and eventually must be rejected in favor of Nelson’s relational interpretation of such term. Arguing for this point and using three examples from previously published Apes’ genomic matrices, I explicitly demonstrate that the relationship )) with Hylobatidae as a sister taxon, may be successfully recovered by three-taxon statement analysis and three-taxon statement average consensus analysis even if all of the evident standard shared derived molecular characters of the relationship )) with Hylobatidae as a sister taxon, have been excluded from the molecular alignments. Neither conventional Maximum Parsimony nor Maximum Likelihood or Bayesian Inference can do this in such situation. Thus, our results show that the relationship )) with Hylobatidae as a sister taxon has appeared, in some way, behind standard shared derived characters: the last ones could be excluded, but the relationship remains the same. (shrink)

During the COVID-19 pandemic of 2020, one is drawn to engage with texts that deal with the topic of human suffering. Two texts will be considered in this article. The first is the novel The Plague by Albert Camus, and the second is the Bible. Two characters in Camus’ work will be discussed as representatives of different theological and scriptural responses to the issue of widespread human suffering. Following a literary analysis research methodology, this article argues that Christian responses (...) to the COVID-19 pandemic are not dissimilar to the perspectives held by Dr Rieux and Fr Paneloux. Theodicy is engaged with either a perspective that questions the Divine in the light of the suffering of the innocent or a perspective that subjects itself to a state of surrender to ‘the God who knows best’. The article then offers a third perspective, one held by Camus himself, suggesting that the question of theodicy could be reimagined from the notion of the absurdity of life.Contribution: This article provides a theological reflection on common Christian responses to the COVID-19 pandemic. It uses Camus’ novel, “The Plague” as a backdrop to differentiate between a deistic and a science-faith approach to suffering. (shrink)

Clark and Fischer (C&F) discuss how people interact with social robots in the context of a general analysis of interaction with characters. I suggest that a consideration of aesthetic illusion would add nuance to this analysis. In addition, I illustrate how people's experiences with other depictions of characters require adjustments to C&F's claims.

The significance of Plato s literary style to the content of his ideas isone of the central problems in the study of Plato. Thisvolume presents some of the most recent scholarshipon the wide range of issues related to Plato s dialogue form. The essaysaddress general questions concerning Plato s literary style, the relation of his style to other genres and traditions in Ancient Greece, and Plato s characters and his purpose in using them. ".

The significance of Plato’s literary style to the content of his ideas is perhaps one of the central problems in the study of Plato and Ancient Philosophy as a whole. As Samuel Scolnicov points out in this collection, many other philosophers have employed literary techniques to express their ideas, just as many literary authors have exemplified philosophical ideas in their narratives, but for no other philosopher does the mode of expression play such a vital role in their thought as it (...) does for Plato. And yet, even after two thousand years there is still no consensus about why Plato expresses his ideas in this distinctive style. Selected from the first Latin American Area meeting of the International Plato Society in Brazil in 2012, the following collection of essays presents some of the most recent scholarship from around the world on the wide range of issues related to Plato’s dialogue form. The essays can be divided into three categories. The first addresses general questions concerning Plato’s literary style. The second concerns the relation of his style to other genres and traditions in Ancient Greece. And the third examines Plato’s characters and his purpose in using them. (shrink)

In academic oral genres such as conference presentations, speakers resort to more than words to convey meaning. Research also suggests that persuasion, an important element of the communicative purpose of conference presentations, is frequently achieved through a combination of semiotic modes. Therefore, a skilful orchestration of these modes can be considered key to achieving effective communication in this genre. However, our understanding of persuasion has often focused on specific elements of the message considered in isolation and mainly from the linguistic (...) perspective. Relatively little attention has been paid to the overall persuasive effect achieved by the complex multimodal ensemble. This study approaches the analysis of persuasive strategies in conference presentations combining multimodal discourse analysis and ethnographic methods. It focuses on a particular attention-getting technique: enactment of characters, or acting the part of a person that is being referred to. Our analysis shows how it is achieved through the orchestration of different modes such as words, intonation, gestures, head movements, gaze and facial expression. (shrink)

En el presente trabajo se efectúa un acercamiento a la narrativa cubana del período decimonónico por medio del diseño de sus personajes femeninos. Se atiende a las particularidades de la caracterización prosopográfica y etopéyica de la imago mujer, y se realiza una tentativa de tipologización, de acuerdo con los diversos matices conformadores de nuestros modelos femeninos ficcionales. En este propósito se privilegian aquellas obras y autores más importantes del período. In this paper, an approach to the Cuban narrative of nineteenth-century (...) period is carried out through the design of their female characters. The paper discusses the particularities of an ethopoeic characterization of imago women. It also attempts to realize a tentative typologization, based on the various nuances of forming our fictional female models. For this purpose, the works and major authors of the period are discussed. (shrink)

This paper looks at how digital humanities can modify our more traditional understanding and conceptualisation of literary characters. Through the analysis of cast lists from more than 880 French plays from 1630 to 1810, and the “close reading” of some sample texts, it proposes a classification of units of characterisation that can be identified in plays. In the last part, the paper sketches a protocol for the encoding of these characters in a TEI conformant way, and discusses the (...) advantages and the drawbacks of such an endeavour. (shrink)

Anscombe ends her seminal 1958 essay “Modern Moral Philosophy” with a presentation of five characters, each answering an ancient (and contemporary) question as to “whether one might ever need to commit injustice, or whether it won’t be the best thing to do?” Her fifth character is the execrated consequentialist who “shows a corrupt mind.” But who are the first four characters? Do they “show a mind”? And what precisely is the significance (if any) of her presenting those five (...) just then? In this paper, we interpret Anscombe’s essay with an eye to making sense of her character presentation. We argue that the first four characters can be seen to embody the chief negative and positive doctrines of the essay and to thereby represent and charter a pluralistic school of anti-consequentialist ethics. The upshot is something exegetically interesting yet of broader philosophical importance. (shrink)

Lexical ambiguity is pervasive in language, and the nature of the representations of an ambiguous word's multiple meanings is yet to be fully understood. With a special focus on Chinese characters, the present study first established that native speaker's perception about a character's number of meanings was heavily influenced by the availability of its distinct word formations, while whether these meanings would be perceived to be closely related was driven by further conceptual analysis. These notions were operationalized as two (...) computed metrics, which assessed the degree of dispersion across individual word formations and the degree of propinquity across clusters of word formations, respectively, in a distributional semantic space. The observed correlations between the computed and the perceived metrics indicated that the utility of word formations to tap into meaning representations of Chinese characters was indeed cognitively plausible. The results have demonstrated the extent to which distributional semantics could inform about meaning representations of Chinese characters, which has theoretical implications for the representation of ambiguous words more generally. (shrink)

This paper presents and discusses Simon Evnine’s hylomorphic account of fictional characters and proposes some amendments to it with the aim of explaining the functioning of fictional characters. The paper does so by relying on a case study, viz. Edgar Allan Poe’s short story Berenice. The amended hylomorphic account of fictional characters will also be capable of explaining the malfunctioning of fictional characters.

In this paper, I explore a line of argument against one form of realism about fictional characters : abstract artifact theory, the view according to which fictional characters like Harry Potter are part of our reality, but, they are abstract objects created by humans, akin to the institution of marriage and the game of soccer. I will defend artifactualism against an objection that Mark Sainsbury considers decisive against it: the category-mistake objection. The objection has it that artifactualism attributes (...) to people who produce and process sentences and thoughts about Harry Potter massive error, indeed, a category mistake about what kind of thing Harry Potter is; for an abstract object isn’t the sort of thing that can wear glasses, ride a double-decker bus, attend school. Given problems with this objection, artifactualism, I shall conclude, remains a tenable contender. (shrink)

Dans le cadre du développement récent de la stylistique outillée, cet article propose une réflexion sur l’application de ce concept et de ses méthodes aux personnages de théâtre sur la base d’un corpus trilingue de tragédies : Euripide, Sénèque et Corneille. Pour mener la recherche, nous aborderons d’abord la question de la nature des rôles de théâtre entre unités textuelles recomposées et discours de personnages dans le cadre d’une performance sur scène. Ensuite, nous chercherons à définir si les caractéristiques de (...) ces unités peuvent être rapprochées de la notion de style. Nous en étudierons les apports pour la compréhension d’une œuvre de théâtre. Pour atteindre cet objectif, une attention particulière sera accordée au corpus de recherche (quelles œuvres choisir?), à sa constitution (comment diviser ce corpus et avec quel niveau de granularité?) et aux outils d’exploration (qualitative ou quantitative?). En stylistique outillée, le corpus devient lui-même un outil de recherche en tant qu’opérateur de contraste. Enfin, poursuivre cette enquête amène à questionner la frontière entre études du discours et stylistique outillée du point de vue de leurs objectifs et de leurs méthodes. (shrink)

This paper considers two issues raised by the claim that fictional characters are abstract artifacts. First, given that artifacts normally have functions, what is the function of a fictional character? Second, given that, in experiencing works of fictions, we usually treat fictional characters as concrete individuals, how can such a phenomenology fit with an ontology according to which fictional characters are abstract artifacts? I will indirectly address the second issue by directly addressing the first one. For this (...) purpose, I will rely on the notion of a mental file. I will argue that the function of fictional characters is the generation of mental files of a special kind. I will show that our experience of fictional characters as concrete individuals depends on the kind of mental files that are generated by fictional characters as abstract artifacts. I will conclude that an appreciator of a work of fiction can open two files about a certain fictional character; one about the character as an individual in the fictional world, and the other about the character as an abstract artifact in the actual world. In this sense, our relation to a fictional character is characterized by a duality of files or ‘twofileness’. (shrink)

To extend the hypothesis that bizarre discontinuities in dreams result from the interaction of chaotic, "bottom-up" brainstem activation with "top-down" cortical synthesis, we have performed a detailed analysis of dream discontinuities using a new methodology that allows for objective characterization of this formal dream feature. Transformations of characters and objects in dream reports were found to follow definite associational rules. While there were 11 examples of character–character transformation and 7 of inanimate object–inanimate object transformation, transformations of characters into (...) inanimate objects and vice versa were never observed. Judges′ scores on a transformation-matching task further showed that the nature of the transformed character or object is highly constrained by the features of the initial character or object . We conclude that despite the threat to dream coherence posed by bizarre discontinuities, significant coherence is maintained by associational constraints, especially in the case of object and character transformations. (shrink)

Comix Zone (Sega Technical Institute, 1995) is a two-dimensional scrolling beat ‘em up videogame released in 1995 for the Sega Mega Drive (known as Sega Genesis in North America). Comix Zone has two peculiarities which makes it even today an easily distinguishable videogame. These peculiarities are interrelated. First, Comix Zone imitates the aesthetics and visual settings peculiar to comic books, the aim of which is to join the experience of playing a videogame with that of reading a comic; and second, (...) Comix Zone is ultimately grounded on the philosophical claim that fictional characters are actually existing entities, distinct from, and even colliding with, their creator(s). It is pointed out that this claim on the nature of fictional characters was seriously argued for, and put it into literary practice, by the Spanish philosopher Miguel de Unamuno (1864–1936). (shrink)

Research into the sociology of intellectual life reveals numerous appeals to the public conscience of intellectuals. The way in which concepts such as ‘the public intellectual’ or ‘intellectual life’ are discussed, however, conceals a long history of biased thinking about thinking as an elite endeavour with prohibitive requirements for entry. This article argues that this tendency prioritizes the intellectual realm over the public sphere, and betrays any claims to public relevance unless a broader definition of what counts as intellectual life (...) is introduced. By calling for a shift from the notion of public intellectuals to Jane Jacobs’ (1961) idea of the ‘public character’, a publicly situated and affect-laden conception of intellectual life is articulated with the aim of redefining intellectual life as an ordinary, collective pursuit, rather than the prerogative of a few extraordinary individuals, as well as restoring the role of the senses in theoretical discussions on the life of the mind. The theoretical scope of this article therefore is to cast the net wider in the search for meanings of what public intellectual life is, can or may be in a larger context than ‘intellectualist’ discussions currently allow. (shrink)