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Enrico Terrone
Universitat de Barcelona
  1. Introduction.Filippo Contesi & Enrico Terrone - 2018 - Philosophical Papers 47 (1):1-20.
  2.  44
    On Fictional Characters as Types.Enrico Terrone - 2017 - British Journal of Aesthetics 57 (2):161-176.
    Conceiving of fictional characters as types allows us to reconcile intuitions of sameness and difference about characters such as Batman that appear in different fictional worlds. Sameness occurs at the type level while difference occurs at the token level. Yet, the claim that fictional characters are types raises three main issues. Firstly, types seem to be eternal forms whereas fictional characters seem to be the outcome of a process of creation. Secondly, the tokens of a type are concrete particulars in (...)
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  3.  20
    Twofileness. A Functionalist Approach to Fictional Characters and Mental Files.Enrico Terrone - forthcoming - Erkenntnis:1-19.
    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 (...)
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  4.  33
    Appearance and History: The Autographic/Allographic Distinction Revisited.Enrico Terrone - 2018 - British Journal of Aesthetics 58 (1):71-87.
    Nelson Goodman notoriously distinguished between autographic works, whose instances should be identified by taking history of production into account, and allographic works, whose instances can be identified independently of history of production. Scholars such as Jerrold Levinson, Flint Schier, and Gregory Currie have criticized Goodman’s autographic/allographic distinction arguing that all works are such that their instances should be identified by taking history of production into account. I will address this objection by exploiting David Davies’ distinction between e-instances and p-instances of (...)
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  5.  1
    Istituzioni e pratiche. Le due sfere della realtà sociale.Enrico Terrone - 2018 - Rivista di Estetica 68:27-40.
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  6.  33
    Wittgenstein's Picture Theory of Pictures.Enrico Terrone - 2013 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1):275-290.
    I rely on Frascolla's interpretation of the Tractatus ontology to develop an account of depiction in which a picture is conceived of as a visual structure constituted by pixels that are conceived of, in their turn, as elementary propositions. Then I argue that such an account is complementary to the considerations about «noticing aspects» in the Philosophical Investigations, to the extent that the visual structure constituted by pixels provides a design allowing the picture’s viewer to notice aspects. Finally I argue (...)
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  7.  11
    The Band of Theseus: Social Individuals and Mental Files.Enrico Terrone - 2017 - Philosophy of the Social Sciences 47 (4-5):287-310.
    Social individuals are social entities having a distinctive individuality, often signaled by the use of a proper name to designate them. This article proposes an account of social individuals based on the notion of a mental file, understood as a repository of information about a single individual. First, I consider a variant of the puzzle of the ship of Theseus in which the object having problematic identity conditions is a social individual, namely, a rock band. Then, I argue that we (...)
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  8.  17
    The View From Outside On a Distinctively Cinematic Achievement.Mario De Caro & Enrico Terrone - 2016 - Philosophy and Social Criticism 42 (2):154-170.
    What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does (...)
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  9.  10
    Ikealismo assoluto.Enrico Terrone - 2015 - Rivista di Estetica 60:135-141.
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  10.  3
    Antidogma.Enrico Terrone - 2015 - Rivista di Estetica:131-139.
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  11.  7
    Traces, Documents, and the Puzzle of “Permanent Acts”.Enrico Terrone - 2014 - The Monist 97 (2):161-178.
  12.  4
    Mondi incidenti. Una soluzione ontologica al paradosso del cortocircuito rappresentazionale nei film.Enrico Terrone - 2011 - Rivista di Estetica 46:183-196.
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  13.  4
    Che Cosa Esiste Fuori Dal Testo?Enrico Terrone - 2014 - Rivista di Estetica 57:101-120.
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  14.  4
    Marges de la philosophie analytique.Enrico Terrone - 2014 - Rue Descartes 82 (3):140.
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  15.  3
    The Digital Secret of the Moving Image.Enrico Terrone - 2014 - Estetika 51 (1):21-41.
    This article addresses the definition of cinema by focusing on the related ontological question of which basic category circumscribes cinematic works. According to Noël Carroll, the definition of cinema consists both of ontological conditions that treat the moving image as a type and of other conditions that treat it as a display. But following Carroll’s ontological conditions, the digital encoding of a moving image enigmatically ends up being both a type and a token. Solving such a puzzle by clarifying the (...)
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  16.  1
    La cineteca di babele. Per Una nuova ontologia Del film.Enrico Terrone - 2009 - Rivista di Estetica 42:97-115.
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  17. L'essere fotografato. Riflessione sugli specchi che scrivono.Enrico Terrone - 2003 - Rivista di Estetica 43 (23):139-159.
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