This chapter discusses the extent to which it is feasible to talk of a black Brazilian literary tradition that is somehow cohesive, conscious of itself and self-reflective. In looking at works by black fiction writers during the second half of the twentieth century, such as Romeu Crusoé, Oswaldo de Camargo, Cuti, Geni Guimarães, Marilene Felinto and Muniz Sodré, it suggests that writers of African descent who self-identify as black Brazilians are to a large extent bound by identification with (...) region as much as they are with skin colour, in a similar way to other ‘ethnic’ writers in Brazil. (shrink)

O presente ensaio parte dos questionamentos construídos por Machado de Assis no artigo “Notícia da atual literatura brasileira: instinto de nacionalidade”, para analisar o lugar que o discurso marginal ocupa na produção literária contemporânea. Nesta perspectiva, utilizando como referência o conceito construído por Machado de Assis, investigo a possibilidade de observarmos a presença de um “Instinto de Marginalidade” na atual literatura brasileira, que não mais se baseia no intuito de formação de uma “literatura nacional”, isto é, unificadora e essencialista, mas (...) como vozes da dissonância e da alteridade. Assim, se o “Instinto de nacionalidade”, detectado por Machado em sua época, serviria a uma busca de independência, não estaríamos igualmente presenciando um ensejo de diferenciação das minorias? E, dessa forma, ainda seguindo os passos do crítico, não correríamos o risco da busca de uma “cor local” que salvaguardaria as fronteiras entre margem e centro? (shrink)

A partir da leitura de contos do livro Ninguém é inocente em São Paulo, de Ferréz, o artigo investiga como a literatura marginal/periférica brasileira representa a experiência urbana por meio de personagens oriundos da periferia. Após essa investigação, o trabalho se desdobra sobre como conceitos de deslocamento e apropriação permitem articular a relação entre periferia e centro urbanos, com ênfase no processo de urbanização da cidade de São Paulo.

Este livrinho é antes de tudo um desabafo. Poético existencial, sim. Mas também uma reflexão incontida, que não quer se calar. Busca, portanto, também a prosa de nosso tempo. Neste sentido, existe aí a história, a gnose religiosa, a filosofia do nosso tempo.Mais que nunca estamos cara a cara com uma nova Era, diante de um outro objetivamente possível relato na história da humanidade. Pela primeira vez necessária e plenamente universal. Isso é cada vez mais inegável e abrangente para qualquer (...) um. Somos nós e a natureza, a natureza e nós. Mares nunca de antes navegados, até por conta de tanto plástico. Cale-se o arauto da desigualdade pós-moderna, cesse tudo o que a musa moderna entoa: um canto ainda mais alto se alevanta.José Jorge Siqueira compartilha a hipótese, se filia à hipótese pela qual se quisermos sobreviver temos de filosofar verdadeiramente. Sua especulação, neste trabalho ora apresentado, se une à maré cheia, volumosa, de toda uma corrente de pensamento existente no planeta nesses termos. Sua fala é, portanto, a de um homem negro brasileiro, forjado historicamente na negação. Não apenas só de negro, pois esta (a negação) se impôs também à circunstância ex-colonial do país. Não estamos sós, há toda uma condição estigmatizada nesses termos mundo afora; em especial, para o caso, a nos entrelaçar ao continente africano e sua diáspora. Viva a consciência de si, enquanto princípios civilizatórios do conhecimento em todos os planos, da religiosidade à filosofia, da ontologia do ser em relação consigo mesmo e à natureza, da literatura às artes todas e à universalidade da ciência! Viva a interessantíssima reflexão que se ergue no Brasil nestes termos a olhos vistos (mas tem de ter olho de ver)! Nasceu uma flor imprevista, desafiadora, mas nasceu à luz do sol. (shrink)

ABSTRACT Science fiction is a literary genre that has spread around the world due, among other reasons, to its popularity; narratives contain exotic characters and fantastic intrigue. It is considered by the circle of scholars and critics, however, a “minor” literature; for discourse linguists, its aesthetic attributes remain in the background. The theory of points of view (POV), for example, can contribute to a better assessment of the genre. This article aims to study this literary genre via enunciation. First, (...) we talk about studies in narratology to delimit the place of science fiction (or sf) in the universe of narratives. Secondly, we talk about concepts and notations from POV theory within narratological studies to trigger a dialogical analysis of literary discourse. Thirdly, we analyze a fragment from Dune, by Frank Herbert, in its version into Brazilian Portuguese (2017). Finally, we propose that “superpowers” held by characters in this genre can be explained linguistically. (shrink)

This article examines Brazilian writer Clarice Lispector’s contributions to the women’s pages of the newspapers Correio da Manhã and Diário da Noite between 1959 and 1961. While Lispector’s fictional output has spawned a steady flow of scholarly and academic studies from a wide array of disciplines and fields of study, her journalistic production, in particular the women’s pages she crafted under a pseudonym, has hardly received any critical attention. The “women’s page” is a fixed section in magazines and newspapers (...) entirely dedicated to women, addressed specifically to a female readership, and generally authored by a woman or a female persona. The purpose of this article is to redress this critical oversight and complement the only study so far of this corpus – Aparecida Maria Nunes’s Clarice Lispector Jornalista – by arguing that, in Lispector’s hands, these pages become spaces of potential cultural and political intervention. Through their nuanced parody of other comparable discursive spaces and their overemphasis on what is culturally constructed as feminine, Lispector’s pages perform a transvestite gesture that unsettles normative models of femininity and dislodges a heteronormative temporality predicated upon birth, marriage, reproduction, and death. (shrink)

Based on the author's thesis (doctoral)--University of Oxford, 2007.

Based on the author's thesis (doctoral)--University of Oxford, 2007.

continent. 1.1 (2011): 22-25. The Author gratefully acknowledges the financial support of CAPES (Coordenação de Aperfeiçoamento do Ensino Superior), Brazil. From the multifarious subdivisions of semiotics, be they naturalistic or culturalistic, the realm of semiotics of value is a ?eld that is getting more and more attention these days. Our entire political and economic systems are based upon structures of symbolic representation that many times seem not only to embody monetary value but also to determine it. The connection between monetary (...) and linguistic exchanges is self-evident: the former requires the latter and develops in direct relation to it. Creative experimentation and design of digital systems of value exchange are blossoming on the web. Dr. Gilson Schwartz, an economist turned media theorist and professor at the University of São Paulo, adopted the concept of Iconomics, originally created by Michael Kaplan, an author concerned with the linguistics of economic value. Empowering local communities and unlocking new levels of value creation and representation via digital technologies are the main goals of Dr. Schwartz’s projects, aiming at the re-designing of our relationship to the economic value of imagination and the social control of property. Schwartz is Assistant Professor at the School of Communication and Arts of the University of São Paulo, a former Chief Economist at BankBoston, Brazil and Advisor to the President of the National Social and Economic Development Bank (BNDES). FURTHER READING: Kaplan, Michael. “Iconomics: The Rhetoric of Speculation.” Public Culture . 15.3 (2003): 477-493. Renata Lemos-Morais: You have recently produced and directed a short documentary about Creative Currencies in Latin America. Could you tell us a bit about its process and its findings? Gilson Schwartz: The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the I Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discussions on mobile payment systems and new perspectives on poverty alleviation via State subsidies. The Ministry of Culture funded the “Creative Currencies” project in 2009-2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (BNDES). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. However, after all these years we are still at a very early stage of research and practice. Some of the most successful initiatives (such as Banco Palmas) actually evolved out of local monetary creation to become correspondent banking operations for commercial banks and other financial groups. After eight years of price stability and social inclusion, Brazil stands out as a major opportunity for social experimentation, even the Grameen Bank is now entering the Brazilian market and many NGOs are geared towards different forms of entrepreneurialism in the base of the pyramid, riding solidarity economic models, microfinance and microcredit for local development. It is yet to be seen, however, whether these developments are just one more stage of “bankarization”, that is to say, an extension of regular banking services or actually a new form of social and symbolic self-determination at the local level. So far, the Central Bank of Brazil is open to new forms of credit and local finance as long as they are strictly territorial and very close to barter among the poor. In other words, whether the process of monetary creation could be made to fit an open source paradigm is yet to be seen. Community banking and social currencies might as well end up as just another channel for access to and use of banking services. The “Creative Currencies” project aims at promoting the discussion of more fundamental issues, such as the limits of central banking, the prospects for local financial development and the possibility of creating and managing financial icons as cultural assets. The purpose of this project is to produce short documentaries that will bear testimony to this evolving regulatory framework while inducing more discussion about the fundamental iconomic issues concealed in the process of money and wealth creation. RLM: What new potential is there in applying digital technologies to currency creation? GS: Globalization is a result of the virtualization of money, that is, the overcoming of illusions such as the “gold standard”. Money is an icon created by institutions, not on supposedly natural or material foundations but out of political and financial interests. The “dollar standard” is an outstanding evidence of this phenomenon and Kaplan´s paper, the first to use the expression “iconomics”, insists on the rhetoric and semiotic effects associated to a supposedly scientific model of money creation and management. This is a fundamental change that was perceived and discussed much before the digitalization of the world by unorthodox economists such as John Maynard Keynes since the early 20th century. The digitalization of global financial flows accelerated this immateriality and the creation of the Euro was yet another evidence of the political foundations of currencies. The banking establishment, however, is keen on the idea that scientific formulae hold the key to sound money creation. Keynesianism has been repeatedly associated to “inflationism” while the supposedly sound monetary policies of the Orthodoxy serve well the political and financial interests of a technocratic elite. Corporate media also serve this fictitious depiction of the monetary process despite the cyclical bust of monetary rules and financial regulations. The internet, however, has created numerous opportunities for the disintermediation in industries such as film, music and commodities. There is no reason to doubt that the financial industry can also be transformed by Peer-to-Peer (P2P) infrastructures. Money is media as well. Credit is but confidence. Once people realize that the distributed computing power of networks can also be the platform to weave new monetary and credit operations, there is room for grassroots emancipation out of the established owners of monetary institutions. So far, however, there has been a privatization of monetary management and there is not a clear path or model for the emergent (P2P) property democratization that is inherent to the internet. Digital assets, however, clearly have an inherent potential to escape central control and proprietary regulatory frameworks. RLM: How are social networks transforming the ways in which we exchange value? Do you believe that online influence and reputation might be translated into a new kind of currency? GS: The foundation for social currencies as envisaged by solidarity economics is the territory. Authorities are willing to concede local monetary creation as long as it is restricted to poor neighborhoods, as a proxy to barter. In this relevant but limited context, reputation, personal knowledge and informal ties form the matrix of local or “proximity” finance which are expected to keep credit and leverage to a sustainable level. Anything beyond that should and would lead to an integration of local finance into the established banking system. However, inasmuch as the internet promotes virtual territories and reputation is now subject to all sorts of digital manipulation and stardom becomes an everyday cultural process among teenagers and elders alike, the territorial “foundation” is substituted for more complex patterns of solidarity, cooperation and exchange that reach beyond the physical territory and even the “human.” Digital assets embody knowledge, technology, cultural and educational values that are exchanged at a global scale beyond the control of democratic States (Chinese-like intervention is the exception, not the rule). Hacktivism is unstoppable and so is monetary hacktivism. Especially in the Third World, mobile communications fast became conveyors of money transfers and other appropriation strategies. Banking and telecom sectors already battle for the control of these emerging markets and, as a matter of fact, have so far contributed to the containment of these processes. Governments serve these moguls and have usually adopted a wait-and-see attitude. If open source hardware and grassroots social movements combine to challenge these proprietary battles, then social networks may evolve into new forms of social capital and thus form the ground on which to design and implement social currencies. The global financial crisis, as well as the dollar demise, are an event of such a proportion that social networks may open the path for emancipator subjects to seize the opportunity. RLM: What are some of the social experiments that you think are revolutionizing the way in which value is exchanged? GS: There is a broad evolution of economic systems towards the valuation of intangible assets such as knowledge, reputation and sustainability. There are many examples of local as well as global events that call the traditional systems of exchange into question, from carbon credits to educational bonuses, digital barter frameworks and locally based solidarity and fair trade networks. These emerging examples, no matter how different in nature or scale, represent a challenge to the traditional value creation schemes and theories which are based on use and exchange value, supply and demand. This is not to say that utility and labour or scarcity are to be totally dismissed, but there is now an emerging perception that value is also a function of behavioral codes, symbolic patterns and the energy of institutional frameworks. The plasticity of digital platforms is relevant insofar as intellectual property becomes the central source of value creation. But when you discuss the property rights of public goods such as the environment or basic social rights (of minorities or localities), then a new paradigm seems to emerge. RLM: Are gaming and online storytelling digital practices that might have an impact on the way new currencies are created and developed? GS: “Play money” has been one of the early and most intriguing phenomena associated to the diffusion of virtual worlds. These virtual currencies have also been prone to “boom and bust” dynamics, speculation and pure theft (Second Life scams were common and led to “intervention” by the owners of the game). Storytelling is a major source of value, that is, the value of attention and the markets for audience. There are plenty of private monies created and managed by corporate entertainment groups, telecom operators (via mobile virtual network operators) and marketing frameworks. The casino economy, as already depicted by Keynes and other unorthodox economists, is always storytelling about future states of the world, confidence building and leverage of animal spirits. The novelty of current events is not the fictitious nature of any form of capital, but the potential for digital democratization of controls over the imaginary nature of value creation. But this is just a potential, a possibility, a figment that more often than not is appropriated by centralized and opaque private powers. The game industry is a testbed for new connections between storytelling and money creation. RLM: Monetary value was originally connected to the scarcity of precious metals, such as gold. Our entire monetary system seems therefore to function according to a logic of scarcity. Do you believe it is possible to reverse this logic into a logic of abundance? GS: The gold standard was a fiction itself, the “scarcity” is always produced by institutions that regulate confidence and access to credit. The key issue is not to fabricate abundance, but to question the institutions which produce scarcity out of any standard, gold or whatever. Central banks are at the service of private banks in the creation and management of scarcity. RLM: The promise that nanotechnology holds for our future is one of radical abundance (or so say transhumanists). The possibility of creating any kind of material substance through nanoengineering seems each day more feasible. What would this possibility entail in terms of systems of value exchange? GS: Nanotechnology, environmental concerns and grassroots appropriation of distributed knowledge are the frontiers of a new horizon of energy creation and management. Social groups in charge of managing scarcity for the sake of wealth and power concentration must be held accountable for the destruction of our future. Once this key political conundrum is accounted for, new systems of value exchange and even a non-mercantile society will come into existence. Revolutionary theorists such as Marx envisaged transformation via the extreme clash of contradictions between capital and labour. This approach has never led to a change in the systemic logic of scarcity for the sake of social control. We are once again facing the threshold of large scale societal change, but the outcome of the current crisis should come from our imagination, not from yet another paradox of abundance and scarcity. As long as we remain attached to the materiality of value, the illusion of freedom will but reinforce the massive manipulation of necessity. RLM: What do you think is the role of crowdfunding in this context? GS: Crowdsourcing as well as crowdfunding are examples of the peer to peer opportunities that come along with distributed computer power. However, the power structure behind wealth and scarcity creation may or may not be changed by crowd management. But it should not be taken at face value, so to speak. The stock market of course is an early form of crowdfunding without calling into question the proprietary framework of the companies offering their investment projects to the market. Any market is a form of crowdsourcing, that is to say, of distributed forms of supply and demand matchmaking. The wealth of networks, however, depends on the contractual ecosystem, the institutional framework, the channeling of social imagination, not on the purely quantitative distribution of bids and offers. I see economics as supply, demand and code. Once you have access to the code, once openness becomes part of the game, then there is a chance of crowd behavior becoming collective intelligence and sustainable imagination. RLM: Is the development of digital currencies headed towards a pluralistic ecology in which many micro currency systems co-exist, or is it penetrating the mainstream monetary system? If it is affecting the mainstream financial system, what would be its effect in the long-term? GS: The same issue is at stake both at local and global levels. The global system is, as a matter of fact, an unstable ecosystem of “micro currencies” whereas the dollar has so far exerted an overwhelming influence. Local currencies and private monies coexist with national currencies only to the extent that the Central Bank admits, for instance, that grassroots monetary emissions remain territorial and strictly connected to poverty. However, the question of how new developments in digital technologies and nanotechnologies might alter not only our current monetary systems but also our understanding of value in itself, is still an open question. (shrink)

The reflection proposed in this article aims to briefly consider philosophy and literature on the saga of Genoveva Pia in the early morning cadence of the drums of São Luís (1975), a novel by the great poet from Maranhão, Josué Montello (1917-2006), in which a narrative is made between fiction and the reality of the Brazilian colonial slave period on the historical soil of São Luís, Ma. To this end, the text is divided into two parts: firstly, it (...) looks at the dialectic between history as representative and memory as an actualizable, individual and collective phenomenon that takes shape between spaces, events, memories and forgetfulness and, secondly, it highlights the importance of the saga of the black woman Genoveva Pia, from persistence to resistance in welcoming, protecting and freeing the black men and women, recalling the ancestry of the freed black man Damião, the novel’s central character and narrator. (shrink)

In Cameroon, a monumental “statue of liberty” is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors (...) engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl’s photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans’ Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising “morality” plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly “African” aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

ABSTRACT Studies and discussions about the contacts between peoples and languages in Brazil have often been the subject of study in linguistics, especially Contact sociolinguistics, and History. However, by taking literary texts as a way of glimpsing the past, albeit through the eyes of fiction, literature has a lot to contribute to how we see the past, especially because of historiographic metafiction that is interested in gaps in official historiography, (re)presenting historical events and/or facts, but through the eyes of (...) characters who have been marginalized. Bearing this in mind, this article proposes an analysis of the novel Um defeito de cor, by the author from Minas Gerais, Ana Maria Gonçalves (2021), to illustrate how literary writing can contribute to understanding the forms of interaction that have shaped Brazilian society, giving rise to “Brazil” and, especially, to “Brazilian Portuguese.”. (shrink)

Tom Moylan's Scraps of the Untainted Sky: Science Fiction, Utopia, Dystopia was first published in the year 2000. Seventeen years later, this work still enlightens discussions and catches the attention of both science fiction and Utopian studies. Still, we have to acknowledge the fact that we are facing a belated translation. This could easily be a problem if the present edition had not provided a new perspective on Moylan's Scraps. This edition, brought together by the Brazilian research (...) group "Literature and Utopia," not only shows the contemporaneity of Tom Moylan's insights but also sheds new light on the original book thanks to the introduction by Ildney Cavalcanti and Felipe Benicio, "Reflections" by Elton... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literature: Why It Matters by Robert EaglestoneAihua ChenEaglestone, Robert. Literature: Why It Matters. Polity Press, 2019. 123pp.Is literature a worthy topic of study in an era fixated on science, technology, and information? This has become a subject of debate in recent years, especially as enrollment in college literature courses has declined. J. Hillis Miller has noted that “all who love literature are collectively anxious today about whether literature (...) matters” (13), insisting that it does since it has “three essential human functions: social critique, the pleasure of the text, and allowing a materialization of the imaginary or an endless approach to the unapproachable imaginary” (31). Other literary scholars concur with Miller, though from differing perspectives, including Dennis J. Sumara in Why Reading Literature in School Still Matters (2002) and Mark William Roche in Why Literature Matters in the 21st Century (2004). In his recent monograph, Literature: Why It Matters, Robert Eaglestone joins this discussion, offering a timely and judiciously formulated manifesto in defense of literary studies that is groundbreaking in the way it treats literature as a living object whose study can inspire ongoing conversation. Eaglestone presents his argument in four segments: “What is Literature?” “Studying Literature,” “Why Does Literature Matter?” and “What Does Literature Teach?”In his first chapter, Eaglestone reveals the limitations of traditional approaches to defining literature as fiction and narrative, that is, as something “made up.” He argues instead that literature is undefinable and exists as a kind of “living conversation” (6). For Eaglestone, literature, like a conversation, is a form of communication among many parties. In this case, the conversation engages the text, the reader, and the author in discussions of nearly everything. Learning about literature involves understanding the form of that discussion in the same way one comes to understand how speakers create meaning in dialogue with one another. And like conversation, readers’ creative response to a literary text fully engages their minds, their hearts, their feelings about the past, and their hopes for the future. In Eaglestone’s view, literature is “not timeless but time-full.” It involves “a past, visible in various ways, including the historical context of a work and the ‘family trees’ of influence and genre; a person (it’s always read now); and a future (that would be you, joining [End Page 118] the conversation)” (20). As in actual conversation, questions of equality and freedom matter a great deal since “literature is a crucial part of our constant dialogue about humanity’s ever-changing self-understanding — not about what we are but about who we are” (22).In the second chapter, Eaglestone asks questions concerning how we go about “Studying Literature.” Here, he extends the metaphor introduced in the preceding chapter of literature constituting a living conversation. He puts forward four ways of pursuing literary studies: as dialogue and dissensus, as a different model of education, as a kind of “knowledge-in-action,” and as craft and activity. For Eaglestone, literary study is an ongoing dialogue whose “aim is to help develop a continuing dissensus about the texts we study in order to root, explore and develop our own selves and distinctiveness” (29–30). He cites critics as diverse in outlook as F. R. Leavis, Q. D. Leavis, John Crowe Ransom, Mikhail Bakhtin, and Arthur Applebee in support of his claims. He further invokes Brazilian educationalist and activist Paulo Freire’s notions of critical pedagogy in forming the view that literary studies offer a different model of education. Rather than following the “banking” model of accruing knowledge and then dispensing it to students, Freire “insists that teaching must be a dialogue” (32). Eaglestone argues that literary study conforms to the image at the center of Freire’s vision of a different form of education because “in a discussion of literature, each person, teacher or student, brings themselves, their own ideas, creativity and understanding, to the discussion and, through dialogue, they invent new knowledge” (33). As for literary studies as a kind of “knowledge-in-action,” Eaglestone invokes American educational theorist Arthur Applebee’s study, Curriculum as Conversation (1996), further underscoring the importance of metaphor spotting and close reading in carrying out this sort of critical... (shrink)

In Cameroon, a monumental "statue of liberty" is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors (...) engage with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising "morality" plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly "African" aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

This volume presents the proceedings from the Eleventh Brazilian Logic Conference on Mathematical Logic held by the Brazilian Logic Society in Salvador, Bahia, Brazil. The conference and the volume are dedicated to the memory of professor Mario Tourasse Teixeira, an educator and researcher who contributed to the formation of several generations of Brazilian logicians. Contributions were made from leading Brazilian logicians and their Latin-American and European colleagues. All papers were selected by a careful refereeing processs and (...) were revised and updated by their authors for publication in this volume. There are three sections: Advances in Logic, Advances in Theoretical Computer Science, and Advances in Philosophical Logic. Well-known specialists present original research on several aspects of model theory, proof theory, algebraic logic, category theory, connections between logic and computer science, and topics of philosophical logic of current interest. Topics interweave proof-theoretical, semantical, foundational, and philosophical aspects with algorithmic and algebraic views, offering lively high-level research results. (shrink)

We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

The paper reviews proposals by Abell, Predelli, and others on the semantics of fiction, focusing on the discourse through which fictions are created. Predelli develops the radical fictionalism of former writers like Kripke and van Inwagen, on which that discourse is contentless and does not express propositions. This paper offers reasons to doubt these claims. It then explores realist proposals like Abell’s in which singular terms in fictions refer to fictional characters, understood as socially created representational artifacts, and irrealist (...) alternatives in which the discourse is fully meaningful even though those terms fail to refer. (shrink)

This paper focuses on the centrality of permaculture design courses as the principal sociopolitical strategy of the permaculture community in Canada to transform local food production practices. Building on the work of Antonio Gramsci and political agroecology as a framework of analysis, we argue that permaculture instruction remains deeply embedded within market and colonial relations, which orients the pedagogy of permaculture trainings in such a way as to reproduce the basic elements of the colonial capitalist economy among its practitioners. In (...) the specific case of eastern Ontario, this embeddedness had the effect of diluting the transformative capacity of permaculture practitioners who were unable to create its own social movement organization. The paper then highlights key elements of the agroecological pedagogy used by the Brazilian Landless Rural Workers Movement and the Escola Latinoamericana de Agroecología in Paraná, Brazil. The objective is to draw lessons from these inspiring experiences, in a rather unique context of struggles that can help to critically assess the pedagogical practices and principles presently informing permaculture communities in Canada and in advanced industrialized countries more generally. We then conclude by reiterating the key arguments and lessons drawn from the Brazilian pedagogical experiences, pointing out the importance of engagement and coalition-building with established rural and urban movements, as well as progressive farmer, Indigenous, and rural associations to foster a just and sustainable transformation of agri-food systems, starting at the local and regional levels. It also emphasizes the need for the most marginalized sectors to lead the way towards an agroecological transition. (shrink)

Most scientific models are not physical objects, and this raises important questions. What sort of entity are models, what is truth in a model, and how do we learn about models? In this paper I argue that models share important aspects in common with literary fiction, and that therefore theories of fiction can be brought to bear on these questions. In particular, I argue that the pretence theory as developed by Walton (1990, Mimesis as make-believe: on the foundations (...) of the representational arts. Harvard University Press, Cambridge/MA) has the resources to answer these questions. I introduce this account, outline the answers that it offers, and develop a general picture of scientific modelling based on it. (shrink)

In the first half of this book, I offer a theory of fictional content or, as it is sometimes known, ‘fictional truth’.The theory of fictional content I argue for is ‘extreme intentionalism’. The basic idea – very roughly, in ways which are made precise in the book - is that the fictional content of a particular text is equivalent to exactly what the author of the text intended the reader to imagine. The second half of the book is concerned with (...) showing how extreme intentionalism and the lessons learnt from it can illuminate cognate questions in the philosophy of fiction and imagination. For instance, I argue, my position helps us to explain how fiction can provide us with reliable testimony ; it helps explain the phenomenon of imaginative resistance ; and it fits with, and so supports, a persuasive theory of the nature of fiction itself. In my final chapter, I show how attending to intentionalist practices of interpreting fictional content can illuminate the nature of propositional imagining itself. (shrink)

The problem of truth in fiction concerns how to tell whether a given proposition is true in a given fiction. Thus far, the nearly universal consensus has been that some propositions are ‘implicitly true’ in some fictions: such propositions are not expressed by any explicit statements in the relevant work, but are nevertheless held to be true in those works on the basis of some other set of criteria. I call this family of views ‘implicitism’. I argue that (...) implicitism faces serious problems, whereas the opposite view is much more plausible than has previously been thought. After mounting a limited defence of explicitism, I explore a difficult problem for the view and discuss some possible responses. (shrink)

When we engage with a work of fiction we gain knowledge about what is fictionally true in that work. Our grasp of what is true in a fiction is central to our engagement with representational works of art, and to our assessments of their merits. Of course, it is sometimes difficult to determine what is fictional – it is a good question whether the main character of American Psycho is genuinely psychotic or merely delusional, for instance. (And even (...) in this case, our ignorance itself is crucial to how we engage with the story and assess its qualities.) But in the vast majority of cases, we have no difficulty distinguishing what is fictionally true from what is not. Every attentive reader of Bleak House knows that it is fictional that Esther is Lady Dedlock’s daughter, but not fictional that Ada is the daughter of John Jarndyce. Moreover, we do not think that our judgements about what is fictional are based on guesswork. We have a folk theory of fictional truth, in the sense that we have a relatively stable framework upon which we rely when we engage with fiction, and we face the challenge of characterizing that theory systematically. (shrink)

Sports and competitive games of many kinds—from tag to chess to baseball—are often occasions for make-believe. To participate either as a competitor or as a spectator is frequently to engage in pretense. The activities of playing and watching games have this in common with appreciating works of fiction and participating in children’s make-believe activities, although the make-believe in sports, masked by real interests and concerns, is less obvious than it is in the other cases. What is most interesting about (...) tag and chess and baseball, however, are the ways in which the make-believe they involve differs from other varieties. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:WORKS OF FICTION AND ILLOCUTIONARY ACTS by Gregory Currie ii O peech act theory is remarkably unhelpful in explaining what ficOtion is." So says Kendall Walton.1 My purpose here is to showjust how wrong diis judgment is. Not that I want to endorse all die attempts there have been to connect fiction with the notion of a speech act. Elsewhere I have argued diat the most prominent (...) attempt at such a theory, the one due to John Searle, fails.2 But my complaint is not mat Searle employs the idea of a speech act; rather it is that he employs it in too half-hearted a fashion. The idea of Searle and odiers is diat to write fiction is not to perform a speech act, but rather to pretend to do so. I, on the odier hand, take the view that the writer of fiction engages in an act of speech diat is distinctively fictional, and distinctively different from speech acts such as asserting, requesting, questioning, and so forth. What follows is a much simplified account of this idea.3 Following die program of Strawson and Grice, I believe diat the different kinds of speech acts are to be individuated in terms of the utterer's intentions.4 The intention of the one who asserts is to get a certain kind of response; perhaps to get the audience to believe the proposition asserted.5 The one who commands wants the audience to obey, die requester wants the audience to answer, etc. And in all these cases the utterer intends to get the response partly as a result of the audience's recognition of diat very intention. (This is the familiar Gricean mechanism.) The utterer of fiction, on the odier hand, wants to get the audience to make-believe die proposition uttered.6 Thus we have an act structurally similar to 304 Gregory Currie305 paradigmatic speech acts like asserting, commanding, and requesting (die structural similarity being given by the use in all cases of the Gricean intention ), but differing from diese odiers with respect to die content of the utterer's intention. Let us call such an act a.fictive illocutionary act. Pursuing this line in more detail leads to an intuitively satisfactory taxonomy of speech acts which places the uttering (usually writing) of fiction fully widiin die purview of the theory, rather dian shutting it off to one side as a pseudo-performance, as widi Searle. Is such a theory susceptible to the objections diat Walton brings? Walton is quite right to say (and here I suppose he has Searle in mind) that fiction is not simply the absence ofillocutionary force: "it is something positive, something special" (p. 79). As already indicated, my theory gives a positive account of fiction as a special kind of speech act. But Walton presses the issue further by suggesting that the essence of fiction has nodiing to do with die absence of assertive force. It is possible, he says, "to make an assertion by writing fiction." His point is not merely that fictional stories are sometimes told in order to get across some serious but not explicit point — everyone can agree to that. It is rather diat fictional works contain explicit assertions — e.g., some of Tolstoy's sentences about Napoleon in War and Peace — and that a fiction might contain nothing but assertions. He imagines a genre of historical fiction in which "authors are allowed no liberties with the facts, and in which they are understood to be asserting as fact whatever they write" (p. 80). Let us grant that this is a possibility. What, dien, would distinguish a piece of fiction belonging to this genre from, say, a work of historical scholarship? The answer comes when we see that the same utterance can be used to perform more than one illocutionary act. Thus if I say to someone "I have no money" it may be that I want him both to believe that I have no money and to give me the goods on credit. And in both cases I intend to get die desired responses via his recognition of my intentions. The same utterance can count both as an assertion... (shrink)

McGinn's latest brings together moral philosophy and literary analysis in a way that illuminates both. Setting out to enrich the domain of moral reflection by showing the value of literary texts as sources of moral illumination, McGinn starts by setting out an uncompromisingly realist ethical theory, arguing that morality is an area of objective truth and genuine knowledge. He goes on to address such subjects as the nature of goodness, evil character, and the meaning of monstrosity in the context of (...) an aesthetic theory of virtue, which maintains that goodness of character is the same thing as beauty of soul. Looking at such literary works as Billy Budd, Lolita, The Picture of Dorian Gray, and Frankenstein, as well as examples from film and painting, Ethics, Evil, and Fiction is an original and compelling book by a leading philosopher who is also a critic and novelist. (shrink)

It seems true to say that Sherlock Holmes is a detective, despite there being no Sherlock Holmes. When asked to explain this fact, philosophers of language often opt for some version of Lewis’s view that sentences like ‘Sherlock Holmes is a detective’ may be taken as abbreviations for sentences prefixed with ‘In the Sherlock Holmes stories …’. I present two problems for this view. First, I provide reason to deny that these sentences are abbreviations. In short, these sentences have aesthetic (...) properties that we should not expect of abbreviations. Second, I argue that the apparent truth of these sentences would not be explained even if they were abbreviations. An alternative is presented that avoids these problems. Following Walton, talk about fiction is viewed as a game of make-believe; following Lewis, interpretations of fiction are modelled using possible worlds. (shrink)

This article explores two different conceptions of the postmodern surface and their take up in relation to mainstream science fiction cinema. Each offers a rather different genealogy for considering the surfaces of the science fiction film. The first traces Frederic Jameson's conception of postmodern superficiality and its dual role as a mode of reading texts and an aesthetic paradigm. The second traces Judith Butler's conception of gender performativity, its application to technology, and the expansion of performativity as a (...) key mechanism for the enactment of “humanness”. The reading of Ex Machina will explore the aesthetics of film's mise-en-scène with its plurality of textured and reflective surfaces. It will trace the performative constructions of gender and humanness that intersect across the film, before finally focussing on the ending as a way of addressing key issues at stake in the conceptualisation of surface readings. (shrink)

In Savoring Disgust, Carolyn Korsmeyer argues that disgust is peculiar amongst emotions, for it does not need any of the standard solutions to the so-called paradox of fiction. I argue that Korsmeyer’s arguments in support of the peculiarity of disgust with respect to the paradox of fiction are not successful.

If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for scholars to (...) try to dismiss it using data and theories coming from psychology. In opposition to this trend, the present paper argues that the paradox of fiction cannot be dissolved in the ways recommended by the recent literature. We start by showing how contemporary attempts at dissolving the paradox assume that it emerges from theoretical commitments regarding the nature of emotions. Next, we argue that the paradox of fiction rather emerges from everyday observations, the validity of which is independent from any such commitment. This is why we then go on to claim that a mere appeal to psychology in order to discredit these theoretical commitments cannot dissolve the paradox. We bring our discussion to a close on a more positive note, by exploring how the paradox could in fact be solved by an adequate theory of the emotions. (shrink)

The essays collected in this volume are all concerned with the connection between fiction and truth. This question is of utmost importance to metaphysics, philosophy of language, philosophical logic and epistemology, raising in each of these areas and at their intersections a large number of issues related to creation, existence, reference, identity, modality, belief, assertion, imagination, pretense, etc. All these topics and many more are addressed in this collection, which brings together original essays written from various points of view (...) by philosophers of diverse trends. These essays constitute major contributions to the current debates that the connection between truth and fiction continually enlivens, and give a sense of the directions in which research on this question is heading. Contributors: Fred Adams, Frederick Kroon, Robert Howell, Brendan Murday, Terence Parsons, Graham Priest, Erich Rast, Manuel Rebuschi, Marion Renauld, R.M. Sainsbury, Grant Tavinor, Alberto Voltolini. (shrink)

Many philosophers have attempted to provide a solution to the paradox of fiction, a triad of sentences that lead to the conclusion that genuine emotional responses to fiction are irrational. We suggest that disagreement over the best response to this paradox stems directly from the formulation of the paradox itself. Our main goal is to show that there is an ambiguity regarding the word ‘exist’ throughout the premises of the paradox. To reveal this ambiguity, we display the diverse (...) existential commitments of several leading theories of emotion, and argue that none of the theories we consider are committed to notions of ‘exist’ employed by the paradox. We conclude that it is unclear whether or not there remains a paradox of fiction to be solved—rather than to be argued for—once this ambiguity is addressed. (shrink)

The fictional worlds of science fiction can stimulate philosophical speculation towards socio-technical scenarios and trends that are extrapolated from our physical reality. This widely accepted observation highlights but one of the ways to pursue philosophy with the aid of fiction and science fiction in particular. In this paper, we argue that fiction can in itself constitute a philosophical, academic work and need not merely represent the subject about which such work speculates. This idea questions the currently (...) predominant, institutional paradigm which identifies philosophical works with written texts and specifically with a single kind of text: the paper-format (§1). To suggest an alternative way of doing philosophy, we analyse the structure and content of the recent, experimental science fiction book, The Clouds, and propose that its hybrid textuality – which leverages at once fiction, theory, and meta-commentary – offers a possible corrective to the cognitive closure and rigidity of expression encouraged by the institutionally accepted approach to philosophical work (§ 2). (shrink)

This article describes the Ethics and Citizenship Program, a moral education project developed by the Brazilian government to promote education in ethics and citizenship in Brazilian fundamental and middle schools through four key themes: ethics, democratic coexistence, human rights and social inclusion. Some findings from a research project that investigated whether such a program did in fact promote the ethical and citizenship awareness of participating students are outlined. As an introduction to the paper's main concerns, the Brazilian (...) socioeconomic context is characterised, followed by a description of the historical background of moral education in Brazil. (shrink)