Despite protestations to the contrary, philosophers have always been renowned for espousing theories that do violence to common-sense opinion. In the last twenty years or so there has been a growing number of philosophers keen to follow in this tradition. According to these philosophers, if a story of pure fic-tion tells us that an individual exists, then there really is such an individual. According to these realists about fictional characters, ‘Scarlett O’Hara,’ ‘Char-lie Brown,’ ‘Batman,’ ‘Superman,’ ‘Tweedledum’ and ‘Tweedledee’ are (...) not denotationless terms, but names that really refer. What is truly surprising about this situation is that almost no one has inveighed against this unfortunate real-ist tendency. My aim here will be to challenge this new orthodoxy, and to defend an anti-realist position against the arguments proffered by the realist. (shrink)

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 the actual world whereas the alleged tokens of a fictional character are concrete particulars in a fictional world. Thirdly, many fictional characters, unlike Batman, only appear in one work of fiction, and therefore one can wonder whether it does make sense to treat them as types. The main aim of this paper is to address these issues in order to defend a creationist account of fictional characters as types. (shrink)

In the world according to Hume, people are complicated creatures, with convoluted, often contradictory characters. Consider, for example, Hume's controversial assessment of Charles I: "The character of this prince, as that of most men, if not of all men, was mixed .... To consider him in the most favourable light, it may be affirmed, that his dignity was free from pride, his humanity from weakness, his bravery from rashness, his temperance from austerity, his frugality from avarice .... To speak (...) the most harshly of him, we may affirm, that many of his good qualities were attended with some latent frailty, which, though seemingly inconsiderable, was able, when seconded by the extreme malevolence of his fortune, to disappoint them of all their influence: His beneficent disposition was clouded by a manner not very gracious; his virtue was tinctured with superstition; his good sense was disfigured by a deference to persons of a capacity inferior to his own; and his moderate temper exempted him not from hasty and precipitate resolutions." This sketch shows Charles in all his complexities, with his virtues, near virtues, and contradicting virtues. I have quoted it at length because it is hard to summarize without losing the subtleties that lie within it. Hume's moral theory is based fundamentally on judgments of character, 2 so those subtleties are important to his view. The character sketches that pervade the.. (shrink)

The author engages 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. [This is the original English version of an article that first appeared in German translation, translated into German by Arnold Günther and published in the Zeitschrift für Semiotik 9/1-2 (1987): 85-95. The version that appears here is, for the most part, unaltered.]. (shrink)

This paper delves into the character concept as applied to reproduction. Our argument is that the prevailing functional-adaptationist perspective falls short in explaining the evolution of reproductive traits, and we propose an alternative organismal-relational approach that incorporates the developmental and interactive aspects of reproduction. To begin, we define the functional individuation of reproductive traits as evolutionary strategies aimed at enhancing fitness, and we demonstrate how this perspective influences the classification of reproductive characters and modes, the comprehension of shared traits (...) as resulting from conflicts of evolutionary interest between individuals, and the explanation of reproductive diversity. After outlining the shortcomings of this framework, we introduce an organismal-relational approach grounded in evolutionary developmental studies of reproduction. This view provides a revised classification for reproductive characters and modes and offers a new understanding of interorganismal traits that takes into account their inherently relational nature. Lastly, we present the research agenda that emerges from this approach, which addresses the core explanatory gaps left by the adaptationist perspective, including the explanation of reproductive homologies and homoplasies, the developmental constraints associated with the evolution of reproductive modes, and the evolvability of reproductive characters. (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)

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)

The concepts of reaction norms and phenotypic plasticity help us better understand what a biological trait is.

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 chapter considers how and why real people can care about fictional characters.. Caring rests on having interests at stake, and in literary contexts those interests concern the accuracy and content of a representation; we as people, as part of our natural history, are beings for whom representation and being represented are centrally important. This chapter argues for a better integration of the “internal” and “external” perspectives on fictional characters, that is, a better integration of what are too (...) often taken as divergent and incompatible points of view: (1) the characters as witnessed from the outside, and (2) the reader’s vicarious identification with, and thus imaginative entry into the life of, the character from the inside. (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)

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. ".

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)

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)

There are several linguistic phenomena that, when examined closely, give evidence that people speak through characters, much like authors of literary works do, in everyday discourse. However, most approaches in linguistics and in the philosophy of language leave little theoretical room for the appearance of characters in discourse. In particular, there is no linguistic criterion found to date, which can mark precisely what stretch of discourse within an utterance belongs to a character, and to which character. And yet, (...) without at least tentatively marking the division of labor between the different characters in an utterance, it is absolutely impossible to arrive at an acceptable interpretation of it. As an alternative, I propose to take character use seriously, as an essential feature of discourse in general, a feature speakers and listeners actively seek out in utterances. I offer a simple typology of actions in discourse that draws on this understanding, and demonstrate its usefulness for the analysis of a conversation transcript. (shrink)

In this paper I will argue that Unamuno was conceiving of God (and ordinary, non-religious fictional characters more generally) in realist, though non-evidentially grounded, terms. I will point out that this way of conceiving of God allowed Unamuno to claim the actual existence of God (though as a fictional, purely humanly created character) and, with this, the possibility of there being an actual relationship between the concrete religious person and God without having to dispense with his own core claim (...) that religious faith is just a subjective, though natural and thus inevitable, human reaction. (shrink)

This study investigates the effects of visual mnemonics and the methods of presenting learning materials on learning visually similar characters for Chinese-as-second-language (CSL) learners. In supporting CSL learners to build robust orthographic representations in Chinese, addressing the challenges of visual similarity of characters (e.g., 理 and 埋) is an important issue. Based on prior research on perceptual learning, we tested three strategies that differ in the extent to which they promote interrelated attention to the form and meaning of (...) characters: (1) Stroke Sequence, aform-emphasisstrategy, (2) Key-images, aform+meaningstrategy utilizing visual code, (3) Pithy Formulas with Key-images, aform+meaningstrategy combining visual and verbal codes. A pretest–posttest equivalent-group design was adopted. The independent variables were the learning strategy, the method of presenting character pairs (visually similar vs. dissimilar), and testing time. The dependent variables were learners’ proportions of accurate responses to reading and writing Chinese characters through a posttest (immediately performed after learning) and a delayed posttest (1 week after learning); a learner experience survey was also administered to investigate learners’ opinions on each strategy. Sixty-six non-beginning learners of Chinese participated; they were randomly assigned to one of the two groups in which participants learned ten charactersviathe three strategies, respectively, differing between whether the characters were presented in similar pairs or dissimilar pairs. Data were analyzedviathree-way ANCOVAs. The Pithy Formulas with Key-images and the Key-images generally yielded higher writing accuracy than Stroke Sequence immediately after learning. Notably, the advantage of the Pithy Formulas with Key-images (verbal and visual) over the Key-images (visual) on writing was specific to the participants that learned with visually similar pairs rather than those that learned with dissimilar pairs. All strategies were effective for reading, yet learners’ experience ratings favored the twoform+meaningstrategies over the strategy that focused primarily onform.Suggestions for future research and pedagogical implications on learning visually similar characters were offered. (shrink)

Westworld portrays a world where humans and human‐like machines coexist. When systems of observation are referred, Nolan's predilection is considered for adding computational science subjects to his storylines. According to the theorist Katherine Hayles, they present a geometrical pattern of the relationship between the observer and the observed worlds. Westworld is a posthuman narrative that develops essential characteristic from Nolan's productions, which is the bidirectional line between science and fiction. The storytelling mythologies result in the design of the backstories of (...) some characters being integrated within the collective imaginary of Westworld and its visitors. The characters from Westworld are placed in the blurred borderline between memory and imagination. The blurred borderline between memory and imagination is seen in the creation of an internal otherness in the form of a collective bicameral mind, considered as a split personality or doppelganger, and as a new manifestation of the semiosis of virtuality. (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)

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)

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.

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)

Good actors appear to become their characters, making them come alive, as if they were real. Is this because they have succeeded in merging themselves with their character? Are there any positive or negative psychological effects of this experience? We examined the role of three characteristics that may make this kind of merging possible: dissociation, flow, and empathy. We also examined the relation of these characteristics to acting quality. Acting students and non-acting students completed a dissociation measure, and then (...) performed a monologue that was recorded and rated on the dimensions of acting. Participants were then reassessed on dissociation to determine whether it increased as a function of performance. They were also then assessed on flow and empathy. Actors did not differ from non-actors on dissociation, but did score significantly higher than non-actors on some flow and empathy subscales, indicating a positive psychological experience and outcome. While non-actors’ dissociation marginally increased post-performance, actors’ dissociation rose significantly, which could indicate a negative psychological experience. Surprisingly, acting ratings were unrelated to the levels of dissociation, flow, or empathy. We concluded that, while these are tools used by actors to immerse themselves fully in their characters, they may not be necessary to create the illusion of an imaginary character come to life on stage. (shrink)

인간의 내적 성찰은 감정이나 사상이 동작이나 행위 속에서 즉 객관적 · 외적 현실과의 눈에 보이는 상호작용 속에서만 드러날 수 있다. 인간의 감각적 지각의 양상은 인간의 전체적 존재양상에 따라 변하기 마련이다. 이러한 다양한 인간의 감정양상 등을 문학에서는 희곡적으로 다루고 있다. 기존의 극(劇)이라는 용어는 넓은 의미로 연극과 희곡을 포괄하는 개념이며 좁은 의미로 연극만을 의미하는 개념이다. 그러나 본 연구에서는 넓은 광의개념인 희곡으로 그 범주를 정하고 ‘극 양식으로 본 『화엄경』『입법계품』의 등장인물 연구’에 대하여 살펴보았다. 본 연구에서 중점적으로 다룬 연구내용은, 『화엄경』『입법계품』의 핵심사상과『입법계품』에 등장하는 53명의 인물들이 강조하고 (...) 실천한 핵심전언(傳言)에 대해 분석한 것이다. 그리고 또『입법계품』 에 나타난 문학의 한 장르인 희곡적 특징을 기호학적 방법론으로써 등장인물에 대한 행위소 등에 대하여도 살펴보았다. 그 결과, 『화엄경』「입법계품」의 주인공인 선재동자는 바로 우리 중생을 대표하는 등장인물이라는 것이다. 또 선재동자가 찾아가 만나게 되는 한명 한명의 등장인물들은 치유의 해탈문으로서 선재의 불성(佛性)을 일깨워주고 있는 선지식들이라는 것을 확인할 수 있었다. 따라서 우리는 선재동자가 법을 구하기 위하여 끝없이 남행을 하면서도 피로해하거나 지치지 않고 선지식을 찾아 결국 성불하게 된다는 입법계품 의 핵심사상이 오늘날 현대인에게 시사하는 바는 자못 크다고 하겠다. (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)

Gender representations reproduce and legitimate gender systems. To examine this aspect of the gendered social order, we analyze the representation of males and females in the titles and central characters of 5,618 children’s books published throughout the twentieth century in the United States. Compared to females, males are represented nearly twice as often in titles and 1.6 times as often as central characters. By no measure in any book series are females represented more frequently than males. We argue (...) that these disparities are evidence of symbolic annihilation and have implications for children’s understandings of gender. Nevertheless, important differences in the extent of the disparity are evident by type of character, book series, and time period. Specifically, representations of child central characters are the most equitable and animals the most inequitable; Little Golden Books contain the most unequal representations; and the 1930s-1960s—the period between waves of feminist activism—exhibits greater disparities than earlier and later periods. Examining multiple types of books across a long time period shows that change toward gender equality is uneven, nonlinear, and tied to patterns of feminist activism and backlash throughout the century. (shrink)

The debate between the Better and the Worse Argument, between the old and the new education, in Aristophanes’ Clouds, is a scene full of caustic humour and exquisite irony. In this paper we will try to provide a detailed analysis of the linguistic features that characterize these two characters, in order to confront how two clearly opposite linguistic registers are outlined, in line with their confrontation of ideas. In general terms, the Better Argument exhibits a stronger conversational tone than (...) his adversary, a greater inclination to the use of asyndeton in his syntax, more vulgar and abusive terms, a virtual absence of both poetic and paratragic words and certain linguistic innovations and variants of a lesser literary quality. In contrast, the Worse Argument does just the opposite. (shrink)