In a key passage for the understanding of Lucian’s work, the Fisherman 25– 27, the philosopher Diogenes of Sinope complains that Parrhesiades, a Lucianlike authorial figure, mocks philosophers not within the fixed boundaries of a carnivalesque festival, as Old Comedy used to do, and to which Lucian’s work is otherwise highly indebted, but by means of his constantly published writings. This statement is even more relevant, since the Fisherman belongs to a group of texts which show clear cross-references to (...) other writings within the corpus. By creating indirect authorial commentaries and intratextual references throughout his œuvre—a hidden biobibliography, as it were—, Lucian thus reinforces the idea of an organic literary work and the coherency of his corpus which is—notwithstanding its thematic variatio—well-publicized and far away from carnivalesque exceptionality. In this way, the aesthetics of perpetual transgression is in a unique way related to the construction of authorial self-referentiality in Lucian’s satires. (shrink)

A Gricean preamble concludes that though utterances have unintended meanings, those cannot be considered apart from their intended meanings. Intention distinguishes artworks from natural phenomena. To allocate an artwork to a genre, to accept its normal authorial boundaries and that its content is not random but chosen, is to concede intention's centrality. Wimsatt and Beardsley were right that meaning is public. But they think 'intention' is 'private' or 'unavailable'. However, it too is public, in the work. Fictions are (...) utterances of a curious kind. They may mimic, but are not meant to be taken for, veridical reports. Neither are they 'pseudo-statements' nor 'pretended illocutionary acts'. Their logical form is actually this: 'I [author] invite you [reader] to imagine that S [content].' This prescribes no response, nor claims to describe the 'real' world, even though it may elicit a response appropriate to real-life events. One reason for imagining fictional situations may be to strengthen the perceptions necessary for real life. (shrink)

Robert Coover’s Novel, The Public Buming, merges fantasy, history, and popular myth to respond to the American Cold War culture surrounding the trial of Ethal and Julius Rosenberg. While serving as a postmodern response to, and rewrite of, the Cold War ideological narratives, Coover’s novel also raises theoretical and practical questions concerning the author’s agency in the twentieth century. This article makes use of the language theories of Bruce Andrews, Mikhail Bakhtin, and Charles Peirce to consider how Coover’s fiction addresses (...) the conflict between the public and private self, authorial discourse and collective ideological discourse. Coover’s novel reflects on these tensions, foregrounding the erosion of an autonomous concept of self and a Romantic notion of autotelic creation. At the same time, it employs a range of strategies (recovery of alternative voices, dismantling of polarities, rewriting) as a form of resistance against the monologic narratives of the Cold War.Le roman de Robert Coover, The Public Buming, combine I’imaginaire, I’histoire, et le mythe populaire pour repondre ala culture de la guerre froide américaine dans laquelle baigne le procès d’Ethal et de Julius Rosenberg. Bien qu’il serve de reponse aux narrations ideologiques de la guerre froide et de réécriture de celles-ci, le roman de Coover soulève aussi des questions théoriques et pratiques relativement à I’action de I’auteur au vingtième siècle. Le présent article utilise les théories du langage de Bruce Andrews, Mikhail Bakhtin, et Charles Peirce afin d’analyser la façon dont le roman-fiction de Coover aborde le conflit entre le soi public et privé et entre le discours de I’auteur et le discours idéologique collectif. Le roman de Coover médite sur ces tensions en mettant I’accent sur I’erosion du concept autonome de soi et de la notion romantique de création autotélique. À la même occasion, il emploie un éventail de stratégies (recouvrement de contre-voix, démantèlement des polarités, réécriture) en tant que résistances aux narrations monoloqigues de la guerre froide. (shrink)

In Lucian's highly competitive and exhibitionist world, hyper-Atticism, the use of recondite, archaic words for the sake of impression, has become a sort of plague. In this article, I discuss how Lexiphanes focuses precisely on the literal and metaphorical associations of hyper-Atticism as a disease, by paying particular attention on the medical verdict - articulated in the text by Lucian's authorial double, Lycinus - that the dialogue's eponymous character suffers from melancholia. Rather than constitute a passing reference to the (...) colloquial vocabulary of insanity, melancholia, I argue, helps Lucian forcefully assimilate the accumulation of pretentious words to the raving of the insane, a non-sensical blabbering that is void of meaning. At the same time, Lucian aims also to expose the presence of melancholy in the cultural and medical idiom of his time as a disease that typically affects 'great spirits', people of exceptional intelligence. By calling Lexiphanes 'melancholic', Lucian scolds Lexiphanes' pretentiousness both as a hyper-Atticist and, no less importantly, as a pseudo-intellectual who is shaping his public image, temperamentally and physiognomically, as a genius whose atrabilious constitution entitles him to act and speak in strange ways. (shrink)

The Pseudo-Science of B.F. Skinner was Professor Tibor Machan's first book. Now, nearly forty years after its initial publication and after three dozen additional books published by Machan, it is available again through University Press of America. This study is still alive with its initial inquiry into the work of B.F. Skinner, and it is just as influential upon young students today as it was forty years ago. Was Skinner a bona fide scientist or an amateur metaphysician? Was Skinner (...) correct to hold that only what can be observed matters when it comes to understanding ourselves? Was he correct that free will is fictional and morality is pre-scientific? Professor Machan's fascinating inquiry into Skinner's radical studies is a salute and a challenge to the corpus of his work. (shrink)

While even today lesbian, gay, bisexual and transgender people might have cause to distrust the healthcare establishment, how much more fragile was the relationship between sexual minorities and health professionals in the first decade of the AIDS epidemic. Dissent from consensus healthcare and health research then was a question of survival in the face of political and medical intransigence. This article focuses on one version of AIDS dissent: The narrative representations of AIDS in fiction by the gay African-American fantasy writer (...) Samuel R. Delany, which rejected the rigid binarism of “safe” and “unsafe” sex practices, Delany’s evidence-based dissent. He also engaged in a related form of cultural dissent: speaking the unspeakably obscene, at a time when Silence = Death. Delany called into question both the inferential leaps based on limited epidemiological research that were represented in safer sex guidelines and the widespread public reticence about sexual behavior. (shrink)

In Caribbean literature, being gazed upon is often part of a larger design of imperial governance, conquest and appropriation, where surveillance is constant and omnipresent, particularly in texts that centre on life on the plantation or are set within the colonial house itself. In his first novel Witchbroom, Trinidadian writer Lawrence Scott presents a family saga through the eyes of the family’s last surviving member, Lavren, a hermaphrodite, trickster-narrator who travels through time to write down the record of his/herstory. To (...) tell his/her ‘Carnival Tales’, the narrator sets the scene in the houses of Kairi, in which the turret room features prominently. The room’s shape, location and the vantage point it offers to its privileged entrants allows them to have eyes on everything that goes on on the family estate and to record events accordingly. But the turret room also serves as a place of gendered confinement and seclusion replete with blind spots that the trickster-narrator–or, perhaps, the implied author?–will expose through his/her own supervisory gaze. As such, this contribution proposes to analyse the turret room as a complex and somewhat paradoxical site where scopic power serves at once to hide and reveal, and as a space that concomitantly functions as a ‘heterotopia of deviation’. By focusing on the carnivalesque, metafictional dimensions of the novel more particularly, the article will ultimately seek to examine iterations of authorial control and reader manipulation as literary reassessments of panopticism. (shrink)

Some theorists on literary interpretation have suggested a connection between Monroe C. Beardsley’s anti-intentionalism and hypothetical intentionalism based on an implied author. However, a full exploration has never been attempted. I undertake this task in this paper. A close reading of Beardsley reveals that he assumes something very similar to the implied author in interpretation. I distinguish five types of fictional works in terms of their narrative mode and show that my claim stands in at least four of the five (...) types. The significance of my argument lies in exposing the above version of authorism in anti-intentionalism. -/- Beardsley is generally perceived as advocating the irrelevance of authorial intention to literary interpretation. The common interpretation of his theory is that work-meaning is generated by linguistic conventions, with intention playing no role in meaning-determination. All the interpreter needs is knowledge of public, linguistic conventions in order to recover textual meaning. -/- Nevertheless, when dealing with the problem of interpretation, Beardsley explicitly talks about attributing textual meaning to a fictional speaker. Although he does not elaborate on the nature of this speaker, clues scattered in his writings point to the striking similarity of this theoretical apparatus to an implied author. The key lies in his presumption that every fictional work must have an ultimate speaker to whom meaning inferred from the text should be attributed. This claim is almost the core of an implied author theory of interpretation. -/- A difficulty in classifying Beardsley’s view as a version of the implied author position is that his characterization of the story’s presenter might apply better to the story’s narrator than to its implied author. To test this, I examine different types of narrative modes to see whether the fictional speaker merges with the implied author in each of these scenarios. -/- The first factor to consider for classifying narrative modes is whether the narrator’s presence is explicit or implicit. The narrative scenario in which the narrator is implicit can be further divided into two sub-types: either the story is told from an omniscient viewpoint or centers on the experience of a third-person character. In either case, the story is not told by any of the characters in the story; rather, it is told by an implicit speaker whose words the work purports to be. It seems reasonable to identify this fictional speaker with the implied author, for both function as the subject to which textual meaning is attributed. -/- As for the narrative mode in which the narrator is explicit, this involves first-person narratives. In these, either the narrator is reliable or unreliable. When the narrator is unreliable, a transcendental perspective is required in determining the text’s meaning, because what is said ultimately in the work is not equivalent to what is literally said by the unreliable narrator. It follows that an implicit speaker has to be assumed and she again coincides with the implied author. -/- Where the narrator is reliable but textual meaning transcends what is literally expressed, an implicit speaker is at play again. This narrative scenario is thus better classified as a case in which the narrator’s presence is implicit. This leaves us with the narrative scenario in which the narrator is a reliable spokesperson for the implied author. -/- The identification of the narrator with the implied author in the case last mentioned is controversial. The crucial difference between them is that the former is dramatized in the story while the latter is not. I accept that the narrator here is not happily called an implied author, though I also point out several similarities between the two. -/- Finally, I discuss four complications to my argument. The first concerns multiple points of view in a story. To accommodate this kind of narrative, Beardsley could argue that an implicit narrator is needed to explain the definite meaning concealed behind what is literally said by different characters. The second complication is about the ontological status accorded to the narrator and the implied author. It might be objected that the two reside in different fictional worlds and this is what makes their merging impossible. But it is questionable whether this is a definitional feature of the implied author; moreover, the interpreter can take the implied author to be an instrumentalist concept and hence avoid talk about the ontological status of fictional entities. The third complication claims that versions of the implied author position developed by philosophers tend to be based on a contextualist ontology of literature; however, Beardsley’s account is acontextual. This is not true, for Beardsley has exhibited contextualist leanings in his writings. Finally, it has been objected that the formalist resources Beardsley has are not enough to guarantee a single right interpretation. But if Beardsley is actually a contextualist, contextual constraints will come into play and raise the chance of getting a single right interpretation. -/- The article concludes by reflecting on the significance of the misrepresentation of anti-intentionalism: it is the intention of the actual author which anti-intentionalism is against. The position in question is actually developed in an intentionalist framework based on the implied author. (shrink)

Pseudo-documentarism is a strategy in which an author claims—with varying degrees of irony—to have discovered an authentic document which he transmits to his readers. This article explores three texts of pseudo-documentary fiction from the Imperial period (Dictys’ Journal of the Trojan War, Antonius Diogenes’ The Wonders Beyond Thule, and Lucian’s True Histories ). By suggesting ways in which the implied readers of these texts may be relatable to “real,” exodiegetic readers, the article illustrates how pseudo-documentarism reflects aspects (...) of the contemporary literary and cultural Zeitgeist. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scaena Feralium Nuptiarum: Wedding Imagery In Apuleius’ Tale Of Charite ( Met. 8.1–14)Stavros FrangoulidisThe implicit presence of wedding imagery in the servant’s narrative regarding the tragic end of Charite in Apuleius’ Metamorphoses (8.1–14) 1 has received little scholarly attention. 2 In the tale of Charite, her unsuccessful suitor, Thrasyllus, devises a scheme to kill her husband, Tlepolemus, during a hunt and to marry the widowed Charite. After the ghost (...) of Tlepolemus has exposed to his wife the actual circumstances of his death, the heroine devises a scheme for exacting vengeance on Thrasyllus, both for his cunning in killing her husband in the boar hunt and for his sexual ambitions toward her. The former is revealed in the similarities between Charite’s revenge scheme and Thrasyllus’ plot to bring about Tlepolemus’ death; the latter emerges from Charite’s clever exploitation of aspects of the wedding ritual in her revenge scheme. To be persuasive, the (fictional) marriage ritual, like the hunting scheme before it, requires role playing 3 and a reversal in gender roles such that [End Page 601] the heroine punishes her opponent most appropriately for his actions within the tale’s narrative. This wedding imagery is further sustained in the conclusion of the tale: Charite’s suicide on her husband’s tomb is represented as (re)marriage to her husband in death, since it reenacts several aspects of the wedding ritual from the earlier narrative of Tlepolemus’ liberation of his bride from her captivity in a robbers’ cave, and their subsequent marriage. 4 In the end, Thrasyllus’ suicide by starvation is also represented as a marriage in death, as Charite herself foreshadows in her angry speech as she prepares to attack him in his sleep.Our object here is to explore the ways in which Apuleius artfully designs the narrative of the latter portion of Charite’s story: the wedding imagery enhances her scheme for revenge, which is based both on Thrasyllus’ murderous plot against her husband and on Thrasyllus’ amatory designs upon her, and also intensifies the tragedy of the narrative, as all three marriages, Tlepolemus’, Charite’s, and Thrasyllus’, are fulfilled only in death. 5There are a number of intriguing resonances between the story of Charite and the tale of Cupid and Psyche that features so centrally in the novel as a whole. Space here does not permit much development of comparisons between the two narratives, but particularly striking points of similarity or contrast are indicated in the notes as we proceed.In the servant’s tale, Thrasyllus, the unsuccessful suitor, assumes the persona of a trusted friend in order to gain admission to the house of the married couple. After being forbidden access to Charite, he tricks his rival, Tlepolemus, into going hunting. Their departure on the hunt marks a spatial shift, from the interior of Tlepolemus’ home to the open space of wild nature, where Thrasyllus works his scheme.Charite has forbidden Tlepolemus to hunt horned and tusked animals (except mountain goats), a request that reveals her concern for her husband’s safety. Her apprehensions about his vulnerability also suggest a female aspect to Tlepolemus’ identity, an ambivalence of gender role that adumbrates her later worship of him as Liber/Dionysus, with both male and female characteristics. [End Page 602]For the tale’s authorial audience, Thrasyllus’ invitation to go hunting also recalls his own earlier advice to some robbers, to go on a hunt to collect animals for a sacrifice to their patron deity, Mars the Companion (7.10). In contrast to Tlepolemus’ earlier success in a hunt (which led to Charite’s liberation from captivity in the robbers’ den, and his marriage to her), Thrasyllus’ hunting scheme brings about Tlepolemus’ death, putting a violent end to Charite’s marriage. 6In a wedding context, Tlepolemus’ death may be interpreted as a prenuptial sacrifice for Thrasyllus’ planned marriage to Charite. Thrasyllus’ “sacrifice” here mirrors Tlepolemus’ earlier sacrifices of various animals at temples and public places in connection with the symbolic abduction of his bride from her parental home, at the opening of the Charite complex (4.26, ad nuptias... templis et aedibus publicis victimas [End Page 603] immolabat... (shrink)

This paper deals with the identity problems of fictional objects, focusing on Anthony Everett's and Stuart Brock's leading criticisms against fictional creationism, the view that fictional objects are abstract objects created by our acts involving literary practices. My primary aim is to argue that creationism based on referentialism has enough resources to individuate fictional objects and hence can address the alleged identity problems: every alleged problematic case regarding the identity of fictional objects is well explained in terms of the notions (...) of authorial intention, gappy proposition, inadvertent creation, and reference shift. (shrink)

David Hume (1711–1776) believed a ‘confederacy of authors’, brought together by the notoriously pugnacious William Warburton (1698–1779), were his most consistent and scurrilous critics. Warburton and his ‘School’ were Hume’s bêtes noires and embodied so much of what he fought against. Only there is reason to believe that the ‘Warburtonian School’ was more a useful fiction than a historical reality. The following deep dive into Humeana and the ‘stuff of anecdote’ digs up substantial conclusions about Hume’s philosophical project and context. (...) Any glorifying picture of Hume admirably ignoring sustained ‘Warburtonian’ name-calling is not an accurate description of the early reception of his writings. Hume did respond – at least, occasionally, privately and publicly. Moreover, the ‘Warburtonian School’ does not seem to exist – at least, it did not exist if it is taken to refer to a coherent group of writers, numbering more than two, concerned with attacking Hume. The response to Hume of ‘Warburtonians’ who can be identified was varied, disparate, and often positive. Warburton even came to like Hume’s historical writings. Hume’s claim that such a School existed may have led to the post hoc creation of the School in the minds of late eighteenth- and nineteenth-century commentators. (shrink)

This article examines the role of expertise in public debate, specifically the ways in which expertise can be mimicked and deployed as “pseudo-expert discourse” to generate legitimacy for views that have otherwise been discredited. The article argues that pseudo-expert discourse having a clear public health or safety impact should be regulated. There have been some attempts to legally regulate this speech through various means; however, these attempts at regulation have been met with fierce resistance, because of free-speech concerns. (...) The article suggests that these appeals to free speech in the context of pseudo-expert discourse are both misguided and misplaced. Moreover, because speakers with the relevant expertise or perceived expertise are able to secure uptake of their views, they have a moral responsibility to not deceive or mislead audiences, and may also have various legal responsibilities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:An Exposition of The Divine Names, The Book of Blessed Dionysius by Thomas AquinasMichael J. Rubin, Elizabeth C. Shaw, and Staff*AQUINAS, Thomas. An Exposition of The Divine Names, The Book of Blessed Dionysius. Translated and edited with an introduction by Michael A. Augros. Merrimack, N.H.: Thomas More College Press, 2021. xxv + 549 pp. Cloth, $65.00The profound influence that Pseudo-Dionysius had on Aquinas’s thought, especially in his (...) metaphysics of participation and his apophatic theology, has been known for some time now, thanks to the excellent work of such scholars as Fran O’Rourke. One would therefore think that Aquinas’s Exposition of the Divine Names (his only commentary on the works of Pseudo-Dionysius) would have been translated a lot sooner. This delay is assuredly due not just to the difficulty of translating this work but also to a certain embarrassment felt by Thomists over Aquinas’s sincere belief that the “Dionysius” who wrote the Divine Names was the Areopagite whose conversion at the teaching of St. Paul is mentioned in the Acts of the Apostles. That the author calling himself “Dionysius” was in fact a theologian writing in the fifth or sixth centuries has been well established by modern scholarship. Hence, Thomists may have felt tempted to discount or at least pass over the influence of this author on Aquinas since it is discomfiting to think that the Church’s greatest theologian accorded such authority to an imposter.Michael Augros tackles these concerns head-on in the excellent introduction to his new translation of the Divine Names commentary. First, Augros points out that in past centuries a pseudonym was usually not an act of forgery but, rather, a way of concealing the author’s identity, which an early Christian theologian might well decide to do either out of humility or out of a desire “to avoid provoking certain prejudices” in those who disagreed with him in contemporary theological disputes. Moreover, it is likely that the work was never intended for the general public (who could easily mistake the pseudonym as genuine) but, rather, was written for those “already initiated in a particular Neoplatonic school of Christian theology,” who would recognize the author as being “one of their own” but without knowing his precise identity. Finally, in taking the particular name of “Dionysius,” the author of the Divine Names was indicating his intention for the work: Just as the biblical Dionysius was a Greek philosopher who converted to Christianity, so the works of Pseudo-Dionysius [End Page 345] are an attempt to reconcile Greek philosophy with the Christian faith.It therefore seems likely, as Augros observes, that Aquinas would still have accorded a great deal of respect to the Divine Names even if he had learned the truth of the author’s identity. The work would not have had the same deuterocanonical authority for him that comes with being written by a direct disciple of St. Paul himself, but “the inherent cogency, coherence, and beauty” of Pseudo-Dionysius’s theology would have been the same. Hence, Pseudo-Dionysius would surely have earned from Aquinas the “docile attitude” appropriate “for a philosopher and theologian of the first order, such as Boethius.”That Aquinas was right to see the author of the Divine Names as a master philosopher and theologian becomes evident when one dives into the text itself, in which Aquinas sees a truly dazzling order, both externally and internally. According to Aquinas, the Divine Names discusses those truths about God of which there are intelligible likenesses in creatures, such as goodness or wisdom, whereas the truths about God of which there are sensible likenesses (for example, “when God is called a lion, or a rock”) are treated by Pseudo-Dionysius in The Symbolic Theology; meanwhile, in the lost or fictional work The Divine Characteristics, Dionysius claims to have treated those truths about God (such as the Trinity) that cannot be known through any likenesses in creatures.Aquinas finds a still more intricate order within the Divine Names itself. Since this work is dedicated to “the divine names by which the processions of God to creatures are manifested,” the plan of the work... (shrink)

La dialectique entre art et engagement interroge la possibilité et les moyens d’esthétisation des sujets politiques et sociaux. En Allemagne, un genre artistique explore particulièrement cette problématique : le théâtre documentaire dont les formes contemporaines montrent la nette évolution des médias de masse et de leur rôle dans notre société. Cette approche documentaire soulève plusieurs questionnements quant à la véracité des faits et théories exposés, aux limites floues entre fiction et réalité, mais aussi quant à la pseudo-objectivité des propos (...) diffusés. Par ailleurs, l’intrication de l’emploi esthétique de médias divers et d’une volonté de popularisation de discours politiques rapproche de facto l’art documentaire d’un art de la propagande non-officielle et interroge sur les motivations des dramaturges impliqués, entre détournement distancié et manipulation du public. Les expressions contemporaines héritées du théâtre documentaire se retrouvent dans des cadres dépassant la scène, prenant plutôt la forme de « projets » multi-supports et plurimédiaux présentés par des collectifs artistiques tels Zentrum für politische Schönheit (Centre pour la beauté politique) ou The International Institute for Political Murder de Milo Rau. Ceux-ci interrogent les utilisations contemporaines des médias dans une société du spectacle poussée à l’extrême et jouent du concept de fake news pour continuer d’interpeller leur public sur des problématiques politiques et citoyennes dans un contexte d’une nouvelle remontée des fascismes. Dans ce contexte, jusqu’où peut mener une telle spectacularisation du politique? (shrink)

This casebook features ten distinctive and provocative essays in addition to a generous sampling of Ellison's comments on the novel. A number of the latter are from letters never before published; also published here for the first time is Part II of Ellison's "Working Notes on Invisible Man," an undated exposition of his authorial intentions, probably written in 1946 or 1947. The ten essays are a selection of the most perceptive and comprehensive essays written on Invisible Man during the (...) last thirty-five years, including an essay by Kenneth Burke, which began as a letter to Ellison about the novel, written before its publication in 1952. Also among the essays is Larry Neal's "Ellison's Zoot Suit," in which he finds the novel an exemplary enactment in fiction of the "black aesthetic." The essays explore topics of narrative form, classical and vernacular points of reference, and the relationship between the themes of love and politics. Taken together with Ellison's "Working Notes" and later commentary on the novel, these essays account for the continuing appeal of Invisible Man more than fifty years after its publication. An editor's introduction and a full bibliography accompany the essays, selections from Ellison's writings, and informal statements on his novel. The volume offers a rich variety of interpretations of Invisible Man for students and scholars of Ellison. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 203 Seiten: 39-51.

This paper examines a series of texts produced in the immediate aftermath of the executions of a highly controversial Ming general Mao Wenlong. Considered representative works of a unique genre, “shishi xiaoshuo”, these works were written and published at a remarkable speed and are characterized by a distinctive nature of generic hybridity as well as a strong urge for political intervention. This article discusses the sociopolitical implications of shishi xiaoshuo by examining how such works sought to participate in contemporary debates (...) about controversial political figures or events and, ultimately, shape public opinion on them. In addition, it also demonstrates the interplay between fictional writings on contemporary issues and commercial publishing. By examining the textual features of the various works on Mao Wenlong and the intertextual relationships between them, and by situating them in one of the most complicated periods in Chinese history, this article explores the practice of fiction writing on contemporary events and its interplay with the sociopolitical environment in the early seventeenth century. (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

Abstract creationism about fictional characters is the view that fictional characters are abstract objects that authors create. I defend this view against criticisms from Stuart Brock that hitherto have not been adequately countered. The discussion sheds light on how the number of fictional characters depends on authorial intention. I conclude also that we should change how we think intentions are connected to artifacts more generally, both abstract and concrete.

A simple tool is provided to assist researchers in assessing contributions to a scientific publication, for ease in evaluating which contributors qualify for authorship, and in what order the authors should be listed. The tool identifies four phases of activity leading to a publication—Conception and Design, Data Acquisition, Analysis and Interpretation, and Manuscript Preparation. By comparing a project participant’s contribution in a given phase to several specified thresholds, a score of up to five points can be assigned; the contributor’s scores (...) in all four phases are summed to yield a total “contribution score”, which is compared to a threshold to determine which contributors merit authorship. This tool may be useful in a variety of contexts in which a systematic approach to authorial credit is desired. (shrink)

The current use of citation-based metrics to evaluate the research output of individual researchers is highly discriminatory because they are uniformly applied to authors of single-author articles as well as contributors of multi-author papers. In the latter case, these quantitative measures are counted, as if each contributor were the single author of the full article. In this way, each and every contributor is assigned the full impact-factor score and all the citations that the article has received. This has a multiplication (...) effect on each contributor's citation-based evaluative metrics of multi-author articles, because the more contributors an article has, the more undeserved credit is assigned to each of them. In this paper, I argue that this unfair system could be made fairer by requesting the contributors of multi-author articles to describe the nature of their contribution, and to assign a numerical value to their degree of relative contribution. In this way, we could create a contribution-specific index of each contributor for each citation metric. This would be a strong disincentive against honorary authorship and publication cartels, because it would transform the current win-win strategy of accepting honorary authors in the byline into a zero-sum game for each contributor. (shrink)

Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be (...) exploring Kripke’s fleeting remarks in the Addenda to his “Naming and Necessity” lectures about expressions like ‘unicorn’ and ‘Harry Potter’. Elsewhere, Kripke motivates artifactualism by suggesting that incorporating authorial creation (as artifactualism does) is a move that is intuitive and natural; but beyond this, he doesn’t provide any arguments in favor of such a move. My purpose in this paper is to construct such an argument based on considerations about Kripke’s general view about proper names, in particular, his seminal causal-historical chain account of reference determination, and its consequences for fictional names as well as nonfictional names without bearers such as ‘Vulcan’. (shrink)

Artifactualism about fictional characters, positing Harry Potter as an abstract artifact created by J. K. Rowling, has been criticized on the grounds that the idea of creating such objects is mysterious and problematic. In the light of such qualms, it is worth homing in on an argument in favor of artifactualism, showing that it is the best way to include the likes of Harry Potter in our ontology precisely because it incorporates authorial creation. To that end, I will be (...) exploring Kripke’s fleeting remarks in his “Naming and Necessity” lectures (1972, 156–7) about expressions like ‘unicorn’ and ‘Harry Potter’. Elsewhere, Kripke motivates artifactualism by suggesting that incorporating authorial creation (as artifactualism does) is a move that is intuitive and natural; but beyond this, he doesn’t provide any arguments in favor of such a move. My purpose in this paper is to construct such an argument based on considerations about Kripke’s general view about proper names, in particular, his seminal causal-historical chain account of reference determination. (shrink)

La réflexion philosophique sur la non-existence est une thématique qui a été abordée au commencement même de la philosophie et qui suscite, depuis la publication en 1905 de « On Denoting » par Russell, les plus vifs débats en philosophie analytique. Cependant, le débat féroce sur la sémantique des noms propres et des descriptions définies qui surgirent suite à la publication du « On Referring » par Strawson en 1950 n’engagea pas d’étude systématique de la sémantique des fictions. En (...) fait, le développement systématique d’un lien qui articule approches logiques, philosophiques et littéraires de la fiction devait attendre les travaux de John Woods publiés en 1974 dans son livre The Logic of Fiction : A Philosophical Sounding of Deviant Logic. Un des enjeux les plus excitants du livre de Woods se situe au niveau de l’interaction entre les points de vue internalistes ou interne-à-l’histoire (principalement pragmatiques) et les points de vue externalistes ou externe-à-la-fiction (principalement sémantiques). Sur ce point, Woods fut le premier à formuler une sémantique pour l’opérateur de fiction à lire comme « selon l’histoire… » en relation à la notion logique de portée, ce qui permettait l’étude de l’internalisme et de l’externalisme. Suite au livre de Woods, loin de s’essouffler, les débats trouvaient une nouvelle impulsion. Le fait pertinent pour notre article est que la tradition phénoménologique également, l’étude de la fiction a joué un rôle central. En effet, l’une des problématiques les plus sujettes à controverses dans l’intentionnalité est celle de l’indépendance à l’existence, c’est-à-dire le fait que les actes intentionnels n’ont pas besoin d’être forcément dirigés vers un objet existant. Influencée par les travaux de Roman Ingarden (1893-1970), l’un des plus importants disciples de Husserl, Amie L. Thomasson développe le concept phénoménologique de dépendance ontologique en vue d’expliquer les processus de références inter- et transfictionnels – dans le contexte de l’interprétation littéraire par exemple. L’enjeu essentiel de cet article est de proposer une reconstruction multimodale bi-dimensionnelle de la théorie des personnages fictionnels de Ingarden-Thomasson. Cette théorie qui entend prendre au sérieux le fait que les fictions sont des créations montre la voie pour une articulation entre les approches internalistes et externalistes. Nous motivons certains changements quant à l’approche artéfactuelle - incluant une sémantique appropriée pour l’opérateur de fictionalité qui, nous l’espérons, éveillera l’intérêt des théoriciens de la littérature. L’article est à d’autres égards un panorama de la façon dont différents concepts d’intentionnalité pourraient fonder différentes sémantiques formelles pour la fictionalité. Nous proposerons enfin un cadre dialogique qui est une extension modale d’un certain système de preuve développé par Matthieu Fontaine et Juan Redmond. Le cadre dialogique développe la contrepartie inférentielle de la sémantique bi-dimensionnelle introduite par Shahid Rahman et Tero Tulenheimo dans un article récent. (shrink)

In response to calls for a research and innovation system that is more open to public scrutiny, we have seen a growth of formal and informal public engagement activities in the past decades. Nevertheless, critiques of several persistent routines in public engagement continue to resurface, in particular the focus on expert knowledge, cognitive exchange, risk discourse, and understandings of public opinion as being static. In an attempt to break out of these routines, we experimented with an innovative engagement format that (...) employs situated speculative prototyping to support citizens in contextualizing and discussing developments regarding—in this case—nanotechnology. This format invites participants to imagine and critically reflect on technological futures through collaborative prototyping and story-writing. In this paper, we outline five reconstructed contextualization patterns in which participants engaged during the format’s exercises and use these to assess the value of the format in the current engagement landscape. We show that situated speculative prototyping has potential in the realm of informal public engagement initiatives, taking an explorative approach, but also warn of ‘the designer fallacy’ as a prominent pitfall of prototyping that could reproduce techno-scientific framings and obstruct critical reflection on technological directions and implications if not treated with caution. (shrink)

In a series of publications, Derek Matravers has challenged what he calls the “consensus view” of the nature of fiction. According to this consensus view, there is a conceptual route that starts with the notion of a prescription to imagine and that ends up with a systematic distinction between fiction and non-fictional representations. This paper engages in a systematic reconstruction of Matravers’ argument against the consensus view as well as a rebuttal of recent rejoinders offered by Gregory Currie and Kathleen (...) Stock. It concludes that the challenge against the consensus view, once properly understood, still stands. (shrink)

This paper provides an account of truth in interactive fiction. Interactive fiction allows the audience to make choices, resulting in many different possible fictions within each interactive fiction, unlike in literary fiction where there is just one. Adequately capturing this feature of interactive fiction requires us to address familiar issues regarding impossible fiction and the nature of time in fiction. Truth in interactive fiction thus requires a complex account to capture its multitude of fictions. It is argued that (...) a full account of truth in interactive fiction requires distinguishing two works for each interactive fiction, which contain distinct fictional truths. The actual work encompasses what is in fact represented as fictional (hence mistakes can be fictionally true in this work), whilst in the implied work, truth in fiction is governed by authorial intention, hence mistakes are not fictionally true. This dual account best captures our aesthetic evaluation of interactive fictions, for which we often need to distinguish how the work actually is from how it was intended to be. (shrink)

When we engage with fictions, we are, in effect, pretending to deal with reports of actual events. After all, numerous fictional works are explicitly designed to facilitate this kind of pretense. This was the prevailing understanding of fiction in both analytic philosophy and classical narratology for decades. However, there is a significant problem with this view: many fictional narratives routinely portray scenarios that could not possibly be the subject of anyone’s reporting. Currie’s 'mindless fictions' are one such example. (...) This issue can be referred to as the problem of unreportability. The standard solution to this challenge has been to argue that fictions are not pretend reports, but rather direct authorial stipulations to imagine specific scenarios. This paper contends, however, that such an explanation fails to provide a satisfactory account of fiction. By drawing on Walton’s notion of ‘silly questions’, it instead argues for a revised version of the report model-one that doesn’t necessarily depend on ubiquitous fictional reporters. (shrink)

Chang-Rae Lee’s 2014 novel On Such a Full Sea uses the genre of speculative fiction to reflect on longstanding healthcare debates in the United States that have recently crystalized around the Affordable Care Act. The novel imagines the political economy of healthcare in a future America devastated by environmental illness. What kind of care is available and to whom? Who provides it? Who pays for it? What about distribution and access? The different healthcare systems governing each of three geo-social zones (...) in Lee's future society represent exaggerated versions of the scenarios participants in the ACA debate claim their opponents’ health policies would produce. The essay argues that Lee’s novel ultimately favors a version of universal government-funded care over a system based on supposed free-market principles, even as the novel also tries to make room for conservative Americans’ fears about the specter of so-called “socialized medicine.” More broadly, the essay contends that the health humanities should devote more attention to literary and artistic engagements with healthcare as a system: a complex set of financial models, public and private institutions, government policies, and actors whose roles range well beyond patient and care provider. (shrink)

This book explores the logic and historical origins of a strange taboo that has haunted literary critics since the 1940s, keeping them from referring to the intentions of authors without apology. The taboo was enforced by a seminal article, "The Intentional Fallacy," and it deepened during the era of poststructuralist theory. Even now, when the vocabulary of "critique" that has dominated the literary field is under sweeping revision, the matter of authorial intention has yet to be reconsidered. This work (...) explains how "The Intentional Fallacy" confused different kinds of authorial intentions and how literary critics can benefit from a more up-to-date understanding of intentionality in language. The result is a challenging inventory of the resources of literary theory, including implied readers, poetic speakers, omniscient narrators, interpretive communities, linguistic indeterminacy, unconscious meaning, literary value, and the nature of literature itself. (shrink)

In a series of papers (two of them in previous ESA Proceedings), I have been defending a fictional artifactualist position according to which fictional characters (like Prince Bolkonsky in Tolstoy’s War and Peace are non-concrete, human created objects (which are commonly labeled abstract artifacts). In this paper, I aim to bring together from my previous work two lines of defending fictional artifactualism: that (for the fictional artifactualist) making room for (i) authorial creation and for (ii) inadvertent authorial creation (...) are tenable moves. Indeed, instances of authorial creation (intentional or inadvertent) are what we expect if we accept Saul Kripke’s general view about what determines the reference of proper names, and this view’s consequences for fictional names. Fictional artifactualism emerges as our best choice if we want to admit fictional characters in our ontology and are sympathetic to Kripke’s general view about proper name reference. Fictional artifactualists having taken these two conditions on board need not worry about these features of their view: that authors sometimes create fictional characters and sometimes do so inadvertently. (shrink)

Folk-economic beliefs may be regarded as “evidential fictions” that exploit the natural tendency of human cognition to organize itself in narrative form. Narrative counter-arguments are likely more effective than logical debunking. The challenge is to convey sound economic reasoning in narratively conspicuous forms – an opportunity for economics to rethink its role and agency in public discourse, in the spirit of its old classics.

Writers of fiction have always confronted topics of crime and punishment. This age-old fascination with crime on the part of both authors and readers is not surprising, given that criminal justice touches on so many political and psychological themes essential to literature, and comes equippedwith a trial process that contains its own dramatic structure. This volume explores this profound and enduring literary engagement with crime, investigation, and criminal justice. The collected essays explore three themes that connect the world of law (...) with that of fiction. First, defining and punishing crime is one of the fundamental purposes of government,along with the protection of victims by the prevention of crime. And yet criminal punishment remains one of the most abused and terrifying forms of political power. Second, crime is intensely psychological and therefore an important subject by which a writer can develop and explore character. Athird connection between criminal justice and fiction involves the inherently dramatic nature of the legal system itself, particularly the trial. Moreover, the ongoing public conversation about crime and punishment suggests that the time is ripe for collaboration between law and literature in thistroubled domain.The essays in this collection span a wide array of genres, including tragic drama, science fiction, lyric poetry, autobiography, and mystery novels. The works discussed include works as old as fifth-century BCE Greek tragedy and as recent as contemporary novels, memoirs, and mystery novels. Thecumulative result is arresting: there are "killer wives" and crimes against trees; a government bureaucrat who sends political adversaries to their death for treason before falling to the same fate himself; a convicted murderer who doesn't die when hanged; a psychopathogical collector whose quitesane kidnapping victim nevertheless also collects; Justice Thomas' reading and misreading of Bigger Thomas; a man who forgives his son's murderer and one who cannot forgive his wife's non-existent adultery; fictional detectives who draw on historical analysis to solve murders. These essays begin aconversation, and they illustrate the great depth and power of crime in literature. (shrink)

Kovacs calls for collaborating teams to indicate the proportional credit that each author of a multi-authored paper deserves.1 This approach addresses the problem of giving each of the co-authors full credit for the article when their publication records are assessed. This problem is, however, a weakness in the evaluation system, not in the publication system, and it will not be solved by the proposed strategy.As the author notes, publication records are critical to decisions on hiring, promotion, tenure, salaries and allocation (...) of research resources. At each of these points, what matters most is the quality of the candidate's work, which cannot be adequately assessed by quick counts of articles, even when the counts are weighted by numbers of citations or impact factors. Some institutions and departments perform careful reviews; others …. (shrink)

Politicotainment and democratainment are concepts used to identify the relevance of popular culture for citizenship. Among the most prominent examples of these concepts are political fiction series. Merging political facts with fictional narratives, such series provide a unique opportunity to engage the audience with political matters in an entertaining way. But can these series also affect the agenda of the public and the news media? Based on aggregate-level data of Google search queries and news-media content, the current study examines the (...) agenda-setting effects of the political fiction series Borgen. Time-series analyses show that only a few Borgen episodes affected the public agenda and even fewer the news media agenda. Evidence is also found for negative patterns. Thus, we should be careful not to overestimate the impact of political fiction in terms of agenda-setting effects: It occasionally has agenda-setting effects but more often not. (shrink)

According to Perelman (Rhétoriques, Presses Universitaires de Bruxelles, 1989: 80), a pseudo-argument is an argument that is supposed to be convincing from a given audience viewpoint, while it is not from another audience viewpoint. Such a claim raises the traditional problem of the boundaries between the well known “convince versus persuade” dichotomy. This paper aims at investigating it from a contemporary rhetorical and argumentative perspective which will take into account the fictional dimension of persuasion. In this perspective, it will (...) be claimed that the notion of an “as if” argument better fits to some rhetorical phenomena. (shrink)

The works of Plato have been a cornerstone of Western philosophy for centuries, inspiring countless readers and thinkers over the course of millennia. But not all of the writings attributed to Plato are genuine. In this scholarly investigation, W.A. Heidel explores the origins and authenticity of some of these so-called 'pseudo-Platonic' texts, providing insights into the ways in which ancient cultures valued and appropriated the ideas of its greatest thinkers. This work has been selected by scholars as being culturally (...) important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The Vita Heliogabali in the Historia Augusta consists of a political-biographical first section (1.4–18.3), generally considered to be historically useful, followed by a fantastic catalogue of the emperor's legendary excesses (18.4–33.8), generally dismissed as pure fiction. While most of these eccentricities are probably inventions of the “rogue scholar,” it is argued that the grand recital of imperial antics, more than just a detachable appendix, serves a demonstrable ideological purpose and is informed by a unifying rationale, which in turn helps explain (...) the “Lampridian” Elagabalus as historiographical construct. Within the sequence of Antonine biographies Elagabalus, ultimus Antinonorum, marks the climax in a progressive tendency towards tyranny and is accordingly styled as transcendental despot; multiple topoi from the literary tradition provide the generic coordinates for this larger-than-life portrait. Food and sex in particular, both typical elements in this context, are inflated in Heliog. into major thematic systems to signal the emperor's tyrant status, to bring out his distinctive attention to aesthetics, and to enhance the Life's literary cohesion. (shrink)

The purpose of this paper is to criticize the New Public Management (NPM) in the higher education of Iran with a moral lens. Qualitative content analysis was used for this purpose and the fourth to sixth National Development Plans as well as the Comprehensive Scientific Map of Iran were investigated. The model of NPM that is promoted in the Iranian higher education mostly emphasizes corporatization and the diversification of financial resources, while less attention has been paid to the other dimensions, (...) such as customer-orientation and accountability. The findings revealed that the NPM in Iranian higher education (a kind of pseudo-neoliberalism) is not only incompatible with the Islamic moral goals, but there are also significant contradictions. NPM is based on the commodification of knowledge and the homo economicus, while in Islam, emphasis is on the value of knowledge too, and the truth-seeking is the important mission of knowledge. (shrink)

Religious fundamentalism has been suspected as a product of simple cognitive structuring. On the other hand, recent publications have shown that cognitive structure formation is not as simple as was previously thought. The concept of the Ability to Achieve Cognitive Structure revealed that not everyone was able to form simple cognitive structure. This study employed a total of 187 Indonesian university students as participants. By the mean of Structural Equation Modeling, this study treated the desire for simple cognitive structure as (...) a “new” latent variable and examined its relation with intratextual fundamentalism using AACS as moderator. The desire for simple structure was reflected by the Need for Cognitive Structure, the Dogmatism, and the RWA. The fundamentalism was reflected by the Intratextual Fundamentalism Scale. The result showed that fundamentalism, among other things, was a product of desire for simple cognitive structure. This study also showed that AACS moderated the relation in which high AACS would lead to higher fundamentalism while low AACS would not. Implications of the findings for social psychology and cross-cultural understanding of religious fundamentalism were discussed. (shrink)

ABSTRACTIn 1651, Alexander Ross published an attack on Thomas Browne's Pseudodoxia Epidemica, Bacon's Natural History and William Harvey's De generatione. Ross's work, Arcana Microcosmi, defended Aristotelian natural philosophy against the ‘new philosophy’ that figures like Bacon, Harvey and Browne represented. Though Ross's attacks on these authors make up no more than half of the treatise’s contents, the book’s paratextual materials emphasise scientific debate. While Ross's authorial approach advocates reading exclusively ancient authorities for the sake of glossing and transmitting their (...) knowledge to a wider public, in order to argue against the new philosophy Ross must engage with its textual production. Furthermore, his works advertise their focus on Bacon, Harvey and Browne, which would have attracted a readership drawn to new scientific approaches to knowledge formation. Ross's polemic represents an effort to model his devotion to ancient authority while also generating a reading public that would resist the new approach to reading that the new philosophy proposed. (shrink)

The author analyzes fictions of legal positivist philosophy and their role in the scientific legitimation of modern law and political domination. The original function of legalist fictions was the establishment of legal science, which would be autonomous and independent of other social sciences and public morality. In the second half of the 20th century, legal positivist philosophy has nevertheless adopted the fiction of the just law as its scientific legitimation fiction and incorporated moral and political discourse into legal (...) science, again.Legal positivism and its critiques within the discourse of the sociology of law and critical legal science keep the image of a hierarchical and centralized legitimation of law. Paradoxically, current legal philosophy and theory searching for a universally valid legitimation scheme is full of many different legitimations and reveals their growing plurality and the impossibility of establishing one sovereign legitimation scheme in the current social, theoretical and political condition. (shrink)