In this chapter, I investigate the imaginary boundary between the actual world and fictional gameworlds by focusing on videogame situations in which this fourth wall is foregrounded or broken. For this purpose, I first define the videogame experience as a self-involving, interactive fiction experience, based on Kendall Walton’s account of fiction (1990). I then describe how, in the current academic discourse on games, it is often claimed that the concept of fourth wall breaks cannot be applied (...) to videogames due to their inherent interactivity. Within game studies, the consensus seems to be that the boundaries between the real and the fictional world are always already blurred in videogame experiences. This chapter instead shows how using interactive, digital technologies to represent fictional worlds does not necessarily complicate the conceptualization of the fourth wall, but rather reveals new ways in which it can be broken. More precisely, this chapter discusses how appreciators of videogames can not only actively participate in fourth wall breaks, but are also uniquely able to initiate these breaks themselves. -/- . (shrink)

Given the strong mimetic and dramatic qualities found in Judith the authors make the suggestion that perhaps, before LXX Judith became a fixed, written text, the basic fabula might well have been part of an oral tradition. The authors accept that an appropriately written dramatic work, whether transmitted through reading or an oral presentation, by means of its performative qualities, has the potential to achieve immediacy. Here, the audience may become captivated with its own familiarity and memory of popular, communally (...) shared narratives. Accordingly, this article attempts to find evidence in the Greek text of LXX Judith for a possible oral precursor. In this context, corroboration is sought for the employment of verbal aspect and mood of the Greek language as well as instances of drama, theatrics, bodily gestures, mnemonic devices or special emphasis on the employment of the senses such as sight, taste and smell. The authors suggest that based on an analysis of the text of Chapter 13, there is much circumstantial evidence for the Judith fabula once being an oral narrative – one that embodies the dramatic and even encourages audience participation. This characteristic strongly suggests the removal of the fourth wall – the notion of an imaginary boundary between any fictional work and its audience. Contribution: This article shows that Judith 13 is indeed the climax of the narrative. However, it goes further. It is a vivid scene with various performative aspects. There are props, dialogue and audience participation. This research is cutting-edge and paves the way for new explorations. (shrink)

I investigate statements in fiction that ‘break the fourth wall’ (i.e. statements through which a fictional character somehow acknowledges the fictionality of their world) and suggest that they are a mirror image of ‘parafictional statements’—that is, reports on what is true in some fiction. I explore two possible analyses, according to which statements that break the fourth wall are either a type of fictional statement, or are a type of metafictional statement, and propose a synthesis of (...) these two analyses. I discuss how the proposed analysis relates to different interpretative strategies for dealing with inconsistency in fiction and discuss several potential counterexamples to the proposed analysis. (shrink)

Many writers claim that democratic government rests on a principled commitment to the ideal of political equality. The ideal of political equality holds that political institutions ought to be arranged so that they distribute political standing equally to all citizens. I reject this common view. I argue that the ideal of political equality, under its most plausible characterizations, lacks independent justificatory force. By casting doubt on the ideal of political equality, I provide indirect support for the claim that democratic government (...) is only instrumentally justified. (shrink)

Professor Noam Chomsky is a fierce critic of US wars and foreign policy, and a brilliant analyst of the propaganda and psychological mechanisms through which the liberal-bureaucratic establishment achieves public consent and endorsement of the aggressive actions of the state. For this he is intensely admired in some quarters, and detested and reviled in others. Between the extremes of the uncritical campus adulation and the vicious ad hominem abuse to which he is sometimes subjected, there are genuine critiques to be (...) made and refreshing doses of the unvarnished truth to be found in his voluminous output over the years. (shrink)

Professor Noam Chomsky is a fierce critic of US wars and foreign policy, and a brilliant analyst of the propaganda and psychological mechanisms through which the liberal-bureaucratic establishment achieves public consent and endorsement of the aggressive actions of the state. For this he is intensely admired in some quarters, and detested and reviled in others. Between the extremes of the uncritical campus adulation and the vicious ad hominem abuse to which he is sometimes subjected, there are genuine critiques to be (...) made and refreshing doses of the unvarnished truth to be found in his voluminous output over the years. (shrink)

Suvremena umjetnost izgubila je svoju likovnost, a ostala joj je samo vizualnost. S druge strane, prijelaz od likovne moderne ka nelikovnoj suvremenoj umjetnosti donio je i mnogo novosti; jedna od njih je tzv. ‘probijanje četvrtog zida’. Radi se o kazališnom terminu koji označava trenutak kada se gledatelj na neki način interaktivno uključuje u predstavu, a likovi pokazuju svijest da su likovi u predstavi. Upravo će suvremena umjetnost istraživati postupke brisanja granica između umjetničkog i svakodnevnog čina, sugerirajući kako »sve je umjetnost« (...) i »svaki čovjek je umjetnik«. Novo je doba donijelo otuđenost javnosti od znanosti i umjetnosti, ali i nova filozofska tumačenja medijskog krajolika i hiperrealnosti postmoderne. Hiperrealne postaju i digitalne igre, od kojih se neke temelje upravo na rušenju »četvrtog zida«. Zbunjene reakcije na tehniku rušenja »četvrtog zida« variraju u rasponu od verbalnih reakcija na performance, preko previše doslovnog shvaćanja filmova pa sve do tragičnih nesreća, čak i samoubojstava povezanih s određenim digitalnim igrama. To da stvarnost oponaša hiperstvarnost postalo je uobičajeno, ali otvorilo se i pitanje: može li suvremeni pojedinac s time izaći na kraj? Modern art has lost its artistic character; only its visual aspect remains. On the other hand, the transition from modern fine arts towards non visual contemporary art has brought a great deal of novelties; one of these is “breaking the fourth wall”. This is a theatre term referring to moments when viewers become interactively involved in a play, and the characters become aware that they are characters in a play. Modern art has explored processes by which the border between artistic acts and everyday acts is erased, suggesting that “everything is art” and “every man is an artist”. The new era has caused the public to become alienated from science and the arts, but has also provided new philosophical interpretations of media landscapes and the hypperealism of the post-modern. Digital games are also becoming hyperrealistic, and some of these are founded on demolishing the “fourth wall”. Confused reactions to techniques of breaking the “fourth wall” vary from verbal reactions to a performance and excessively literal perceptions of film to tragic accidents or even suicides connected with particular digital games. Hyperreality mimicking reality has become commonplace, however the question arises: can the modern individual deal with this? (shrink)

This is the fourth volume of Oxford Studies in Political Philosophy. The series aims to publish some of the best contemporary work in the vibrant field of political philosophy and its closely related subfields, including jurisprudence, normative economics, political theory in political science departments, and just war theory.

In his late work, Rawls makes strong claims about the status of political liberty. These claims, if accepted, would have significant implications for the content of "justice as fairness." I discuss the nature of these claims, clarifying Rawls's fair value guarantee of the political liberties and critically discussing the arguments that he and others have given for assigning special importance to the political liberties. I conclude that justice as fairness, properly understood, is not a deeply democratic conception of justice.

This dissertation is a constructive interpretation of the significance of French philosopher Paul Ricoeur's work for ethical theory. It argues that Ricoeur provides a concept of moral meaning which addresses more adequately than major contemporary alternatives, particularly Hebermas, MacIntyre, and Levinas, the problem of moral pluralism. Specifically, moral meaning for Ricoeur is a dialectical term which mediates the teleological good and the deontological right of tradition-interpreting selves. It renders productive these two poles of moral life, one Aristotelian and the other (...) Kantian, in the formation of critical teleological goods which recognize each self's distinct otherness as an interpreter of their own moral being in the world even as their otherness is projected into provisional and imaginatively mediated aims in common. ;This thesis is made in four steps. First, the dissertation argues that any concept of tradition-constituted moral life implies a tradition-interpreting self capable of forming its given and plural background linguistically into appropriated meaning for its own being in the world. Second, this interpreting self is constituted ethically by a dialectical relation between on the one hand the narrative teleological goods it forms in time out of its interpretations of tradition, and on the other its deontological otherness as capable of forming these narrative goods for itself. Third, this dialectical relation is rendered productive in a critical teleology of moral meaning, which can be broken down into criteria of subjective conviction, interpersonal promising, and third-party community, each of which involves plural and other interpreting selves' mutual recognition. Fourth, this dialectical interpretive ethics is shown to be grounded in, and in the face of evil liberated by, its implied religious limits, specifically a dialectical economy of the gift expressed in the terms faith, love, and hope. (shrink)

I locate possible fertile common ground among the “new natural law theory” of Finnis, Grisez, and Boyle, the “traditional” Thomism of McInerny, and natural law derivationism. I respond to Murphy’s contention that the “inclinationism” of Finnis cannot be successfully asserted along with what Murphy takes to be a basic requirement of natural law ethics, namely that basic practical principles are to be “strongly grounded” in human nature. I argue that the tension between the inclinationism of Finnis and Murphy’s basic requirement (...) is not irresolvable. In response to objections by Murphy to natural law derivationism, I argue, basedin part on Searle’s attempt to derive an “ought” from an “is,” that the new natural law theorists and McInerny can and should investigate natural law derivationismfor possible adoption. (shrink)

The sea god Poseidon is taken for granted as such in Classical Greek literature and iconography. Yet one does not have to look far in the literary or iconographical sources to find material that conveys a somewhat different impression. This has been noticed, and in the past there have been some interesting attempts to surmise Poseidon's origins and significance from the evidence at hand. This paper is not an attempt to reconstruct a putative Mycenaean deity, but will examine certain episodes (...) of the Homeric Iliad to suggest possible reasons for the inconsistencies and anomalies that appear. (shrink)

This article explores textual, paleographic, and archeological evidence for the “Long Wall” of Qi, arguably one of the earliest long walls erected on Chinese soil. It analyzes the possible dates of the Wall’s constructions, its route, its defensive role, and its relation to military, political, economic, and administrative developments of the Warring States period. I argue that the Long Wall played a significant role in Qi’s military strategy in the fifth and fourth centuries BCE, bolstering its (...) defensive capabilities. In the long term, however, the Wall might have inadvertently hindered Qi’s southward expansion, placing it in a disadvantageous position versus its rivals. (shrink)

Over a period of 10 years following the fall of the Berlin Wall in 1989, the author conducted interviews with 18 women on four separate occasions to determine their response to unification. The fourth set of interviews, which took place during the spring of 1999, revealed that the women had adopted one of three different ways of adapting to unification. In the first and largest group were women who were more engaged, active and upbeat about their new lives. (...) A second, smaller group consisted of women who were frustrated, discouraged and bitter and had turned inward. Women in the third group were involved in their new lives but exhausted by their efforts to maintain their involvement. The most significant factor in defining these women's different experiences appears to have been the ability to maintain a sense of community. These biographies show that women who successfully adapted to unification held onto the community they had enjoyed in the GDR or else created it anew, while those who were discouraged and bitter had lost connection with the wider community. (shrink)

Nearly one-quarter of Costa Rica's export earnings derive from an expanding tourist sector, one that is increasingly diversified in a mix of tourist niches. Ecotourism is the fastest growing niche and its promises are featured in a range of sites and practices, including the largest multinational hospitality and hotel corporations. These companies promote a vision of sustainability that relies on expanding consumption of ‘environmental' amenities through profit-driven global corporations – a vision that is, to some, antithetical to the very meaning (...) of ecotourism. Our study explores the historical evolution of tourist development in Costa Rica, specifically large-scale coastal development, as a means for national development. Amid pressures to attract foreign direct investment in a neoliberal era, Costa Rica has struggled to maintain its developmentalism, which includes social welfare, environmental protection, and public goods, including coastal preservation and public access. We argue Costa Rica's simult.. (shrink)

From the start, Americans were wrestling with the proper connections between "private and public felicity." On its face, the first line of the First Amendment to the Constitution seems to settle the issue: "Congress shall make no law respecting the establishment of religion or prohibiting the free exercise thereof." Thomas Jefferson declared that this provision "buil[t] a wall of separation between church and state." While the proscription against meddling with religion originally applied only to the national government, the Fourteenth (...) Amendment extended the Constitution—and, in theory, Jefferson's wall—to the state governments. But the Constitution is just the start of the story. America's boisterous, protean religious life sends waves of fervor breaking against Jefferson's wall. Religious fervor provokes moralistic attitudes that filter through American politics. This paper examines the reach of this moralizing effect with a glance at two very unlikely—that is, apparently secular—policy domains: health care and jails. (shrink)

In an article1 entitled Lucrèce et les éléphants, Professor Ernout has referred to recent archaeological evidence that in palaeolithic times the skeletons of mammoths were used in the construction of primitive habitations, and observes that the well-known lines of Lucretius. 532 ff. about India being so prolific inelephants that the whole land ‘milibus e multis vallo munitur eburno’ mayrefer not to anything legendary, nor to themilitary use of elephants in large numbers for frontier defence, but to a recognitionof the fact (...) that even in later times ‘les Indiens avaient pu conserver leurmode de vie et utiliser avec ses défenses d'éléphant le système de protectioninvente par leurs ancêtres, ou simplement conserver ces gigantesques os demammouths’, etc. (shrink)

As the structure of healthcare delivery undergoes a breathtaking transformation, many ethics committees are wondering how and if they will be affected. Although the impact has not yet been widely felt, hospital-based ethics committees cannot avoid the pressures and upheaval caused by the reorganization of healthcare. This article will briefly review some of the factors contributing to the transformation of medicine, and suggest a number of ways in which ethics committees can respond proactively.

The collection and disposal of rubbish and waste and the maintenance of a decent standard of hygiene was as much a problem for ancient city authorities as for modern town councils. The responsibility for the removal of waste would often be dependent upon the nature of the rubbish and the facilities which city authorities offered. Thus early in the fourth century B.C. the agoranomic law from Piraeus prohibited individuals from piling earth and other waste on the streets and compelled (...) the offender to remove it. The astynomic law from Pergamon, which probably dates originally to the Hellenistic period, similarly forbade the dumping or piling up of earth or the mixing of mortar on the streets of the city. As one of Demosthenes' speeches indicates, the effect of dumping rubbish indiscriminately was to raise the level of the road surface, which consequently restricted access and endangered adjacent property. Excavation of a triangular hieron to the south west of the agora at Athens further illustrates the results of dumping. Here it was found that, between the construction of the hieron in the late fifth century B.C. and the beginning of the fourth century B.C, the road surface on its northern side rose more than half a metre and covered the lower part of the wall of the hieron and its boundary marker. The accumulated fill included a deep layer of marble chips, which had been dumped in the area by marble workers. The laws from Piraeus and Pergamon were thus designed to keep streets passable, protect adjacent buildings, and safeguard pedestrians. (shrink)

Truth telling to persons living with dementia is a nuanced problem that demands negotiating between the hazards of principlism and the loving deceiver’s demand to lie as needed. To ban deception, as we do restraints, would be misguided and cruel. So too to demand we always tell the truth. We ought to adopt a practice called “creative care.” It begins with the premise that person’s living with dementia are capable of creativity. Creative care breaks down the mysterious fourth (...) class='Hi'>wall we build around persons living with dementia, especially persons with advanced dementia. It invites us to see a person living with dementia as a person who is capable of creating something beautiful. They need our time and words, not our lies and sedatives. (shrink)

In international literature of the last decade, few genres have been as widely read or as intensely discussed as autofiction. Writers of autofiction use a variety of literary means to do what the novel has always done: to illuminate the private sphere. Yet, as this article argues, the idea of the private sphere underlying autofiction structurally differs from that of the fictional novel. Starting from a reading of Sheila Heti’s 2018 novel Motherhood and an analysis of its reception in various (...) YouTube formats, this article shows that the private sphere to which autofiction grants access is no longer framed as a refuge for the individual from the public. Instead, autofiction stages and reflects a model of privacy in which intense self-observation directly serves the creation of new social ties. Autofiction aesthetically reflects on interpersonal networking. Moreover, in dramatizing the crossing of boundaries between the fictional and non-fictional, and in breaking »the fourth wall,« it aesthetically recreates the forging of new network connections. The continued success of contemporary autofiction therefore needs to be understood against the backdrop of the structural transformation of the private sphere within the network society. (shrink)

This paper reveals an ulterior motive for insisting on the necessary presence of narrators in film: the desire to fit film into a literary paradigm. Despite important theoretical links between film and literature, the assumption that films must be like novels in always having narrators is unsound. By moving beyond literature in the comparison of narrative media, and focusing specifically on cases of ‘breaking the fourth wall’ in film and theatre, we find that the presence and function of (...) a cinematic narrator depends as much on the features of a specific work as it does on the nature of narrative. (shrink)

Metagames: Games About Games scrutinizes how various meta devices, such as breaking the fourth wall and unreliable narrator, change and adapt when translated into the uniquely interactive medium of digital games. Through its theoretical analyses and case studies, the book shows how metafictional experimentation can be used to both challenge and push the boundaries of what a game is and what a player's role is in play, and to raise more profound topics such as those describing experiences of (...) people of oppressed identities. The book is divided into six chapters that deal with the following meta devices: breaking the fourth wall, Hypermediation, unreliable narrator, abusive game design, fragmentation, and parody. The book will predominantly interest scholars and students of media studies and game studies as it continues discourses held in the discipline regarding the metareferential character of digital games. (shrink)

Jansen and Wall suggest a new way of defending hard paternalism in clinical research. They argue that non-therapeutic research exposing people to more than minimal risk should be banned on egalitarian grounds: in preventing poor decision-makers from making bad decisions, we will promote equality of welfare. We argue that their proposal is flawed for four reasons.First, the idea of poor decision-makers is much more problematic than Jansen and Wall allow. Second, pace Jansen and Wall, it may be (...) practicable for regulators to uncover the values that a potential research participant holds when agreeing to enter a research project, so their claim that we must ban such research projects for all if we are to ban them for poor decision-makers looks to be unmotivated. Third, there seem to be cases where the liberty to enter the sort of research project Jansen and Wall discuss is morally weighty, and arguably should outweigh concerns of egalitarian distribution. Fourth, banning certain types of research, which seem on the face of it to offer an unfavourable risk-benefit ratio, would have unwelcome consequences for all clinical research, which Jansen and Wall do not recognize. (shrink)

Steven Wall has two compelling arguments for what I shall call public reason liberalism's reflexivity requirement. The political concerns to reconcile persons who hold diverse moral views, and to avoid authoritarianism in politics not only require the public justification of coercion but the public justification of the standard used to determine when coercion is publicly justified. The reflexivity requirement is said to entail that public reason is self-defeating. Once RR is correctly formulated, however, cases of self-defeat will be rare, (...) as citizens seldom employ public justification requirements as reasons. When they do, such requirements are rarely their sole reason for supporting political coercion. A properly formulated reflexivity requirement, therefore, does not imply self-defeat. It also allows for a more ecumenical understanding that establish the processes of public justification. (shrink)

A definition of art attempts to spell out what the word “art” means. In everyday life, we sometimes debate whether something qualifies as art: Can video games be considered artworks? Should my 6-year-old painting belong to the same category as Wallis’ Hold House Port Mear Square Island (see picture)? Is the flamboyant Christmas tree at the mall fundamentally different from a Louvre sculpture? Is a banana taped to a wall really art? Definitions of art in analytic philosophy typically answer (...) these questions by proposing necessary and sufficient conditions for an entity x to fall under the category of art. -/- Defining art is distinct from the ontological question of what kind of entities artworks are (for example, material objects, mental entities, abstractions, universals…). We do not, for example, need to know whether a novel and a sculpture have a distinct ontological status to decide whether they can be called “artworks.” -/- Definitions of art can be classified into six families. (1) classical views hold that all artworks share certain characteristics that are recognizable within the works themselves (that is, internal properties), such as imitating nature (mimesis), representing and arousing emotions (expressivism), or having a notable form (formalism). A modified version of this last option is enjoying a revival in 21st century philosophy, where art is said (2) to have been produced with the aim of instantiating aesthetic properties (functionalism). Classical definitions initially met with negative reactions, so much so that in the mid-twentieth century, some philosophers advocated (3) skepticism about the possibility of defining art while others critiqued the bias of the current definitions. Taking up the challenge laid out by theses critics, (4) a fourth family of approaches defines art in terms of the relations that artworks enjoy with certain institutions (institutionalism) or historical practices (historicism). (5) A fifth family of approaches proposes to analyze art by focusing on the specific art forms—music, cinema, painting, and so one—rather than on art in general (determinable-determinate definitions). (6) A last family claims that “art” requires to be defined by a disjunctive list of traits, with a few borrowed from classical and relational approaches (disjunctivism). (shrink)