This article analyzes articulations among urban enclaves, finance capital, and glass architecture by exploring MGM’s corporate investments in the Las Vegas CityCenter development and the Chinese enclave of Macau. CityCenter is an unsuccessful $9 billion master-planned urban community financed by MGM and Dubai World. Macau is a former Portuguese colony and Special Administrative Region of the People’s Republic of China which has, since its return to the PRC in 1999, replaced Las Vegas as the world’s most lucrative site of (...) casino gaming revenue. Taken together, CityCenter and Macau are illustrative of the political economy and cultural logics of financialization. Foreign investment from Las Vegas entrepreneurs has vitrified Macau, transforming it into a phantasmagoria of glass resorts. Macau in turn plays a crucial functional role in capitalism’s recomposition in East Asia, similar to the autochthonous role of the Italian city-states of Venice and Genoa in the historical origins of capitalism. In order to ‘read’ the cities of Las Vegas and Macau, I explore intertextual legibilities among fictitious capital that relies on glass fiber-optic technology to enable grand architectural projects; expressionist fictional representations of glass architecture and its utopian transformative potential; and glass buildings that themselves dissimulate in a manner not unlike fiction. (shrink)

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

Disturbed by these acrimonious arguments, the authors - former colleagues and university-press board members - embarked on an ambitious project to reexamine a number of major literary and philosophical works dealing with the liberal arts and education. With their discussions ranging from Plato to Rousseau, from Cicero to Vico, from Erasmus to Matthew Arnold, Sousa and Weinsheimer offer not a history of education philosophy but an examination of the present.

The œuvre of Portuguese photographer Jorge Molder can be construed as a series of series. These series are filled with a wealth of absent presences, of possibilities that arise and fade without ever reaching actualization or confirmation, thereby contributing to create a ‘detective-story’ atmosphere. This also proves to be true as regards Molder’s own body. Indeed, his face, his hands are recurrent “subjects” running through his 40 years of work. Even so, when we ask who the man is that (...) we see in Molder’s series, the answer is problematic. On the one hand, we know it is “him”, insofar as he himself is the model for his iconic “constructions”. On the other hand, Molder’s images are not “self-portraits” aiming to reveal the essence of his self, but rather “self-representations” creating a peculiar “character” who is and yet is not him: a double. (shrink)

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

If I were to review only the books written in Portuguese and published during 2016 and the first semester of 2017 in Portugal, this would no doubt be a very short article. In fact, the National Library of Portugal only displays thirteen entries from a search for utopia in the title, keyword, or subject; and once we exclude fiction, translations, reeditions, and books that, although they use utopia in the title, are not relevant to the field of utopian (...) studies, we are left with just four references.The situation is no doubt surprising given the fact that utopian studies is well established in the Portuguese academy and that a number of events were held across the country to commemorate the five hundredth anniversary... (shrink)

In The Art of Living, Alexander Nehamas argues that Michel de Montaigne, Friedrich Nietzsche, and Michel Foucault undertook a particularist art of living—a unique project of self‐construction. In so doing, argues Nehamas, they based their lives on the life of Socrates, that quintessentially ironic character. To this list of self‐fashioning philosophers, I add Fernando Pessoa, the twentieth‐century Portuguese writer. I argue that Pessoa, via the writings of his heteronyms, also took Socrates as the model for constructing a self. Moreover, (...) Pessoa employed all three kinds of irony that Nehamas argues is present in Plato’s writing, and did so not just to investigate the nature of the self, but to question its very existence. This is Pessoa’s formulation of the problem of the self. But Pessoa also borrowed from Nietzsche’s views on multiplicity, redeploying them in order to fabricate multiple selves. Pessoa’s solution to the problem of the self thus consists in the heteronymic device, which acts as a deus ex machina, unifying the disparate fictional voices and establishing Pessoa as a new, authentic self. Accordingly, Pessoa borrows from both Platonism and anti‐Platonism, distinguishing himself from both, so as to contrive—and simultaneously exemplify—an original art of living. (shrink)

Authors have a lot of leeway with regard to what they can make true in their story. In general, if the author says that p is true in the fiction we’re reading, we believe that p is true in that fiction. And if we’re playing along with the fictional game, we imagine that, along with everything else in the story, p is true. But there are exceptions to these general principles. Many authors, most notably Kendall Walton and Tamar (...) Szabó Gendler, have discussed apparent counterexamples when p is “morally deviant”. Many other statements that are conceptually impossible also seem to be counterexamples. In this paper I do four things. I survey the range of counterexamples, or at least putative counterexamples, to the principles. Then I look to explanations of the counterexamples. I argue, following Gendler, that the explanation cannot simply be that morally deviant claims are impossible. I argue that the distinctive attitudes we have towards moral propositions cannot explain the counterexamples, since some of the examples don’t involve moral concepts. And I put forward a proposed explanation that turns on the role of ‘higher-level concepts’, concepts that if they are satisfied are satisfied in virtue of more fundamental facts about the world, in fiction, and in imagination. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences (...) identify their contents, or to identify the norms governing the correct understanding and interpretation of works of fiction. -/- This book answers a wide range of both metaphysical and epistemological questions concerning fiction in a way that clarifies the relations between them. The metaphysical questions include: What distinguishes works of fiction from works of non-fiction?; What is the nature of fictive utterances?; What determines the contents of works of fiction?; What kinds of fictive content are there?; How broad in scope is fictive content?; and What kinds of things are fictional entities? The epistemological questions include: How do audiences identify the contents of authors’ fictive utterances?; How does understanding a work of fiction differ from interpreting it?; and What role does thinking and talking about fiction from an external perspective play in enabling communication through fiction? It develops the first single theory that provides answers to all these questions. (shrink)

By Portuguese myths we mean several kinds of narratives, all of which actualize fundamental aspects of the Portuguese national imagination. Some are foundation narratives (Sâo Mamede, Ourique); others are historical facts that were sung so often over the years by Portuguese and foreign poets that they came to signify basic schemes of the human imagination (Inês de Castro's pure love, whose realization was frustrated by a fight between two men, father and son); other so-called Portuguese myths, (...) on the contrary, are built around concepts that give metaphysical shape to supposed characteristics that define the national soul (saudosismo, the doctrine of nostalgia, which attempts to define the Portuguese national soul as the search for a mythical initial unity that would create a wholeness in which contraries would be abolished; the Fifth Empire as its realization on Earth); other Portuguese myths express the supposed divine predestination of the people and of the Portuguese Man, based upon divine intervention in the founding of the nation in Ourique (the Fifth Empire that would be the Age of Spirit announced by Joachim de Fiore); still others are based on historically negative facts (King Sebastian and the defeat at Alcazarquibir) but transformed through archetypal elements to show the capacity for renewal out of the defeat, a renewal that goes beyond real historical renewal to include spiritual renewal of the Portuguese Man and his fatherland, which should produce the Fifth Empire conceived either in earthly or spiritual terms. To these myths I will add a legend preceding the formation of the nation, King Roderick's Legend, because it attempts to justify the loss of Visigothic Spain to the Arabs. (shrink)

This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we (...) come to understand how other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we (...) assign to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

I present and discuss a counterexample to Kendall Walton's necessary condition for fictionality that arises from considering serial fictions. I argue that although Walton has not in fact provided a necessary condition for fictionality, a more complex version of Walton's condition is immune from the counterexample.

Despite widespread evidence that fictional models play an explanatory role in science, resistance remains to the idea that fictions can explain. A central source of this resistance is a particular view about what explanations are, namely, the ontic conception of explanation. According to the ontic conception, explanations just are the concrete entities in the world. I argue this conception is ultimately incoherent and that even a weaker version of the ontic conception fails. Fictional models can succeed in offering genuine explanations (...) by correctly capturing relevant patterns of counterfactual dependence and licensing correct inferences. Using the example of Newtonian force explanations of the tides, I show how, even in science, fiction can be a vehicle for truth. (shrink)

Andrew McGonigal presents some interesting data concerning truth in serial fictions.1 Such data has been taken by McGonigal, Cameron and Caplan to motivate some form of contextualism or relativism. I argue, however, that many of these approaches are problematic, and that all are under-motivated as the data can be explained in a standard invariantist semantic framework given some independently plausible principles.

A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we (...) are inclined to resist imagining (or even accepting as true in the fiction) what’s explicitly stated in the text. But if we can’t take the text’s word for it, how do we determine what’s true in a fiction? We propose an account of fiction interpretation in a dynamic setting (a version of DRT with a mechanism for opening, updating, and closing temporary ‘workspaces’) and combine this framework with belief revision logic. With these tools in hand we turn to modelling imaginative resistance and unreliable narrators. (shrink)

Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our (...) understanding of unreliable narrators and unreliable narration in fiction needs to accommodate stories that, on the face of it, cannot possibly be true. (shrink)

Fictional names pose a difficult puzzle for semantics. We can truthfully maintain that Frodo is a hobbit, while at the same time admitting that Frodo does not exist. To reconcile this paradox I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (Walton 1990) within an asymmetric semantic framework in the style of Kamp (1990). In my proposal, fictional statements are analyzed as dynamic updates on an imagination component of the interpreter’s mental state, while plain (...) assertions are updates on a belief component. Proper names – regular, empty, or fictional – are uniformly analyzed as presupposition triggers. The possibility of different attitude components referentially depending on each other is what ultimately allows us to account for the central paradox mentioned above. (shrink)

This study analyzes Portuguese seniors’ Internet activity and determine their reasons, benefits, and motivations for web use as well as the obstacles faced by non-users. Results were derived from a questionnaire completed by 189 seniors enrolled in universities for seniors. 68.1% defined themselves as Internet users. The seniors asked principally go online to check e-mail and gather information. They state that the Internet is useful, helps them to stay up-to-date, and to preserve relationships. Non-user status is not attributed to (...) old age or health reasons. According to the technology acceptance model, ease of use and perception of utility were related to both Internet use and its intensity of use. Family influence also played a key role. Gender differences were not found in Internet use, intensity of use, or in use motivations. (shrink)

Do fictions depend upon imagination? Derek Matravers argues against the mainstream view that they do, and offers an original account of what it is to read, listen to, or watch a narrative. He downgrades the divide between fiction and non-fiction, largely dispenses with the imagination, and in doing so illuminates a succession of related issues.

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of (...) pretense provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

By Portuguese myths we mean several kinds of narratives, all of which actualize fundamental aspects of the Portuguese national imagination. Some are foundation narratives (Sâo Mamede, Ourique); others are historical facts that were sung so often over the years by Portuguese and foreign poets that they came to signify basic schemes of the human imagination (Inês de Castro's pure love, whose realization was frustrated by a fight between two men, father and son); other so-called Portuguese myths, (...) on the contrary, are built around concepts that give metaphysical shape to supposed characteristics that define the national soul (saudosismo, the doctrine of nostalgia, which attempts to define the Portuguese national soul as the search for a mythical initial unity that would create a wholeness in which contraries would be abolished; the Fifth Empire as its realization on Earth); other Portuguese myths express the supposed divine predestination of the people and of the Portuguese Man, based upon divine intervention in the founding of the nation in Ourique (the Fifth Empire that would be the Age of Spirit announced by Joachim de Fiore); still others are based on historically negative facts (King Sebastian and the defeat at Alcazarquibir) but transformed through archetypal elements to show the capacity for renewal out of the defeat, a renewal that goes beyond real historical renewal to include spiritual renewal of the Portuguese Man and his fatherland, which should produce the Fifth Empire conceived either in earthly or spiritual terms. To these myths I will add a legend preceding the formation of the nation, King Roderick's Legend, because it attempts to justify the loss of Visigothic Spain to the Arabs. (shrink)

Can fictions make genuine assertions about the actual world? Proponents of the ‘Assertion View’ answer the question affirmatively: they hold that authors can assert, by means of explicit statements that are part of the work of fiction, that something is actually the case in the real world. The ‘Nonassertion’ View firmly denies this possibility. In this paper, I defend a nuanced version of the Nonassertion View. I argue that even if fictions cannot assert, they can indirectly communicate that what (...) is recounted as fictional is actually true. I show that this view is supported by independent linguistic data, and that it is able to defuse the objections that are typically raised against the Nonassertion View. I conclude by showing that this position has some interesting implications for testimonial cognitivism about fiction. (shrink)

This volume is a collection of essays of a philosophical nature on the subject of technology, introducing authors from the Portuguese-speaking community, namely from Portugal itself, Africa and Brazil. Their contributions detail a unique perspective on technology, placing this important topic within the historical, ideological and social contexts of their countries, all of which share a common language. The shared history of these countries and the cultural and economic specificities of each one have stimulated singular insights into these thinkers’ (...) reflections. The essays are thematically diverse. Among the topics covered are technogenic knowledge, visions of technology, risks and uncertainties, mediatization, digitalization, and datafication, engineering practice and ethics, alternative technoscientific strategies, ontotechnologies of the body, virtual and archive. The contributions also explore other themes that are more closely related to the semi-peripheral world, such as technological dependence and the incorporation of Western technology into the social structure of ancestral communities. This book appeals to students and researchers and provides a voice to authors whose work are not usually available in English-language publications. It serves as an ideal guide for all those who seek rigorous and geographically widespread knowledge regarding thinking on technology in several Portuguese-speaking countries. (shrink)

My goal is to reflect on the phenomenon of inadvertent creation and argue that—various objections to the contrary—it doesn’t undermine the view that fictional characters are abstract artifacts. My starting point is a recent challenge by Jeffrey Goodman that is originally posed for those who hold that fictional characters and mythical objects alike are abstract artifacts. The challenge: if we think that astronomers like Le Verrier, in mistakenly hypothesizing the planet Vulcan, inadvertently created an abstract artifact, then the “inadvertent creation” (...) element turns out to be inescapable yet theoretically unattractive. Based on considerations about actually existing concrete objects featured in fictional works (as Napoleon is in Tolstoy’s War and Peace), I argue that independently of one’s stand on mythical objects, admitting fictional characters as abstract artifacts is enough to give rise to the challenge at hand; yet this very point serves to undermine the challenge, indicating that inadvertent creation is not nearly as worrisome as Goodman suggests. Indeed, the inadvertent creation phenomenon’s generality extends far beyond objects of fiction and myth, and I will use this observation to counter a further objection. Taking fictional characters (and mythical objects) to be abstract artifacts therefore remains a viable option. (shrink)

In recent work, Walton has abandoned his very influential account of the fictionality of p in a fictional work in terms of prescriptions to imagine emanating from it. He offers examples allegedly showing that a prescription to imagine p in a given work of fiction is not sufficient for the fictionality of p in that work. In this paper, both in support and further elaboration of a constitutive-norms speech-act variation on Walton’s account that I have defended previously, I critically (...) discuss his objections. In addition to answering his concerns and developing the account further, I provide additional abductive support for its explanatory virtues vis-à- institutional accounts like Walton’s, and Gricean speech-act proposals. (shrink)

Portugal ranks fourth among countries with the highest rate of overweight population, considering that 67.6% of the Portuguese population over the age of 15 is overweight or obese. To our knowledge, limited studies have investigated students’ attitudes toward physical education in Portugal. Such research is necessary because it can provide valuable insights for policy and application in the curriculum development for physical education, which may eventually increase participation in physical and sports activities. This study analyzed students’ attitudes toward physical (...) education (PE) according to sociodemographic variables, including grade level, socioeconomic status, and gender, and their participation in extracurricular sports activities and respective PE grades. The sample comprised 476 high school students (from the 7th, 8th, and 9th-grade levels) from five public schools located in Portugal. The Students’ Attitudes toward Physical Education Questionnaire was adapted and validated for use with Portuguese students as a two-factor model. Findings show that students generally have a moderately positive attitude toward PE. However, students’ positive attitudes tend to decrease throughout high school, which is particularly significant in the 9th grade. Furthermore, students’ attitudes are influenced by gender, extracurricular sports practice, and grades. These findings may help stakeholders reflect on how to frame PE in a more meaningful way to create a solid foundation for maintaining an active lifestyle throughout life. Implications for further research and practice are discussed. (shrink)

In his new foreword to this edition, Hilary Putnam forcefully rejects these nativist claims.

Literary fiction is of crucial importance in human life. It is a source of understanding and insight into the nature of the human condition, yet ever since Plato, philosophers have struggled to provide a plausible explanation of how this can be the case. For surely the fictionality - the sheer invented character - of the literary text means that fiction presents not our world, but other worlds? In Fiction and the Weave of Life, John Gibson offers a (...) novel and intriguing account of the relationship between literature and everyday life, and shows how literature can give us an understanding of our world without literally being about our world. (shrink)

This paper focuses on the contributions to natural history, particularly in methods of plant classification of the Portuguese botanist, man of letters, diplomat, and Freemason Abbé José Correia da Serra (1751-1823), placing them in their national and international political and social contexts. Correia da Serra adopted the natural method of classification championed by the Frenchman Antoine-Laurent de Jussieu, and introduced refinements of his own that owe much to parallel developments in zoology. He endorsed the view that the classification of (...) plants should be based on the establishment of affinities rather than of differences. The emphasis on affinities went hand in hand with the development of the concept of symmetry. This idea was introduced by Correia da Serra in systematics and was adopted and further developed by his friend, Augustin-Pyramus de Candolle. Correia da Serra also argued that Cryptogamia reproduce sexually, advocated extension of methods of comparative anatomy from zoology to botany, and applied them to the study of fruits. Correia da Serra was one among many of the estrangeirados, Portuguese "Europeanized" intellectuals who traveled extensively abroad in most cases to escape political or religious persecution at home. The estrangeirados were important contributors to 18th and 19th century European thinking. Most of the estrangeirados were pivotal in the introduction, dissemination and propagation of the new sciences in Portugal, but unlike most of his fellow estrangeirados, Correia da Serra was also an innovative man of science in his own right. (shrink)

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

In the “Appendix” to the Treatise, Hume claims that he has discovered a “very considerable” mistake in his earlier discussion of the self. Hume's expression of the problem is notoriously opaque, leading to a vast scholarly debate as to exactly what problem he identified in his earlier account of the self. I propose a new solution to this interpretive puzzle. I argue that a tension generated by Hume's conceptual skepticism about real “principles of union” and his account of fictions of (...) the imagination is the defect identified in the “Appendix.”. (shrink)