scholarly journals Translation and metaphysics: a case for fictional characters

2020 ◽  
Vol 40 (1) ◽  
pp. 110-126
Author(s):  
Italo Lins Lemos
Keyword(s):  
Fictional Characters ◽  
Saul Kripke ◽  
Amie Thomasson

Se traduções diferentes de uma mesma obra literária têm sintaxes e semânticas diferentes, como elas podem ser sobre um e o mesmo personagem ficcional? Para responder essa pergunta é necessário (a) saber o que são personagens ficcionais e (b) apresentar suas condições de referência. A partir das obras de Amie Thomasson (1999, 2003, 2007) e Saul Kripke (1980, 2013), defendo que personagens ficcionais são artefatos abstratos cuja referência é fixada pelo batismo performado por um autor; e que a identidade de um personagem ficcional é preservada através da manutenção da mesma cadeia de referência. Por fim, mostro como os tradutores mantêm a cadeia de referência iniciada pelo autor de determinada obra e como consequentemente um personagem ficcional permanece o mesmo artefato abstrato no decorrer de diferentes traduções.

scholarly journals Actualism and Fictional Characters

2016 ◽  
Vol 20 (1) ◽  
pp. 61
Author(s):  
André Leclerc
Keyword(s):  
Actual World ◽  
Dimensional Space ◽  
Fictional Characters ◽  
Moore’S Paradox ◽  
Material Basis ◽  
Fictional Entities ◽  
Moore's Paradox ◽  
Amie Thomasson

http://dx.doi.org/10.5007/1808-1711.2016v20n1p61In what follows, I present only part of a program that consists in developing a version of actualism as an adequate framework for the metaphysics of intentionality. I will try to accommodate in that framework suggestions found in Kripke’s works and some positions developed by Amie Thomasson. What should we change if we accept “fictional entities” in the domain of the actual world? Actualism is the thesis that everything that exists belongs to the domain of the actual world and that there are no possibilia. I shall defend that there are abstract artefacts, like fictional characters, and institutions. My argument could be seen as a version of Moore’s paradox: it is paradoxical to say: “I made (created) it, but I do not believe it exists”. Moreover, there are true sentences about them. I will examine what it means to include abstract artefacts in the domain of the actual world. I favour a use of “exist” that includes beings with no concrete occupation of tri-dimensional space; to exist, it is enough to have been introduced at some moment in history. Abstract artefacts, like fictional characters, exist in that sense. I argue that it is important to distinguish two perspectives (internal and external) in order to clarify the kind of knowledge we have of fictional characters. However, their existence presupposes a relation of dependence to a material basis and the mental activities of many people.

scholarly journals Artefactualism as an Ontology of Art

2021 ◽  
Author(s):  
◽  
Alistair Hamel
Keyword(s):  
Fictional Characters ◽  
Works Of Art ◽  
Ontology Of Art ◽  
Amie Thomasson

<p>This thesis argues for artefactualism about works of art, which is the claim that works of art are artefacts. It does this by considering the cases of works of music, and works of fiction, and arguing that each of these are artefacts, or existent, created, individual entities. To do this, it argues against anti-realist, eternalist, and type theories in these domains. The thesis draws on arguments made by philosophers such as Amie Thomasson regarding fictional characters and Guy Rohrbaugh regarding repeatable works of art.</p>

scholarly journals Fictional entities as artifacts: some problems for Amie Thomasson’s theory

2016 ◽  
Vol 59 (2) ◽  
pp. 5-18
Author(s):  
Andrej Jandric
Keyword(s):  
Abstract Objects ◽  
Fictional Characters ◽  
Singular Terms ◽  
Study Evaluation ◽  
Fictional Entities ◽  
The Common ◽  
Hybrid Account ◽  
Literary Practices ◽  
Intentional Acts ◽  
Amie Thomasson

Amie Thomasson has developed a theory of fictional entities, according to which they exist as contingent abstract objects. In her view, fictional characters are cultural artifacts just as the works of fiction they feature in. They are doubly dependent objects: for their becoming they depend on creative intentional acts of their author, and for maintaining their existence they depend on preservation of a copy of any fictional work they appear in. Thomasson claims that her theory has the advantage of vindicating the common beliefs about fictional entities embodied in the study, evaluation and interpretation of literature. However, I argue that, under this theory of fictional entities, no account of reference of fictional singular terms ? neither the descriptive, nor the causal, nor Thomasson?s preferred hybrid account ? can accommodate all the aspects of our literary practices.

scholarly journals Artefactualism as an Ontology of Art

2021 ◽  
Author(s):  
◽  
Alistair Hamel
Keyword(s):  
Fictional Characters ◽  
Works Of Art ◽  
Ontology Of Art ◽  
Amie Thomasson

<p>This thesis argues for artefactualism about works of art, which is the claim that works of art are artefacts. It does this by considering the cases of works of music, and works of fiction, and arguing that each of these are artefacts, or existent, created, individual entities. To do this, it argues against anti-realist, eternalist, and type theories in these domains. The thesis draws on arguments made by philosophers such as Amie Thomasson regarding fictional characters and Guy Rohrbaugh regarding repeatable works of art.</p>

Saul Kripke

2004 ◽  
Author(s):  
G. W. Fitch
Keyword(s):  
Saul Kripke

An American Dream

Public Voices ◽  
2017 ◽  
Vol 6 (2-3) ◽  
pp. 123
Author(s):  
R. J. Hansen
Keyword(s):  
American Dream ◽  
New Technology ◽  
Hard Core ◽  
Fictional Characters

Malfunctioning of new technology causes mass confusion at the ballot box on the Election Day: people vote for fictional characters, actors who play them, and dead presidents; hard-core Republicans find themselves voting for Democratic candidates and proud liberals give their votes to representatives of the GOP.

Between Madras and Chennai: Narratives of belonging in a post colonial city

2021 ◽  
pp. 002198942199245
Author(s):  
Kavithaa Rajamony ◽  
Jyotirmaya Tripathy
Keyword(s):  
Institutional Change ◽  
Meaning Making ◽  
Fictional Characters ◽  
Cultural Meanings ◽  
Contemporary Culture ◽  
Post Colonial ◽  
Cultural Autonomy ◽  
New Name ◽  
Fictional Narratives ◽  
The City

Fictional narratives on Chennai, after its official conversion from Madras in 1996, offer an intriguing register for exploring ways of belonging. Using a postcolonial framework, the paper closely scrutinizes T. S. Tirumurti’s Clive Avenue and Chennaivaasi (and some other authors invested in Chennai’s contemporary culture) and subjects them to critique as sites of meaning making. An effort is made to explore how these narratives respond to the new reality of Chennai, to what extent they see the city producing a standardized experience, and how the fictional characters corroborate or contest institutional change. In the process, the texts are brought to converse with the postcolonial desire for cultural autonomy, its mediation by a nativist agenda, as well as the ambivalence and contradictions inherent in such a desire. The texts betray the inadequacies of the new name as a stable container of cultural meanings and propose an idea of the city that is internally incoherent and multi-experiential.

scholarly journals Plot Structure Decomposition in Narrative Multimedia by Analyzing Personalities of Fictional Characters

2021 ◽  
Vol 11 (4) ◽  
pp. 1645
Author(s):  
O-Joun Lee ◽  
Eun-Soon You ◽  
Jin-Taek Kim
Keyword(s):  
Social Networks ◽  
Social Relationships ◽  
Fictional Characters ◽  
Story Line ◽  
Popular Narrative ◽  
Personality Changes ◽  
Structure Decomposition ◽  
Plot Structure

This study aims to decompose plot structures of stories in narrative multimedia (i.e., creative works that contain stories and are distributed through multimedia). Since a story is interwoven with main plots and subplots (i.e., primary and ancillary story lines), decomposing a story into multiple story lines enables us to analyze how events in the story are allocated and logically connected. For the decomposition, the existing studies employed character networks (i.e., social networks of characters that appeared in a story) and assumed that characters’ social relationships are consistent in a story line. However, these studies overlooked that social relationships significantly change around major events. To solve this problem, we attempt to use the changes for distinguishing story lines rather than suffer from the changes. We concentrate on the changes in characters’ social relationships being the result of changes in their personalities. Moreover, these changes gradually proceed within a story line. Therefore, we first propose features for measuring changes in personalities of characters: (i) Degrees of characters in character networks, (ii) lengths of dialogues spoken by characters, and (iii) ratios of out-degrees for in-degrees of characters in character networks. We supposed these features reflect importance, inner/outer conflicts, and activeness of characters, respectively. Since characters’ personalities gradually change in a story line, we can suppose that the features also show gradual story developments in a story line. Therefore, we conduct regression for each feature to discover dominant tendencies of the features. By filtering scenes that do not follow the tendencies, we extract a story line that exhibits the most dominant personality changes. We can decompose stories into multiple story lines by iterating the regression and filtering. Besides, personalities of characters change more significantly in major story lines. Based on this assumption, we also propose methods for discriminating main plots. Finally, we evaluated the accuracy of the proposed methods by applying them to the movies, which is one of the most popular narrative multimedia.

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