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In this article we attempt to envision what utopian higher education could be given the realities that currently shape students' experiences. Postsecondary education is fraught with admissions that favor those with social, cultural, and economic capital; with course enrollment, class size, and instructor accessibility governed by bureaucratic labyrinths and austerity measures; and with major and career selection constrained by looming student debt. As higher education perpetually reproduces social stratification and increasingly mimics corporate practices, it is imperative to ask who and what higher education is for. Why do we continue to engage in it? Are there ways to salvage it from within, or does it require demolishing, clearing the rubble, and building from scratch? Can a utopian version of higher education exist at all if wider social relations endure? Using speculative fiction, this piece grapples with re-envisioning higher education as students' daily lives, and the world at large, remain within the confines of capitalist realism.

This paper attempts to provide a new understanding of the gutter and how it is used to significant effect in Gene Luen Yang's, Boxers & Saints. This research draws upon the work of Scott McCloud to establish a framework for the theoretical applications of the gutter. Most prior research focuses on the gutter within the page. This article demonstrates how Yang pushes the concept of the gutter further by creating a new type of gutter that moves beyond the pages and across texts. Then the research attempts to demonstrate how the idea of the textual gutter heightens the transnational elements that define Boxers & Saints.

This paper argues that the contemporary climate crises we see around our planet correlate with a colonial crisis of (literary) imagination. The author engages with Caribbean literary scholar Sylvia Wynter and other anti-colonial scholars to trace how the colonial literary imagination is rooted in the euro-western humanism and racial capitalism that governs the west, the stories and literary forms that frame it, and whose logics continue to be rehearsed across the disciplines--particularly in English literatures taught in school. The paper then argues that to understand the histories of this crisis of imagination and its link to climate crises, and perhaps paradoxically access literature's speculative potential to imagine different climate futures, literary educators and scholars need to prioritize literatures and literary critiques that are embedded in a different relationship to the imagination and ecology.

This paper is aimed at interpreting Edgar Allan Poe's 'The Masque of the Red Death' (1842) and its portrayal of death in relation to the Holy Qur'an and Arabic literary heritage. This reading provides new insights into the understanding of the story. The paper argues that Poe's story and its depictions of death allows for a transtextual analysis as it is based, for a significant extent, on stories from the Qur'an, the holy book of Islam, which informs of the inevitability of death. In addition, the anatomic study of the story investigates the influence of Arabic literary heritage and its role in arousing the writer's imagination. Scholarly work notes that Poe's story follows many traditions of gothic fiction and is often analysed as an allegory about the inevitability of death, though some critics advise against an allegorical reading. Apart from scholarly work on the story, the paper is purported at rereading the story and explores the transtextual connections and affiliations between the story's portrayal of death and what Qur'an tells about death. There are striking moments of parallelism between the two sources on the notion of death although the story's oriental and Islamic references to death shine implicitly through and never made explicit nor directly copy the Qur'anic verse or the Arabic literary sources. Therefore, the paper digs deeply into the story to explore how its representations of death are influenced and shaped by the Holy Qur'an and Arabic literary heritage.

Many educators in adult, community and higher education contexts are concerned with fostering reflective learning amongst their students. This paper explores the concept of critical reflection and considers how engaging with fiction may be an innovative pedagogical approach to support critical learning opportunities. Drawing upon interviews with fiction writers, ways in which critical reflection may be encouraged in connection to reading and writing fiction are taken up by exploring three different thematic areas that relate to a Habermasian framework of knowledge constitutive approaches to learning. These different areas can be categorised as (a) technical-rational, (b) humanistic and (c) critical or emancipatory. The first of these considers critical reflection as a way to develop technical capacities as a creative writer. The next section takes up a humanistic framework to explore the value of individual and collective learning opportunities to enhance personal growth and critical reflection. The third area of discussion considers a deeper critical or emancipatory framework of learning through critical reflection which may lead to social change. The paper concludes by considering the value of arts-informed adult education approaches, such as those related to fiction writing, to enhance the development of critical reflection amongst adult learners.

This paper examines the domestication of children literature through the comparative study of two translations of "Alice's Adventures in Wonderland" by Vladimir Nabokov and Boris Zakhoder. "Alice's Adventures in Wonderland" has a reputation for being difficult to translate into foreign languages due to its strong linguistic features of world play and parody embedded in British culture. Nabokov and Zakhoder demonstrate different approaches in translating the book and providing opportunities for Russian children to feel the same emotion and imagination that English children would feel when reading Carroll's book. While Nabokov attempts to fully translate the meanings of Carroll's wordplay, the rhyme of poetry and humor, Zakhoder focuses more on direct translation of original text or adding new contents to facilitate better understandings for Russian children. Nabokov exhibits more ideal translation approach of Carroll's work and Zakhoder represents typical translation approach of Soviet era.

This paper explores ways in which student-teachers in the Lifelong Learning sector are able to draw on fictionalised accounts of their own teaching practice experiences in order to gain a clearer understanding of their models and expectations of professionalism, and of how they, as individuals, locate their current position within the profession as a community of practice. It argues that the translation of experience into fiction--in this case specifically in the form of fairy tales--can be usefully applied in order to enhance and encourage reflection on practice as part of an action research cycle. Drawing on the evidence gathered, the paper goes on to suggest that student teachers' main preoccupation at this stage of their development is not so much with meeting "standards" of professionalism as with questions of behaviours and practices that will lead to a sense of belonging and acceptance; and with the need to transform their status, in relation to the profession, from that of "outsider" to "insider".

Traditionally, we English faculty have warned our students against simply identifying with a literary work's characters. For us, such attachments constitute "reading badly." But we engage in identifications, too, including ones with the work's author. A consideration of critical responses to "Benito Cereno" and "Uncle Tom's Cabin" enables us to see how our own identifications often operate. In our teaching of reading, we should openly acknowledge our own commitments and help our students negotiate them. (Contains 32 notes.)

Describes a panel discussion on the acceptability of fiction in academic discourse. Gives advice to scholars wondering whether fiction should be considered as knowledge: stop taking yourself so seriously; embrace "scholartistry", the application of the artistry of imaginative powers to scientific inquiry; know that truth changes; explore the territories of the heart and spirit in courageous and honest ways. (TD)

In physical education (PE) and sports there is little theoretical and empirical knowledge about transgender people, and particularly, on how they are and can be imagined within this context. In this paper, we present and analyze a pedagogical activity based on the reading and discussion of a fictional representation of a transgender person within a group of undergraduate students of Sport Sciences. Our theoretical frame situates "abjection" and "alterity" as opposing concepts on a continuum. Results show several ways in which a transgender person is imagined by students, as well as constraints and possibilities for the pedagogical proposal to promote moral imagining of transgender. Students situated in abjection justify their rejection of transgender persons, bringing up compassion (such as pity), "genitalization," symbolic violence and stigmatization of transgender persons. The realm between abjection and alterity is characterized by tolerance of different normalities, as well as linguistic constraints hindering the acceptance of transgender people. In alterity, students acknowledge their limited ability to "totally" imagine what it is like to be transgender, and also, their will to encounter transgender persons "face-to-face." Although results of this experience should not be interpreted in a prescriptive way, they show different ways to imagine transgender people in the domain of PE and sports, as well as the importance of considering the ethics of alterity as a means to advance in the moral imagining of transgender persons and, in general, of the distant Other.

Discusses the importance of imagination and the power of stories. Draws on insights gained from visits with children growing up in difficult environments, and shares examples from the author's own works written for young adults. (AEF)

This paper reports on a pilot study in which children aged 7-12 (N = 68) had an opportunity to study in a novel formal and informal learning setting. The learning activities were extended from the classroom to the playful learning environment (PLE), an innovative playground enriched by technological tools. Curriculum-based learning was intertwined with game co-creation, play, and computer games in the PLE. The results indicate that the children considered learning in groups, through co-creation and turning fact into fiction, to be a rewarding way to learn, practice group work and use their imagination for a common goal. Teachers felt their role was important and challenging, especially in terms of the amount of tutoring and lesson planning. The study shows that one way to foster activity, creativity, imagination, and group work skills-along with academic achievement-is to integrate fact and fiction and a playful learning environment in teaching, studying and learning. (Contains 1 table and 4 figures.)

The aim of the research project was to explore new ways in which we might evaluate boys' and girls' engagement and "performance" in English at Key Stage 3. This paper draws on recent theories regarding literacy, identity and gender and includes an analysis of short stories written by boys and girls aged 12- to 13-years-old. An exploration of literacy, which relates here to the pupils' treatment of theme, style and structure, will develop further an understanding of their ability to access the imagination and express original creative ideas. This discussion suggests ways to develop the teaching of creative writing and explores to what extent reading pupils' narrative fiction might reveal their cultural literacy. (Contains 1 table and 3 figures.)

Discusses how the imagination not only helps one to create fantasy worlds, but makes one's self what he or she is. (HOD)

Analyzes radio program in which host Garrison Keillor fabricates fictional community of Lake Wobegon, thus addressing another fabricated community, the baby boomers. Concludes Keillor's persona moves from nostalgia and bitterness to acceptance of conditions of community, reflecting and encouraging a passive, uncritical approach toward community life in an audience that has outgrown activism and is searching for an alternative. (NKA)

Discusses the relationship between individuals and societies, equating human experience and development--particularly language development--with fiction making. Notes the implications this outlook has for English teachers. (RL)

Having students read, view, or create imaginative works will not impart to them moral didactic or morally important knowledge, but such practices can contribute to moral education by extending children's visions of moral possibilities and perhaps by increasing their skills in understanding people. (SJL)

The phenomenon of a "secondary world"--the world of imagination created by writers of fiction in which writers and readers mentally participate--is described. Theories on the subject are discussed, and a three-dimensional model of the psychological structure of this world is presented. (PP)

An author posthumously thanks a fellow Canadian novelist for his inspiration, through an allegory of Theriault's imaginary world and the strange and colorful season of "Indian Summer," the season in which Theriault died. (MSE)

The essence of deities has captured our imaginations for as long as we can remember. Does a God exist, or is the divine entity just a figment of our dreams, a projection? Is God what Aribiah Attoe calls a "regressively eternal and material entity" or what Gericke calls "a character of fiction with no counterpart outside the worlds of text and imagination"? This paper aims to wrestle with those questions from a theological perspective and to look at the ontological status of Yahweh and how that worldview lends itself to African Traditional Religions in conversation with Attoe's method of inquiry from the perspective of African Metaphysics. This paper aims to be a part of the larger project undertaken by the author, showing that philosophy can and should be an auxiliary discipline in Old Testament Studies as it has been seen, both fields have ways of similar arguing and coming to the same conclusions. This paper is intended to be an interlocutory exercise or experiment and does not seek to validate any hypothesis about either view. [ABSTRACT FROM AUTHOR]

Fictionality and fictional experiences are ubiquitous in people's everyday lives in the forms of movies, novels, video games, pretense and role playing, and digital technology use. Despite this ubiquity, though, the field of cognitive science has traditionally been dominated by a focus on the real world. Based on the limited understanding from previous research on questions regarding fictional information and the cognitive processes for distinguishing reality from fiction, we argue for the need for a comprehensive and systematic account that reflects on related phenomena, such as narrative comprehension or imagination embedded into general theories of cognition. This is important as incorporating cognitive processing of fictional events into memory theory reshapes the conceptual map of human memory. In this paper, we highlight future challenges for the cognitive studies of fictionality on conceptual, neurological, and computational levels. Taking on these challenges requires an interdisciplinary approach between fields like developmental psychology, philosophy, and the study of narrative comprehension. Our aim is to build on such interdisciplinarity and provide conclusions on the ways in which new theoretical frameworks of fiction cognition can aid understanding human behaviors in a wide range of aspects of people's daily lives, media consumption habits, and digital encounters. Our account also has the potential to inform technological innovations related to training intelligent digital systems to distinguish fact and fiction in the source material. [ABSTRACT FROM AUTHOR]

The study of imagination has always had a significant role in the study of art and aesthetics. And imagination plays a central role in Ricoeur's philosophical system; a subject that has received less attention. It was Ricoeur's goal to bring the productive aspect of imagination back to the main text of philosophy, by presenting a critical reading of the history of philosophy. By using Emanuel Kant's imagination analysis, Ricoeur revived the various dimensions of imagination in the field of perception, to achieve a comprehensive theory of productive imagination. This paper attempts to address the importance of painting as a work of art and its relevance to reality, by studying the path taken by Ricoeur to present a theory of productive imagination. In this regard, explaining the role of Iconic Augmentation, which is one of the latent characteristics of the productive aspect of imagination, better defines the action present in the image and the dialectical position of language and image. Ultimately, painting, as a fictional work that its idea's reference is not merely a representation, becomes more real as its imaginativeness increases. The result is a new approach to describe the nature of painting as a work of art. [ABSTRACT FROM AUTHOR]

This article analyses how young African writers challenge stereotypes about the continent through their imagination of places in online short stories. These stories appear on the literary websites Brittle Paper, Jalada, Saraba, Flash Fiction Ghana, Adda and African Writer Magazine with a focus on cities and villages. Authored by ten writers from Ghana, Nigeria, Kenya, Malawi and Egypt, the stories contain elements of fiction that risk perpetuating negative stereotypes about Africa as they imagine their respective settings. However, textual analysis supported by an appreciation of context reveals how the writers use these stereotypes as basis to craft strong African narratives. By doing so, the writers emphasize the effect that places have on characters, theme, setting and the image of Africa. Ultimately, the roles that urban and rural spaces play in online fiction are multifaceted and enhance the African narrative in complex ways. [ABSTRACT FROM AUTHOR]

Copyright of Linguagem e Ensino is the property of Linguagem e Ensino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Investigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositions that seem to deal with aspects of fictionality we have to be careful and ask whether these propositions are actually intended to talk about phenomena that belong to the realm of fiction/ality. However, if we want to gain some knowledge about the history of fiction/ality, we have no other choice than to tackle the arduous task of trying to detect similarities (and differences) between the present-day discourse on fictionality and (allegedly) related discourses of other epochs. The goal of this paper is to make a small contribution to this task. The starting point of the paper are two observations, which also determine the approach I have chosen for my investigations. 1) In the 18th century the terms »fiction« or »fictionality« do not seem to play a significant role in the discussion of art and literature. However, some propositions of the discourse on imagination, one of the most prominent discourses of the Age of Enlightenment, seem to suggest that this discourse deals more or less explicitly with questions regarding the fictionality of literary artefacts as we conceive it today. 2) The concepts of imagination and fictionality are also closely linked in present-day theories of fiction. Naturally, the question arises how the entanglement of the concepts of fictionality and imagination can be understood in a historical perspective. Can it function as a common ground between 18th-century and present-day conceptions of fiction/ality? Is imagination still used in the same ways to explain phenomena of fictionality or have the approaches evolved over the last 250 years and if yes, then how? These kinds of questions inevitably lead to one major question: What do 18th-century and present-day conceptions of fiction/ality have in common, how much and in what ways do they differ? For heuristic reasons, the article is subdivided according to what I consider the three salient features of today's institutional theories of fiction (i. e. theories which try to explain fictionality as an institutional practice that is determined and ruled by specific conventions): fictive utterance (aspects concerning the production of fictional texts), fictional content (aspects concerning the narrated story in fictional texts) and fictive stance (aspects concerning the reader's response to fictional texts). The article focusses on the English, French and German-speaking debates of the long 18th century and within these discourses on the most central and, therefore, for the development of the concept of fiction/ality most influential figures. These are, most notably, Madame de Staël, Voltaire, Joseph Addison, Georg Friedrich Meier, Christian Wolff, the duo Johann Jakob Bodmer and Johann Jakob Breitinger as well as their adversary Johann Christoph Gottsched. The relevance of the article for a historical approach to the theory of fiction lies in the following aspects. By means of a tentative reconstruction of some carefully chosen propositions of 18th-century discourse on imagination I want to show that these propositions deal in some way or other with literary phenomena and theoretical concepts that in present-day theory are addressed under the label of fiction/ality. By comparing propositions stemming from 18th-century discourse on imagination with some major assertions of present-day theories of fiction I try to lay bare the similarities and the differences of the respective approaches to literary fiction and its conceptualisations. One of the major questions is to what extent these similarities and differences stem from the differing theoretical paradigms that are used to explain literary phenomena in both epochs. I venture some hypotheses about the influence of the respective theoretical backgrounds on the conceptions of fictionality then and today. An even more intriguing question seems to be whether the practice of fictional storytelling as we know and conceive it today had already been established during the 18th century or whether it was only in the process of being established. [ABSTRACT FROM AUTHOR]

In recent years, the role of fiction in Hobbes's system of philosophy has come under growing pressure. This is most clearly reflected in various attempts to dismiss the characterization of Hobbes's state as a person by fiction or even as a person at all. This paper argues against this trend by demonstrating that Hobbes employs fiction in a more consistent and more fundamental way than has been previously recognized. In particular, the paper argues that Hobbes uses fiction to refer to both a peculiar set of mental operations and the 'things' they originate, and that he attributes fiction, as process and as product of that process, key cognitive and world-making functions. Chief amongst the latter, the article argues, is the enactment of the people as a representational fiction. This requires the creation of an intersubjectively shared imaginary encouraging individuals to think themselves and act from their position as citizens, identifying with a collective whose unified will the state – and it only – expresses and enacts. [ABSTRACT FROM AUTHOR]

This paper examines 'freedom' and its state of arrival in Nadine Gordimer's post-apartheid fiction. It explores the possibility of a sense of freedom in the 'white' author, who has shed the burden of writing for a cause in order to prove her allegiance to the truth. In the post-apartheid scenario, Gordimer is liberated of the critical and social pressure to respond actively to the local dilemmas and social conflicts. She experiments with literary conventions and techniques so as to create a euphoric blend of humanistic, sociological and socio-political narratives. There are alternative endings, overlapping and fragmented narratives, intertextual references, multilayered structures, allegoric and symbolic allusions, varied motifs and metaphors that enhance Gordimer's aesthetic endeavor and widen the narrative perspective. She expands her imagination in the post-apartheid era and creates fiction that moves through differing cultural contexts, blurring different temporal and spatial boundaries. [ABSTRACT FROM AUTHOR]

This paper presents an artifactual approach to models that also addresses their fictional features. It discusses first the imaginary accounts of models and fiction that set model descriptions apart from imagined-objects, concentrating on the latter (e.g., Frigg in Synthese 172(2):251–268, 2010; Frigg and Nguyen in The Monist 99(3):225–242, 2016; Godfrey-Smith in Biol Philos 21(5):725–740, 2006; Philos Stud 143(1):101–116, 2009). While the imaginary approaches accommodate surrogative reasoning as an important characteristic of scientific modeling, they simultaneously raise difficult questions concerning how the imagined entities are related to actual representational tools, and coordinated among different scientists, and with real-world phenomena. The artifactual account focuses, in contrast, on the culturally established external representational tools that enable, embody, and extend scientific imagination and reasoning. While there are commonalities between models and fictions, it is argued that the focus should be on the fictional uses of models rather than considering models as fictions. [ABSTRACT FROM AUTHOR]

This paper maintains that Sartre's concept of magic has to be considered as a full-fledged and quite technical phenomenological concept. Such concept (a) describes a very specific way in which one is able to be conscious-of-something and (b) reveals some structural features of consciousness and its mode of existence. Moreover (c) the "magical" cluster emotions-imagination-language also appears to be the existential matrix, as it were, from which fictions are generated: starting from the most original fiction of all, namely the constitutive fiction upon which each individual existence is built, i.e. the fiction of one's own essence. [ABSTRACT FROM AUTHOR]

Many educators in adult, community and higher education contexts are concerned with fostering reflective learning amongst their students. This paper explores the concept of critical reflection and considers how engaging with fiction may be an innovative pedagogical approach to support critical learning opportunities. Drawing upon interviews with fiction writers, ways in which critical reflection may be encouraged in connection to reading and writing fiction are taken up by exploring three different thematic areas that relate to a Habermasian framework of knowledge constitutive approaches to learning. These different areas can be categorised as (a) technical-rational, (b) humanistic and (c) critical or emancipatory. The first of these considers critical reflection as a way to develop technical capacities as a creative writer. The next section takes up a humanistic framework to explore the value of individual and collective learning opportunities to enhance personal growth and critical reflection. The third area of discussion considers a deeper critical or emancipatory framework of learning through critical reflection which may lead to social change. The paper concludes by considering the value of arts-informed adult education approaches, such as those related to fiction writing, to enhance the development of critical reflection amongst adult learners. [ABSTRACT FROM AUTHOR]

What are the limits of the imagination in morality? What role does fiction play in moral thought? My starting point in addressing these questions is Tamar Szabo Gendler's 'puzzle of imaginative resistance', the problem of explaining the special difficulties we seem to encounter in imagining to be right what we take to be morally wrong (or vice versa) in fiction, and Gendler's claim that those difficulties are due to our unwillingness to imagine these things, rather than our inability to imagine what is logically or conceptually impossible. Using a wide range of examples, I argue that there is no puzzle of imaginative resistance and that to think that there is such a puzzle is to miss almost entirely the role fiction plays in moral thought. That, however, does not mean that there are no limits to what we can imagine in morality. In fact, I argue, the imagination is limited in morality, as elsewhere, by what is logically or conceptually possible. Together, those claims suggest that fiction and the imagination play a fundamental role in shaping our conception of the moral landscape. The paper concludes by drawing some of the consequences of these views for the nature of moral thought. [ABSTRACT FROM AUTHOR]

This article discusses why it is the case that we refuse to accept strange evaluative claims as being true in fictions, even though we are happy to go along with other types of absurdities in such contexts. For instance, we would refuse to accept the following statement as true, even in the context of a fiction: (i) In killing her baby, Giselda did the right thing; after all, it was a girl. This article offers a sensibilist diagnosis of this puzzle, inspired by an observation first made by David Hume. According to sensibilism, the way we feel about things settles their evaluative properties. Thus, when confronted with a fictional scenario where the configuration of non-evaluative facts and properties is relevantly similar to the actual world, we refuse to go along with evaluative properties being instantiated according to a different pattern. It is the attitudes we hold in the actual world that fix the extension of evaluative terms, even in nonactual worlds. When engaging with a fiction, we (to some extent) leave our beliefs about what the world is like behind, while taking our emotional attitudes with us into the fiction. To substantiate this diagnosis, this paper outlines a sensibilist semantics for evaluative terms based on recent discussion regarding predicates of personal taste, and explains how, together with standard assumptions about the nature of fictional discourse, it makes the relevant predictions with respect to engagement with fictions. [ABSTRACT FROM AUTHOR]

There are three competing theories (imagination + i-desire, imagination + desire, and desire + desire) to account for our affective responses to fictional events. The proponents of imagination + i-desire argue that the alternative accounts imply that consumers of fiction are irrational. In Imagination, Desire and Rationality, Spaulding challenges this claim and argues that the imagination + desire and desire + desire accounts do not imply that consumers of fiction are irrational. In this paper, I attempt to rebut Spaulding's arguments. [ABSTRACT FROM AUTHOR]

This paper argues that we should distinguish two different kinds of imaginative vividness: vividness of mental images and vividness of imaginative experiences. Philosophy has focussed on mental images, but distinguishing more complex vivid imaginative experiences from vivid mental images can help us understand our intuitions concerning the notion as well as the explanatory power of vividness. In particular, it can help us understand the epistemic role imagination can play on the one hand and our emotional engagement with literary fiction on the other hand. [ABSTRACT FROM AUTHOR]

This paper focuses on the performative character of fictional language. While assuming that all speaking is a form of acting, it aims to shed light on the nature of fictional, and particularly literary, speech acts. To this aim, relevant input can be found in (a) the discussion of the ontological status of fictional entities and of their constitution and in (b) the inquiry into the interaction between author and receiver of a fictional work. Based on the critical assessment of different approaches in the debate on speech-act theory and literary fiction, the article first clarifies why the study of the performative character of fictional language cannot be reduced to either the discussion of the status of singular speech acts in the fiction or the inquiry into the pretend or unserious nature of fictional speech acts formulated by an author. While referring to Roman Ingarden's, Jean-Paul Sartre's, and Wolfgang Iser's work, it subsequently argues that such a performative character should be understood as a specific serious affordance—or appeal—to imagine and thus to participate in the constitution of the fictional world. [ABSTRACT FROM AUTHOR]

Copyright of Leisure Studies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article argues that the MLIS curriculum should offer information ethics courses that enable future information professionals to develop their imaginative powers through close study and discussion of fiction. LIS students reading ethical theory and fiction bring the two into conversation and as a result reach a better understanding of both. Crucially, this process presupposes the exercise of empathetic imagination, a mental capacity that helps us inhabit other perspectives and modes of being in the world. The paper supports this discussion with evidence from an instructional intervention implemented during an information ethics course within an LIS program at a large public research university. [ABSTRACT FROM AUTHOR]

This essay examines Hume's treatment of money in light of his view of the imagination. It begins with his claim that money is distinct from wealth, the latter arising, according to vulgar reasoning, from the power of acquisition that it represents, or, understood philosophically, from the labor that produces it. The salient features that Hume identifies with the imagination are then put forth, namely its power to combine ideas creatively and the principle of easy transition that characterizes its movement among them. Two issues that these features explain are then discussed: first, why people take value to lie in the material of which money is made, and, second, why they assign value to what they take money to represent, namely, wealth. In both cases, the imagination creates a new relation, an illusion or fiction, that cannot be traced directly to experience. In the case of money, the faculty conjoins what is intangible (the power of acquisition) with the physical qualities of specie; in the case of property it produces a causal relation that connects persons with objects to constitute stable possession that constitutes ownership. Hume also appeals to the imagination to explain the rules of property that subsequently develop (present possession, occupation, prescription, and transference). The essay concludes by emphasizing that being based on the imagination is not in itself indicative of any instability in either money or property and the practices they enshrine, a feature they share with other phenomena (such as the self and continued existence) that Hume also traces to the same faculty. [ABSTRACT FROM AUTHOR]

This paper dedicated to the issue of the memory and the novel in the 18th century aims at questioning the memoir-novels, as a privileged form of the fiction during the first half of the century. The memoir-novel is indeed based on memories of a hero-narrator reminiscing about his past love life. As memory and imagination are strongly linked in the thought of the 17th and 18th century, the question of their relationship is particularly relevant in the novels by Antoine Prévost, insofar as his heroes claim to produce a pathetic effect and seduce their interlocutor/reader. Our reflection takes as an example La Jeunesse du Commandeur (1741) -- a kind of "reverse story" to that of the Chevalier Des Grieux -- where memory and imagination are put at the service of a burlesque treatment of passion. [ABSTRACT FROM AUTHOR]

This paper examines the artistic and cultural experience of Dino Buzzati that leads to the fiction of the early 1960s, Il grande ritratto, poised between science fiction and dream-erotic implications. The novel Il grande ritratto by Buzzati is considered the first Italian example of narration on artificial intelligence. In his writing, in fact, Buzzati has been influenced by many readings about cybernetics by Silvio Ceccato (1950s) and by investigating studies on thought. Indeed, Il grande ritratto draws a picture marked by a strongly dystopian, disturbing and ambiguous reality, where new realities and places of the imagination are configured as a layered carpet of symbols. These symbols have the purpose of revealing the deception contained in the dystopian world built by the illusion of living a consoling imaginary which turns out to be fallacious and fatal. [ABSTRACT FROM AUTHOR]

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. [ABSTRACT FROM AUTHOR]

The present work deals with the genre of literary testimony and explores its double literary-historical status, as well as its unique position at the crossroads between memory and imagination. The paper analyses the specificity of Jorge Semprún's literary testimonies and focuses itself on the phenomenon of the imaginary memories and the image of snow, considering emblematic examples of the fusion of mnemonic and imaginary faculties. [ABSTRACT FROM AUTHOR]

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to 'put the image back into the imagination'. The weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination. [ABSTRACT FROM AUTHOR]