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Descartes then situates his new world in “imaginary spaces”, borrowing from the scolastic tradition the notion of “locus imaginarius” that was used until then to solve the impossible conciliation between the infinite of space and the finitude of things: beyond the true space (“locus verus”) one may ugg bottes conceive a simply imaginary space – supposition that ugg botte enables one for instance to open onto a theory of the plurality of worlds (Guillaume d'Ockham, Nicolas Oresme). But this inevitably leads to granting a certain physical existence to these imaginary spaces. Now, for Descartes, an empty space is a logical and physical impossibility; the use he makes of the notion is thus explicitly ironic. Moreover, by translating it into French and writing it in the plural, he turns it into an operator of fictionality. Irony enables Descartes to make the hypothesis of these unexisting “imaginary spaces”, while he unfolds the fable of his world. The reader, invited to recompose this world, will come to the idea that the world of Descartes is not contradictory, and therefore logical, and yet does not merge with the actual world (the former world). This conspicuous borrowing of Descartes' to literary practice, widely taken over by the mundane reception of ugg reduction his theories, probably had some consequence on the way poets considered their own practices. This device, having had fictionality act as possibility, may have directed a certain number of theories of fiction towards the reasearch of a modal locking leading to a more secure separation between fiction and non fiction (evolution of the theories of Chapelain between 1637 and 1656). Above all, this detour enables Descartes to borrow from fiction the paradox on which it is built. By asserting that he is feigning to feign, he suspends the assertion of truth, as well as the assertion of fictionality, which should both control the regime of speech that follows. This sophistic process is typical of the fiction of this period, and it could be shown that it resorts to an unstable modal operator that is presented as such by the text.
Cervantès and the syllogism of the Morisc Possible illustration of the phenomenon: attempt at rebuilding the world of a particular novel, situated at the junction of several fictions, that of the barbaresque world in Cervantès (octets composed in captivity, ugg boutique two comedias, Tratos de Argel and Banos de Argel, two Nouvelles Exemplaires, l'Espagnole Anglaise and l'Amant libéral, two episodes inserted in Don Quixote: “the Story of the Captive”, and in Don Quixote II: “the Story of Ana Felix”, the episode of the false captives in Persiles and Sigismunda (10, 3), the story of ugg magasin the sheppard Timbrio in Galatea V). Description of the functioning of this universe: based on a basic scenario (trip at sea, inspection by a corsair, captivity in Algiers, plots and process of redemption or evasion, freedom, return home), one gets a series of variants, depending on (a). the initial identity of the implied characters (nation, religion, sex) (b). the transitional or final changes that the identity undergoes (dressing up, true or false conversion, recognition) and (c)changes of fortune (shipwrecks, weddings, meeting people at sea, etc.