Log in

Relevant bibliographies by topics / Ontology of fiction

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Ontology of fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Ontology of fiction.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Ontology of fiction"

1

Isto, Raino. "How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale." Open Philosophy 2, no. 1 (October 30, 2019): 552–65. http://dx.doi.org/10.1515/opphil-2019-0039.

Full text

Abstract:

AbstractThis article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written in the 1970s, Big Dumb Objects (often called BDOs) have been understood in terms of science fiction’s enduring interest in the technological sublime and the transcendental. While object-oriented ontology has often turned to science fiction and weird fiction for inspiration in rethinking the possibilities inherent in things and their relations, it has not considered the implications of BDOs for a theory of the object more broadly. The goal of this article is to consider how extreme size and representations of scale in science fiction can help expand an understanding of the object along lines that are similar to those pursued by object-oriented ontology, especially Timothy Morton’s notion of hyperobjects.

APA, Harvard, Vancouver, ISO, and other styles

2

EKLUND, MATTI. "Fiction, Indifference, and Ontology." Philosophy and Phenomenological Research 71, no. 3 (November 2005): 557–79. http://dx.doi.org/10.1111/j.1933-1592.2005.tb00471.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Valsiner, Jaan. "Between fiction and reality: Transforming the semiotic object." Sign Systems Studies 37, no. 1/2 (December 15, 2009): 99–113. http://dx.doi.org/10.12697/sss.2009.37.1-2.05.

Full text

Abstract:

(Commentary on Umberto Eco’s article On the ontology of fictional characters: A semiotic approach in the present issue.)The contrast between real and fictional characters in our thinking needs further elaboration. In this commentary on Eco’s look at the ontology of the semiotic object, I suggest that human semiotic construction entails constant modulation of the relationship between the states of the real and fictional characters in irreversible time. Literary characters are examples of crystallized fictions which function as semiotic anchors in the fluid construction — by the readers — of their understandings of the world. Literary characters are thus fictions that are real in their functions — while the actual reality of meaningmaking consists of ever new fictions of fluid (transitory) nature. Eco’s ontological look at the contrast of the semiotic object with perceptual objects (Gegenstände) in Alexius Meinong’s theorizing needs to be complemented by the semiotic subject. Cultural mythologies of human societies set the stage for such invention and maintenance of such dynamic unity of fictionally real and realistically fictional characters.

APA, Harvard, Vancouver, ISO, and other styles

4

Heidsieck, Arnold. "Logic and Ontology in Kafka's Fiction." Germanic Review: Literature, Culture, Theory 61, no. 1 (January 1986): 11–17. http://dx.doi.org/10.1080/00168890.1986.9934172.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

GOH, HUI-NGO, CHING-CHIEH KIU, LAY-KI SOON, and BALI RANAIVO-MALANÇON. "AUTOMATIC ONTOLOGY CONSTRUCTION IN FICTION-BASED DOMAIN." International Journal of Software Engineering and Knowledge Engineering 21, no. 08 (December 2011): 1147–67. http://dx.doi.org/10.1142/s0218194011005621.

Full text

Abstract:

The field of ontology has received attention lately due to the increasing needs in conceptualizing the domain knowledge for resolving various jobs' demand. Numerous new techniques, tools and applications have then been developed for their suitability in managing knowledge. However, most works carried out focused on non-fiction domain and categorizing the concepts into component or cluster. Hence, the originality of the content flow is not preserved. This paper presents an automated ontology construction in fiction domain. The significance of the study lies in (1) designing a simple and easy algorithmic framework for automated ontology construction while preserving the originality of the content flow in an ontology, (2) identification of suitable threshold value in extracting true terms, and (3) process an unstructured fiction-based domain text into meaningful structure automatically.

APA, Harvard, Vancouver, ISO, and other styles

6

نشمي جلود الغزاوي, باسم. "تشكيل الفضاء الروائي في رواية مابعد الحداثة." Journal of Education College Wasit University 1, no. 40 (August 13, 2020): 543–58. http://dx.doi.org/10.31185/eduj.vol1.iss40.1563.

Full text

Abstract:

The modernist retreat of the author from his/her prerogated space as “authorial persona” precipitated the radical changes in the nature and form fictional space that bifurcates into narratival and narrational. This evacuation of the authorial persona space, effected by the cultural pressures that render “totalization” difficult, transfers the interpretation responsibility to the reader. Postmodernist fictions, in this respect, push the reader to occupy more space in the narrative by leaving sizable gaps in it; metafiction presents itself as a logical outcome of this process. When the reader has secured a place within the narrative ontology, the metafictional author contends with the reader for the occupation of fictional space. This results into the foregrounding of the fictional space and fictionality in general. The dynamics of this process relates to a consideration of the space of the speaker, the narrational space of fiction. This paper discusses the issue of postmodernist fictional space with reference to pertinent theories and relevant postmodern novels as examples that clarify the discussion.

APA, Harvard, Vancouver, ISO, and other styles

7

Pitari, Paolo. "In Defense of Literary Truth: A Response to Truth, Fiction, and Literature by Peter Lamarque and Stein Haugom Olsen to Inquire into No-Truth Theories of Literature, Pragmatism, and the Ontology of Fictional Objects." Literature 3, no. 1 (December 20, 2022): 1–18. http://dx.doi.org/10.3390/literature3010001.

Full text

Abstract:

This article responds to the arguments put forth by Peter Lamarque and Stein Haugom Olsen in Truth, Fiction, and Literature: A Philosophical Perspective (1994). It argues that the said work is representative of the widespread tendency in literary theory today to discard the possibility of literary truth, and it provides counterarguments to the work’s main theses. Consequently, it criticizes the philosophy of pragmatism and its implications, and it offers a theory that defines fictional objects as existing and solves contradictions that commonly affect our debates on the ontology of fiction. The article does not provide a positive theory of literary truth, but it undermines its denials, which have become popular in recent decades.

APA, Harvard, Vancouver, ISO, and other styles

8

Travanini, Cristina. "Centaurs, Pegasus, Sherlock Holmes: Against the Prejudice in Favour of the Real." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 56–72. http://dx.doi.org/10.1515/kjps-2016-0017.

Full text

Abstract:

Abstract Meinong’s thought has been rediscovered in recent times by analytic philosophy: his object theory has significant consequences in formal ontology, and especially his account of impossible objects has proved itself to be decisive in a wide range of fields, from logic up to ontology of fiction. Rejecting the traditional ‘prejudice in favour of the real’, Meinong investigates what there is not: a peculiar non-existing object is precisely the fictional object, which exemplifies a number of properties (like Sherlock Holmes, who lives in Baker Street and is an outstanding detective) without existing in the same way as flesh-and-blood detectives do. Fictional objects are in some sense incomplete objects, whose core of constituent properties is not completely determined. Now, what does it imply to hold that a fictional object may also occur in true statements? We shall deal with the objections raised by Russell and Quine against Meinong’s view, pointing out limits and advantages of both perspectives.

APA, Harvard, Vancouver, ISO, and other styles

9

Shokhin, Vladimir K. "The so-called paradox of fiction and transcendental ontology." Philosophy Journal, no. 3 (2021): 20–35. http://dx.doi.org/10.21146/2072-0726-2021-14-1-20-35.

Full text

Abstract:

While the phenomenon of our feeling of empathy for literary characters has escorted the history of imaginative writing from the very beginning, its ontological foundations have been investigated only from 1970s. The question is about different theories of “the paradox of fiction” which was introduced by Colin Redford. The basic idea behind the paradox is that empathy for the nonexistent characters of fiction and their interrelations as real is paradoxical and so demands explanation. Having presented the main doctrines related to the subject matter, the author of the article comes to the conclusion that there is no such thing as a paradox in this case. What there is is a single-level reductionist naturalistic worldview which comes into collision with both the phenomenology of the relevant feeling of empathy and the definitions of existence offered by the history of European philosophy as well as their reliable counterparts outside it. According to these definitions, to exist is to be perceptible and have causality, the latter “index” being emphasized in the article to the result that the activity of literary characters provides them with a higher ontological status compared to some other classes of mental objects. All this justifies the author in advancing the conception of heterogeneity of existence and his attempts to use quantifiers in relation to it.

APA, Harvard, Vancouver, ISO, and other styles

10

Tang, Xu. "Ontology knowledge of Science fiction: types, elements and boundaries." JOURNAL OF CHINESE HUMANITIES 73 (December 31, 2019): 351–59. http://dx.doi.org/10.35955/jch.2019.12.73.351.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Ontology of fiction"

1

Caddick, Emily Ruth. "Semantics and ontology of fiction." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610452.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Tomioka, Tatsuaki. "State of affairs dynamics in prose fiction." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/7523.

Full text

Abstract:

This thesis is a linguistic/ontological inquiry into narrative dynamics. Particular attention is drawn to elucidating the mechanism for recognising story events as one reads narrative discourse. The overall discussion is a criticism of formal approaches to narrative dynamics which tend to make observations on the assumption that there is a fixed relation between language form and meaning (e.g. the distinction between events and non-events in narrative circumstances). As two possible factors responsible for preventing formal analysts from taking an elastic view of story-event structure in narrative, I point out overly metalinguistic and metatemporal attitudes held by many narrative poeiticians, grammarians and formal semanticists. The recognition of narrative dynamics is primarily concerned with our concept of time, so that this thesis focuses a good deal of attention on explicating how time can be conceptualised in narrative. The basic component of the argument, therefore, is made up of ontological observations concerning time, event, and change, which are mainly made in Chapters 3 and 5. This thesis concludes that overly metalinguistic and metatemporal approaches to narrative dynamics tend to be fallacious, and that it is the commonsensical view that counts in the recognition of the event structure in narrative discourse. A hypothetical stance I adopt in constructing a narrative theory is the viewpoint of the ordinary reader of narrative fiction who is not formally trained, and therefore, does not necessarily respond to narrative texts in a highly metalinguistic or metatemporal way. The importance of assuming the ordinary reader's viewpoint for the proper recognition of the story-event structure of narrative is referred to in many different respects throughout the thesis.

APA, Harvard, Vancouver, ISO, and other styles

3

Colbert, Elizabeth Dianne. "Speaking the unspoken the ontology of writing a novel /." Australasian Digital Theses Program, 2009. http://hdl.handle.net/1959.3/64875.

Full text

Abstract:

Creative practitioners, undertaking practice-led research, theorise their practice within an academic domain. Within a three-tiered, performative research paradigm, this project researched writerly identity during the writing of a novel and exegesis. Firstly, based on the writer’s experience with creative and academic writing, the differences were explored through two first-person narratives in a frametale novel, The Fragility Papers, a process documented by critical and reflective journaling. Secondly, the insights gained during the writing of the novel were theorised within the domain of creative writers. Thirdly, the understandings embedded in the novel were considered in the light of these insights and those gained during writing of the exegesis and further theorised within the areas of voice, the writing process and ontological change. Novel writing, it was found, drew not only on the imagination, research, in-flow stream of consciousness writing and serendipitous occurrences but also on personal embodied inscriptions, linguistic play, logic and reason in the development of narrative coherence, forward planning, previously unidentified editing values based in the sonority of language, and a knowledge of the expectations associated with the literary genre. Acknowledging this breadth of experience led to changes in the writer’s creative-writing process, a questioning of the theorised sole influence of language based texts as proposed in intertextual theory, and the proposal to italicise ‘text’ within intertextual to accommodate this breadth. The theorising of insights and emerging, experiential knowledge during the writing of the exegesis was realised in a series of evolving drafts in which interiorised knowledge was increasingly drawn upon in stream of consciousness writing. Further, in both genres, the dialogic engagement of the writer in conscious and unconscious activity at different stages of the writing process was found, suggesting that unconscious activity has a larger than envisaged role to play in academic writing.

APA, Harvard, Vancouver, ISO, and other styles

4

Cyrill, Christopher. "THESIS: Crown & Anchor Volume 1: Quaternion EXEGESIS: Enigma: Fiction as Dasein." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/21034.

Full text

Abstract:

Quaternion is a novel made up of three books; Quaternion, Les Cahiers of I.V.A Sumac and The Index of First Lines, approximately fifty seven thousand words in length. The novel mixes prose poems, ekphrasis, diary entries and lines of poetry. These methods cut across the three narrative streams. Essentially, in the first section the narrator describes his memories and relates his difficulties in curating an exhibition of the life of Caribbean poet, I.V.A Sumac. The second section is the journals of Sumac and includes personal entries, aphorisms and his works in progress. The third section is the first lines of an unwritten anthology that Sumac was editing at the time his death. In the exegesis the writer begins by defining and discussing the process of katabasis/descent into the fictional terrain, and describes how he searches for the originary image that begins the novel. He then engages with Blanchot’s essay “The Gaze of Orpheus” to describe how the text accrues consciousness as it is written and introduces and defines new terminologies such as textum, texture, the transient imaginary and enigma to explain this process. He engages with the work of Heidegger, Barthes, Pamuk, Shklovsky, Todorov, Atwood and Wood to ground these terms and then focuses on how via processes of métissage and creolization the structural and poetic decisions of the novel were made. He also discusses how the exegesis and the creative connected and grew from within each other, citing academics such as Kroll and Krauth. He then concludes by engaging with Heidegger’s concept of the “dasein” to describe the paradox/parallax dichotomy of the work in progress and how exile and ekphrasis became entwined in the writing.

APA, Harvard, Vancouver, ISO, and other styles

5

Costa, Luis Artur. "Desnaturar desmundos : a imagem e a tecnologia para além do exílio no humano." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/55684.

Full text

Abstract:

O presente trabalho se debruça sobre a questão de como nossa sociedade ocidental, em suas centenas de anos de arte, filosofia e ciência, findou por construir imensos binarismos que dividiam duas maneiras do mundo operar: o natural e o artifício. A partir desta bipartição, nossa civilização elaborou uma longa e duradoura série de bifurcações: tecnologia e natureza, homem e natureza, cultura e natureza, entre muitos outros binarismos os quais se apóiam (completa ou parcialmente) na dualidade por nós inventada entre o artifício e a natureza. Para dar cabo dos binarismos, nos utilizamos da aqui denominada operação de desnaturação: transformando o conceito de natureza (em geral substancial ou formalmente identitário, ligado à noção de totalidade e até de obra divina) em algo fluido e paradoxal, diluiremos as oposições binárias do juízo em variações estilísticas ético-estéticas. Impedimos assim a estratégia cara ao juízo de polarizar pólos (substanciais ou formais) quando da discussão de um tema onde há um campo de tensões complexo: ensino a distância versus quadro negro e saliva, cidade versus campo, entre ilimitados outros. Ao impedir este estratagema de dividir para simplificar, julgar e excluir elementos da complexidade do mundo, somos então obrigados a problematizar de modo complexo e singular as tensões presentes nas relações da tecnologia com o mundo, pois apenas assim poderemos elaborar uma ética-estética que guie nossas composições estilísticas de nos relacionarmos com os chamados “objetos técnicos” (SIMONDON, 2007). Enfim, operamos aqui a problematização da natureza do conceito de natureza (sua ontologia), desnaturando-o (o maculando com paradoxos e devires) para erigir uma éticaestética dos nossos modos de relação-criação com as tecnologias e a produção de imagens segundo a perspectiva da lógica da diferença. Filosofia, literatura, ciências sociais e artes se encontram híbridas na produção de um novo corpo para o problema da natureza da imagem e da tecnologia que ultrapasse seu aprisionamento no desmundo humano, onde toda presença da técnica, tecnologia e imagem são sempre consideradas como ausência do mundo: a foto definida como ausência do referente, a pintura como ausência da paisagem, o robô tomado como ausência do corpo humano, a palavra como a ausência do objeto, a televisão como a ausência da praça, a Internet como a ausência da sala de aula. Para provocar esta fuga, nos utilizamos dos mais variados artifícios da criação escrita: filosóficos, científicos e literários. Com isso, retiramos a imagem e a tecnologia do exílio no humano e as colocamos de volta junto das coisas do mundo.
The present work focus on how our Western society, after centuries of art, philosophy and science, ended up creating giant binarisms which divided how the world worked in two categories, the natural and the artifice. Based on such separation, our civilization has elaborated a long and enduring series of bifurcations: technology and nature, men and nature, culture and nature, among many other binarisms completely or partially based on the invented separation between artifice and nature. To put an end to these binarisms, we use here the operation of denaturation. Transforming the concept of nature (usually substantially or formally identitary, related to the idea of totality and even divine work) into something fluid and paradoxal, we dilute the binary oppositions of judgment into ethical and aesthetical stylistic variations. Such procedure interrupts the judgment strategy of polarizing poles (substantial or formal), normally used during the discussion of a theme surrounded by a complex field of tension: distance education versus blackboard and saliva, city versus countryside, among an infinite number of other examples. If we suspend this strategy of dividing in order to simplify, judge and exclude elements of the complexity of the world, we are then forced to consider the tensions which characterize the relationships between technology and the world in a complex and singular way. Doing so, we can elaborate a form of ethics-aesthetics to guide the stylistic compositions we use to relate to the so called “technical objects” (SIMONDON, 2007). Finally, we question here the nature of the concept of nature (its ontology), denaturating it (maculating it with paradoxes and transformations) in order to build a form of ethics-aesthetics based on how we relate to and create with technologies, producing images according to the logical perspective of difference. Philosophy, literature, social sciences and arts are mixed in the production of a new body for the problem of the nature of the image and the technology, which surpasses its enclosure in the human unworld, in which the presence of technique, technology and image is always considered as the absence of the world: photography defined as the absence of the referent, painting as the absence of landscape, robots as the absence of the human body, the word as the absence of the object, television as the absence of squares, the Internet as the absence of the classroom. To create this escape, we use a variety of artifices characteristic of writing creation - philosophical, scientific and literary. Doing so, we remove the image and the technology from the exile of the human and return them to the sphere of worldly existence.

APA, Harvard, Vancouver, ISO, and other styles

6

Sutton, Malcolm. "Ontologies of Community in Postmodernist American Fiction." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20695.

Full text

Abstract:

Using a number of structurally innovative novels from the 1970s, 1980s and 1990s as a basis for study, this dissertation examines the representation of communities in postmodernist American fiction. While novels have often been critically studied from the standpoint of the individual and society, here the often neglected category of community is put under scrutiny. Yet rather than considering it from a sociological point of view, which can potentially favour historical, economic or political grounds for community, this study focuses on the ontological binds formed between individual and community. On one level this study connects formal qualities of postmodernist novels to a representation of community – especially literary conventions from the past that are foregrounded in the present texts. On another level it interrogates the limits of the individual in relation to others – how we emerge from others, how we are discrete from others, how much we can actually share with others, at what cost we stay or break with the others who have most influenced us. The primary novels studied here, each of which is deeply invested in the community as a locus for ontological interrogation, are Robert Coover’s "Gerald’s Party" (1985) and "John’s Wife" (1996), Gilbert Sorrentino’s "Crystal Vision" (1981) and "Odd Number" (1985), Harry Mathews’s "Cigarettes" (1987), Joseph McElroy’s "Women and Men" (1987), and Toni Morrison’s "Paradise" (1997). Despite their varied representations of and attitudes toward the individual in community, these texts share a common spectre of American Romanticism that inflects how we read the possibility of community in the postmodernist period.

APA, Harvard, Vancouver, ISO, and other styles

7

Taiari, Hassen. "'Brains are Survival Engines, not Truth Detectors': Machine-Oriented Ontology and the Horror of Being Human in Blindsight." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22298.

Full text

Abstract:

This paper is an examination of the horror elements found in Peter Watts’ Blindsight. In depicting an encounter with aliens, this science fiction novel explores topics such as the nature of sentience, mankind’s relationship with technology, posthumanism, and the limitations of the human body and mind. Blindsight also envisions entities (aliens, vampires, and artificial intelligences) capable of interacting with material realities inaccessible to human beings. Using Levi R. Bryant’s machine-oriented ontology, this thesis demonstrates how Watts employs these themes and issues to problematize anthropocentrism and the notion of selfhood. These elements—and more—will be discussed and shown to match the criteria associated with ontological horror.

APA, Harvard, Vancouver, ISO, and other styles

8

Mfune, Damazio Laston. "My other - my self: post-Cartesian ontological possibilities in the fiction of J M Coetzee." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002289.

Full text

Abstract:

The central argument of my study is that, among other matters, in his works, J.M. Coetzee could be said to demonstrate that the known Self is an embodied being and is not autonomous. With regard to the latter contention, Coetzee intimates that any two Subjects are implicated in each other’s subjectivities in a reciprocal process that involves what Derek Attridge has called “irruptions of otherness” (2005: xii) into the Subject’s subjectivity. These irruptions, which happen during the encounter, lead to a double loss of autonomy for each Subject and this phenomenon renders the relationship between Subjects non-dichotomus or non-binaric. In other words, the Subject does not produce the contents of his or her consciousness in a sui generis and ex nihilo fashion, and his or her ontological indebtedness to the Other constitutes his or her first loss of autonomy. As for those Others that do possess consciousness, the Subject is implicated in their consciousness and this constitutes the Subject’s second loss of autonomy. These losses counter the near solipsistic Nagelian neo-Cartesianism and paves the way for imagining both intra- and inter-species “intersubjectivity”. It is my view that this double loss of autonomy accounts for the sympathetic and empathetic imagination that we encounter in Coetzee’s fiction. Following Coetzee’s intimations of intersubjectivity through irruptions of otherness, what I see as my contribution to studies on this author’s work through this study is the link I have established between the physicalist strain within the philosophy of mind (whose central thesis is that consciousness is an embodied phenomenon) and a modified Kantian “metaphysics”, especially Immanuel Kant’s conception of concepts as comprising form and content. I have deployed this conception in demonstrating the Subject’s ontological indebtedness to external sources of the content part of consciousness. And, through the Husserlian concept of intentionality, and Kant’s (1929: 27) observation that we cannot have appearances without something that appears, I have linked the Subject to the sources of his or her content and thereby also demonstrated that the Subject is not eternally separated or alienated from those sources. Instead, the Subject is not simply contiguous but coterminous and co-extensive, albeit in a mediated way, with the external sources of the content part of his or her consciousness. Thus, while accepting the thesis of the Other’s radical otherness, I modify the thesis of the Other’s radical exteriority. Ultimately, then, ontologically speaking, the Coetzeean project could be described as one of embodying and grounding the supposedly autonomous, solipsistic and freefloating/disembodied Cartesian Subject. This he does by alerting this Subject, first and foremost, to its embodiedness and, further to that, pointing out its ontological indebtedness to its Others and its implication in the Others’s consciousnesses and so prevent it from continuing with its imperialistic and ecological barbarities. However, ethically speaking, beyond the reciprocal ethics that arises from mutual ontological indebtedness and implication, it is the selflessness that characterises a cruciform logic that comes across as the epitome of Coetzeean ethics.

APA, Harvard, Vancouver, ISO, and other styles

9

劉可欣. ""情本體" 視野中的汪曾祺小說 =A study on Wang Zengqi's fictions from the perspective of the ontology of sentiment." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954146.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Graziani, Lorenzo. "Un groviglio di mondi. Studio sul pluralismo fisico, metafisico e letterario postmoderno." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/260546.

Full text

Abstract:

The main goal of this PhD dissertation is to explore the relation between postmodern poetics and some features of other theories developed at the same time in various areas of knowledge – mainly metaphysics, physics and sociology. If we can say that the modern paradigm was born with the question of how a multiplicity of different points of view could coexist, the postmodern paradigm seems to arise with the awareness that a systematic legitimation of differences cannot be based on a sole foundation that leads to a complete inclusion. For this reason, we argue that the concept of possible world is not only a useful heuristic metaphor adopted in different areas of the artistic and scientific postmodern culture, but it can put in constructive conversation different areas of knowledge which are usually thought to be more isolated and refractory to mutual influence than they actually are. Precisely because of the diverse usages and meanings that the term ‘world’ acquires in different contexts, the ontological commitment toward possible worlds varies significantly. They can be godly concepts, fictional scenarios, real sums of individuals that are isolated from each other, or ideal set of objects that are associated with different and mutually exclusive frames of reference and cultural coordinates. To shed a light on these matters is the main goal of the first book, entitled "What is a possible world?". The second book, entitled "Entangled worlds: the postmodernist literature", is committed to explore the topology of the possible worlds projected by postmodernist texts; in fact, the paradoxical topology that emerges from these texts appears to be inherently connected with a vast range of issues concerning our world.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Ontology of fiction"

1

Biswas, Rakesh. Human ontology narratives. Hauppauge, NY: Nova Sciences Publishers, Inc., 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

1968-, Everett Anthony J., and Hofweber Thomas 1969-, eds. Empty names, fiction, and the puzzles of non-existence. Stanford, Calif: CSLI Publications, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Voltolini, Alberto. How ficta follow fiction: A syncretistic account of fictional entities. Dordrecht: Springer, 2005.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Kraeger, Linda. Dostoevsky on evil and atonement: The ontology of personalism in his major fiction. Lewiston: E. Mellen Press, 1992.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Fiktionen. Berlin: Suhrkamp, 2020.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Lee, C. J. P. The metaphysics of mass art: Cultural ontology. Lewiston: Edwin Mellen Press, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

IAm: ¿puedes escapar de lo que realmente eres? Barcelona: Ediciones B México, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Color, space, and creativity: Art and ontology in five British writers. Madison: Fairleigh Dickinson University Press, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Bertram, Manfred. Subjektdisposition: Ontologie und Science Fiction. Essen: Die Blaue Eule, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Dicenta, Moncho. Libro de rutas para viajeros sin destino. Barcelona: Obelisco, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Ontology of fiction"

1

Kroon, Frederick, and Alberto Voltolini. "Language, Ontology, Fiction." In The Palgrave Handbook of Philosophy and Literature, 385–406. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-54794-1_18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

McCarron, Kevin. "From Psychology to Ontology: William Golding’s Later Fiction." In British Fiction After Modernism, 184–202. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801394_15.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Meretoja, Hanna. "The Epistemology and Ontology of Antinarrativism." In The Narrative Turn in Fiction and Theory, 53–85. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137401069_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Raghunath, Riyukta. "The Complex and Mixed Ontology of Fatherland." In Possible Worlds Theory and Counterfactual Historical Fiction, 121–47. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53452-3_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Alder, Emily. "Weird Selves, Weird Worlds: Psychology, Ontology, and States of Mind in Robert Louis Stevenson and Arthur Machen." In Weird Fiction and Science at the Fin de Siècle, 45–77. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-32652-4_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

"Ontology and categorization." In Fiction and Metaphysics, 115–36. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9780511527463.011.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Abell, Catharine. "External Thought and Talk about Fiction." In Fiction, 150–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198831525.003.0006.

Full text

Abstract:

This chapter examines the ontological implications of the various ways in which we can think and talk about fictional entities and examines the roles that external thought and talk about fiction can play in the institution of fiction. It argues that those who deny the existence of fictional entities are unable to accommodate the ways in which we think and talk about fictional entities from an external perspective, and that this gives us good reason to accept fictional entities into our ontology. It argues that external thought and talk about fiction are important to the identification of interpretative fictive content. It also argues that such thought and talk can play an important role in improving the stability of the content-determining rules of fiction institutions, and that they can help participants in fiction institutions to coordinate on rules that provide equilibrium solutions to novel coordination problems of communicating imaginings.

APA, Harvard, Vancouver, ISO, and other styles

8

"Ontology for a varied world." In Fiction and Metaphysics, 146–53. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9780511527463.013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Davies, Ben. "Prequel Ontology and Temporality." In Prequels, Coquels and Sequels in Contemporary Anglophone Fiction, 27–39. Routledge, 2018. http://dx.doi.org/10.4324/9780429438059-2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Cuntz, Michael. "On Habit and Fiction in Latours' Inquiry and Fictional Knowledge on Habit in Proust's Recherche." In Advances in Media, Entertainment, and the Arts, 198–219. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0616-4.ch012.

Full text

Abstract:

Latour's Inquiry into Modes of Existence undertakes a re-evaluation of both modern ontology and ANT: Adding qualitative differentiation to quantitative network analysis is tantamount to the outline of a pluralist ontology distinguishing a variety of different modes of being in the world. The aim is to make more space in order to provide proper accommodation for all enti-ties, especially for those a monist ontology could not account for. Both [HAB], habit, and [FIC], fiction, are modes that deserve a particular amount of space; [HAB] due to its all-pervasiveness in everyday courses of action, [FIC] due to its crucial role in anthropogenesis and its vital importance for many other modes. Nonetheless, there is an opposite tendency to restrict the possibilities of these modes. This is elucidated first by comparing [HAB] with other philosophical assessments of habit and [FIC] with Serres' readings of works of art and literary texts, and second via a confrontation of [FIC] and [HAB] with Proust's In Search of Lost Time, a work of fiction inquiring deeply into the workings of habit.

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Ontology of fiction"

1

Lindley, Joseph, Paul Coulton, and Haider Ali Akmal. "Turning Philosophy with a Speculative Lathe: object-oriented ontology, carpentry, and design fiction." In Design Research Society Conference 2018. Design Research Society, 2018. http://dx.doi.org/10.21606/drs.2018.327.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!