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Caddick, Emily Ruth. "Semantics and ontology of fiction." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610452.
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Tomioka, Tatsuaki. "State of affairs dynamics in prose fiction." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/7523.
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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.
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Colbert, Elizabeth Dianne. "Speaking the unspoken the ontology of writing a novel /." Australasian Digital Theses Program, 2009. http://hdl.handle.net/1959.3/64875.
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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.
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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.
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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.
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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.
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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.
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Sutton, Malcolm. "Ontologies of Community in Postmodernist American Fiction." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20695.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Valle, Diego Gomes do 1984. "João Gilberto Noll e a estética do não-eu." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270097.
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Orientador: Maria Eugênia da Gama Alves Boaventura DiasTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-26T12:13:35Z (GMT). No. of bitstreams: 1 Valle_DiegoGomesdo_D.pdf: 1877351 bytes, checksum: 694dd5439c91ff64dce5e454ea41ca65 (MD5) Previous issue date: 2014
Resumo: Esta tese tem como objeto a obra romanesca de João Gilberto Noll, que é composta de doze romances publicados até o presente momento. A ideia que alimentou nosso ímpeto inicial foi surpreender na heterogeneidade dos diversos romances uma certa unidade que poderia ser o princípio estruturante dos romances de Noll. Correndo o risco de sermos demasiado sistemáticos, empreendemos tal trabalho. Divide-se esta tese em dois momentos distintos e complementares, a saber: primeiramente traçamos, um tanto quanto abstratamente, o que há de constante, o traço comum entre os doze heróis (que, em certo sentido, são o mesmo) que falam nos romances. Destacamos, neste primeiro momento da tese, a importância que a análise temporal teve, fornecendo talvez a chave interpretativa mais importante para se compreender as questões identitárias que os romances em questão evocam. Neste sentido, teóricos como Paul Ricoeur e Jean Pouillon forneceram a base teórica para se estabelecer uma visão substancial do fazer narrativo no tempo. Na segunda parte, cada romance é compulsado de maneira a concretizar os corolários produzidos na primeira parte da tese. Buscamos evitar o périplo teleológico, no qual estaria dado já no início o fim em direção ao qual conduziríamos nossa exposição. Sendo assim, a hipótese que se transformou em tese sustenta que todos estes romances são, na sua essência mesma, dramas identitários nos quais seus heróis deliberadamente buscam o não-ser, aquilo que não são, mas que anelam profunda e angustiadamente. Não se trata de uma carência de ser, mas de uma busca consciente pelos limites do eu diante do não-eu. As análises de cada romance nos permitiram demonstrar sobejamente que esta hipótese se confirma tout court e nos conduzem a reflexões que são de teor filosófico - uma vez que dizem respeito aos nossos dramas existenciais -, às quais buscamos encontrar respectivos filósofos para nos auxiliar
Abstract: This thesis focuses on the novelistic work by João Gilberto Noll, which comprises twelve published novels until the present moment. The idea that nurtured our initial impetus was to come upon, at the diversity of the various novels, a certain unit that could be the structuring principle of the novels by Noll. At the risk of being too systematic, we undertake such work. This thesis is divided into two distinct and complementary moments, namely: first we trace, somewhat abstractly, what is constant, the common thread among the twelve heroes (which, in a sense, are the same) who speak in the novels. In this first moment of the thesis, we emphasize, the importance of the temporal analysis, perhaps providing the most important interpretative key to understand the identity issues that the novels in question evoke. In this sense, theorists such as Paul Ricoeur and Jean Pouillon provided the theoretical basis for establishing a substantial vision of the narrative in time. In the second part, each novel is examined in order to achieve the corollaries produced in the first part of the thesis. We seek to avoid the teleological periplus, in which the end would be already given at the beginning of the way of our exposition. Thus, the hypothesis that turned into thesis argues that all these novels are, in their essence, identity dramas in which their heroes deliberately seek the non-being, what they are not, but what they wish to be deep and anxiously. It is not a lack of being, but it is a percipient search for the limits of the self before the not-self. The analysis of each novel allowed us to widely demonstrate that this hypothesis is confirmed tout court and they lead us to philosophical reflections - once they are related to our existential dramas - to which we seek to find respective philosophers to help us
Doutorado
Teoria e Critica Literaria
Doutor em Teoria e História Literária
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Kelly, John C. (John Christopher) Carleton University Dissertation English. "Fictional worlds: ontology in Gilbert Sorrentino's Mulligan Stew." Ottawa, 1992.
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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 textAbstract:
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.
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Ascarate, Coronel Luz Maria. "Psyché ranimée. Imagination et émancipation dans la philosophie de Paul Ricœur." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0063.
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Nous identifions la contribution de l’anthropologie phénoménologique de Ricœur à la philosophie sociale, sous la double perspective de l’imagination et de l’émancipation, afin de répondre aux défis du temps de la crise du sens, crise qui se manifeste comme une perte des fondements. Au regard des analyses de Ricœur sur l’imagination, dont nombre d’entre elles restent encore non publiées, nous pensons comme suit : la phénoménologie de la fiction de Paul Ricœur contribue à penser l’expérience du sujet comme le fondement de l’imaginaire social du point de vue constitutif. De cette manière, nous comprenons l’anthropologie phénoménologique de Ricœur en tant orientée vers un projet d’émancipation.Notre conviction est que cette philosophie ricœurienne développée spécifiquement dans les années 70’s peut répondre aux problèmes que la crise du sens impose, d’abord à la tâche de fondation de la philosophie et, ensuite, au monde social. Ce n’est pas hasardeux que Ricœur ait consacré dans cette époque un cycle de conférences à l’imaginaire sociale, publiés sous le célèbre titre de Lectures on Ideology and Utopia, en même temps que ses Lectures on Imagination. Celles-ci qui restent inédites développent sa phénoménologie de la fiction en tant que philosophie générale qui propose une ontologie du possible.Notre thèse est que cette ontologie permettrait de donner des fondements au social d’un caractère entièrement sui generis, différents de ceux de la philosophie politique. Cette dernière est notamment accusée, par la philosophie sociale, de ne pas rendre assez compte de la dimension constitutive ou ontologique du monde social, dans lequel il existe des enjeux plus profonds que ceux relevés par la critique de la domination envisagée par la philosophie politiqueWe identify the contribution of Ricoeur's phenomenological anthropology to social philosophy, from the dual perspective of imagination and emancipation, in order to respond to the challenges of the time of the crisis of meaning, a crisis that manifests itself as a loss of foundations. With regard to Ricoeur's analyses of imagination, many of which are still unpublished, we think as follows: the Paul Ricoeur's phenomenology of fiction contributes to think the subject's experience as the foundation of the social imagination from a constitutive point of view. In this way, we understand Ricoeur's phenomenological anthropology as oriented towards an emancipation project.We are convinced that this Ricoeurian philosophy, developed specifically in the 1970s, can respond to the problems that the crisis of meaning imposes, first on the task of founding philosophy and then on the social world. It is no coincidence that Ricoeur devoted a series of lectures at that time to the social imagination, published under the famous title of Lectures on Ideology and Utopia, at the same time as his Lectures on Imagination. These that remain unpublished develop its phenomenology of fiction as a general philosophy that proposes an ontology of the possible.Our thesis is that this ontology would make it possible to give foundations to the social of an entirely sui generis character, different from those of political philosophy. The latter is accused, in particular, by social philosophy, of not sufficiently reflecting the constitutive or ontological dimension of the social world, in which there are more profound issues than those raised by the criticism of the domination envisaged by political philosophy
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Wärme, Robert. "Stranger than fiction : En studie kring berättarstruktur i en film." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3739.
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Denna uppsats är en narratologisk analys av berättarstrukturen inom filmen Stranger than fiction. Uppsatsen inleder med en terminologi samt en teoridel kring vad som är berättarstruktur. Utifrån detta analyserar jag filmen för att grundläggande redogöra kring hur den är berättad genom att först beskriva filmens totala fabula för att sedan analysera vad som egentligen förmedlas och på så sätt även komma fram till en slutsats kring filmens totala berättarstruktur. Resultatet visar på att Stranger than fiction är berättad genom flertalet olika nivåer som visar på två olika berättare inom två olika diegeser som förmedlas genom samma berättare. Detta resultat leder till en tematisk diskussion ett postmodernt ontologiskt syfte som genom filmens komplicerade narratologiska struktur försöker förmedla budskapet ”lev det liv du vill ha” samt ”livet blir viktigt först när döden gör sig synlig.
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Whitelaw, Sandra. "The attraction of sloppy nonsense: resolving cognitive estrangement in Stargate through the technologising of mythology." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16547/1/Sandra_Whitelaw_Thesis.pdf.
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The thesis consists of the novel, Stargate Atlantis: Exogenesis (Whitelaw and Christensen, 2006a) and an accompanying exegesis.
The novel is a stand-alone tie-in novel based on the television series Stargate Atlantis (Wright and Glassner), a spin-off series of Stargate SG-1 (Wright and Cooper) derived from the movie Stargate (Devlin and Emmerich, 1994). Set towards the end of the second season, Stargate Atlantis: Exogenesis begins with the discovery of life pods containing the original builders of Atlantis, the Ancients. The mind of one of these Ancients, Ea, escapes the pod and possesses Dr. Carson Beckett. After learning what has transpired in the 10,000 years since her confinement, the traumatised Ea releases an exogenesis machine to destroy Atlantis. Ea dies, leaving Beckett with sufficient of her memories to reveal that a second machine, on the planet Polrusso, could counter the effects of the first device. When the Atlantis team travel to Polrusso, what they discover has staggering implications not only for the future of Atlantis but for all life in the Pegasus Galaxy.
The exegesis argues that both science and science fiction narrate the dissolution of ontological structures, resulting in cognitive estrangement. Fallacy writers engage in the same process and use the same themes and tools as science fiction writers to resolve cognitive estrangement: they technologise mythology. Consequently, the distinction between fact and fiction, history and myth, is blurred.
The exegesis discusses cognitive estrangement, mythology, the process of technologising mythology and its function as a novum that facilitates the resolution of cognitive estrangement in both fallacy and science fiction narratives. These concepts are then considered in three Stargate tie-in novels, with particular reference to the creative work, Stargate Atlantis: Exogenesis.
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Whitelaw, Sandra. "The attraction of sloppy nonsense: resolving cognitive estrangement in Stargate through the technologising of mythology." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16547/.
Full textAbstract:
The thesis consists of the novel, Stargate Atlantis: Exogenesis (Whitelaw and Christensen, 2006a) and an accompanying exegesis.
The novel is a stand-alone tie-in novel based on the television series Stargate Atlantis (Wright and Glassner), a spin-off series of Stargate SG-1 (Wright and Cooper) derived from the movie Stargate (Devlin and Emmerich, 1994). Set towards the end of the second season, Stargate Atlantis: Exogenesis begins with the discovery of life pods containing the original builders of Atlantis, the Ancients. The mind of one of these Ancients, Ea, escapes the pod and possesses Dr. Carson Beckett. After learning what has transpired in the 10,000 years since her confinement, the traumatised Ea releases an exogenesis machine to destroy Atlantis. Ea dies, leaving Beckett with sufficient of her memories to reveal that a second machine, on the planet Polrusso, could counter the effects of the first device. When the Atlantis team travel to Polrusso, what they discover has staggering implications not only for the future of Atlantis but for all life in the Pegasus Galaxy.
The exegesis argues that both science and science fiction narrate the dissolution of ontological structures, resulting in cognitive estrangement. Fallacy writers engage in the same process and use the same themes and tools as science fiction writers to resolve cognitive estrangement: they technologise mythology. Consequently, the distinction between fact and fiction, history and myth, is blurred.
The exegesis discusses cognitive estrangement, mythology, the process of technologising mythology and its function as a novum that facilitates the resolution of cognitive estrangement in both fallacy and science fiction narratives. These concepts are then considered in three Stargate tie-in novels, with particular reference to the creative work, Stargate Atlantis: Exogenesis.
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Rebuschi, Manuel. "Peut-on dire ce qui n'est pas ? : objets mathématiques et autres fictions : sémantique et ontologie." Nancy 2, 2000. http://docnum.univ-lorraine.fr/public/NANCY2/doc551/2000NAN21013.pdf.
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Si les philosophes ont produit quantité de conceptions anti-réalistes des mathématiques (formalisme, intuitionnisme. . . ), et même édicté des interdits de limitant telle ou telle variante de mathématique non réaliste, la plupart des mathématiciens y sont restés indifférents : spontanément réalistes, au sens où ils vivent leur pratique comme la découverte d'aspects d'une réalité autonome, ils n'en sont pas pour autant nécessairement platonistes quand, par un retour réflexif sur leur propre pratique, ils en viennent à statuer sur l'ontologie de cette prétendue " réalité ". Il s'agit donc d'articuler deux moments qui apparaissent en décalage, au point d'être parfois contradictoires : " l'ontologie spontanée " ou la phénoménologie du mathématicien et son " ontologie réfléchie ". D'un point de vue logique, l'objectif est celui de rendre compatible le plus grand libéralisme quant aux règles de construction des théories avec une ontologie nominaliste extrême, le fictionnalisme mathématique. Une approche structuraliste, inspirée par la notion de contenu formel de Granger, permet d'adosser l'ontologie des mathématiques à l'objectivité de la syntaxe, en privilégiant la forme sur le contenu. Dans un second temps, à partir d'une réflexion sur la logique des fictions ordinaires, on réhabilite le contenu en tant qu'objet mental à un niveau proprement sémantique, en rupture avec le paradigme logico-ontologique de Quine. L'approche modèle-théorétique et l'étude de différentes conceptions des quantificateurs (quantifications substitutionnelle et objectuelle, théorie sémantique des jeux de Hintikka) incitent à séparer nettement deux aspects, sémantique et ontologie, alors que la tradition de l'universalisme logique incluait la seconde dans la première. Le désengagement ontologique des théories sémantiques permet alors de retourner à certains débats des théoriciens de la référence, en y discernant les traits irréductiblement pragmatiques, par la même rétifs à toute théorisationWhereas philosophers have proposed many anti-realistic conceptions of mathematics (formalism, intuitionism. . . ) and have even enacted restrictions so as to set boundaries to different variants of non-realistic mathematics, most mathematicians have ignored them ; being spontaneously realistic, because they experience their research as the discovery of aspects of an autonomous reality, they do not, however, necessarely adopt a Platonistic stance when, thinking back on their own practice, they eventually decide on the ontology of this so-called "reality". Therefore, one must articulate two moments between which there appears to be a discrepancy, not to say a contradiction : the mathematician's "spontaneous ontology" and his/her "sophisticated ontology". From a logical point of view, the purpose of this work is to reconcile the utmost liberalism concerning the rules of theory construction, and a radical nominalist ontology, mathematical fictionalism. A structuralist approach based on Granger's "formal content" notion makes it possible to back mathematical ontology onto the objectivity of syntax, thereby favouring form over content. Next, starting from a study on the logic of ordinary fictions, the notion of content as a mental object is rehabilitated at a strictly semantic level, in opposition to Quine's logical-ontological paradigm. The model-theoretic approach, supported by the study of substitutional and objectual quantifiers, Hintikka's Game-Theoretical Semantics, etc. , leads one to draw a clear divide between semantics and ontology, as against the tradition of logical universalism according to which the latter was included in the former. Once semantics is freed from its ontological commitments, it is possible to return to some issues raised by the theory of reference and point out some irreducible pragmatic features of it, which naturally withstand any theorization
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Alexander, Ezra. "Transmedial Migration : Properties of Fictional Characters Adapted into Actual Behavior." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-92768.
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Research in the field of fictional and possible worlds examines the real and its hypothetical counterparts. The interaction between the actual and the fictional is a cause of debate within this field, and includes questions concerning the ontological status of fictional characters and their relation to reality. The following discussion will engage current positions in this debate. These include questions of reference regarding the correlation between fictional characters and actual personalities. Studying the transmedial migration of character properties from fictional worlds into the actual world engages with the possible as dependent on the actual, as well as the influence fiction can have on reality, by demonstrating how individual characters are perceived as packages of properties, some of which we identify and recognize as adaptable to our own behavior. Transmedial migration requires compatibility between different media. Accordingly, it is explained through the direct correspondence of fictional properties to actual properties, and the indirect correspondence of fictional characters to actual people. I am claiming that an interaction can be observed between different media, such as fictional worlds and the actual world, with particular emphasis on the example of fictional characters and their properties. In order to comprehend this we need a robust framework and the model that I am proposing here comprises the essential elements for such a framework. The transmedial migration of character properties from a textual medium, such as a Sherlock Holmes story, into the physical, social medium of the actual world is the action of adapting a fictional character’s package of properties into an actual person’s behavior. The agency of actual people in adapting fictional character properties to their corporal, social actions is what constitutes transmedial migration. This is a specific example of behavioral learning that recognizes certain behavior by the means of a label or trademark that is acquired from a fictional character. It is conceivable that any number of behavioral attributes, such as attitudes or habits, could be scientifically proven to have transmedially migrated by means of experimentation. Nevertheless, culturally and socially, it is only the definite identification of such character properties that substantiates my argument of transmedial migration through adaptation.
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Pei, Kong-ngai. "Fictional characters and their names a defense of the fact theory /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/b4020389x.
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Pei, Kong-ngai, and 貝剛毅. "Fictional characters and their names: a defense of the fact theory." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B4020389X.
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Brookes, Alexander. "Non-Euclidean Geometry and Russion Literature| A Study of Fictional Truth and Ontology in Fyodor Dostoevsky's Brothers Karamazov, Vladimir Nabokov's The Gift, and Daniil Kharms's Incidents." Thesis, Yale University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3578319.
Full textAbstract:
This dissertation is an investigation of a theoretical problem—the determination of truth and being in a work of literary fiction—in the context of a momentous event in the history of mathematics—the discovery of a consistent non-Euclidean geometry. Beginning with the first interpretations of the philosophical significance of non-Euclidean geometry to enter the Russian cultural sphere in the 1870s, I analyze how the works by three Russian authors—Fyodor Dostoevsky, Vladimir Nabokov, and Daniil Kharms—integrate the principles of mathematical truth into their construction of a fictional ontology and methods of fictional truth evaluation. Each author, I argue, combines their own aesthetic program with the changes in the philosophy of mathematics underwent in their respective eras and historical contexts. The diversity of these contexts provides the variables, against which this theoretical problem is analyzed.
The first chapter deals with Dostoevsky's interpretation of non-Euclidean geometry and its philosophical significance expressed in Ivan Karamazov's rebellion against God in Brothers Karamazov. I argue that Dostoevsky deploys the Euclidean/non-Euclidean binary to juxtapose two methods of fictional truth evaluation—a traditional model, obsolete in light of the principles of non-Euclidean geometry, and another model, which Dostoevsky embraces in Brothers Karamazov, based on the paradoxical and yet true axioms of the new geometry. I phrase the distinction in the terms of possibility and necessity: the new model of fictional truth evaluation is for propositions which are true in all possible worlds except the actual. In Chapter Two, I draw upon previous analysis of Nabokov's The Gift and the mention of Lobachevsky's geometry in the internal biography of Chernyshevsky, to argue that the narrative structure of The Gift returns to the Euclidean/non-Euclidean binary as introduced by Dostoevsky, but re-interprets the otherworldly according to Nabokov's own aesthetic praxis and the interpretation of non-Euclidean geometry by late-nineteen and early twentieth century geometers and physicists. Nabokov applies concepts of non-Euclidean geometry and space to the actual world. This analysis provides a framework for interpreting the space and time of The Gift according to structures suggested within the novel itself. The third chapter investigates Kharms's interpretation of the significance and meaning of geometry in light of the impact that non-Euclidean geometry had on mathematical propositions as a means of describing possible states of affairs. I place Kharms's fictional objects, such as the red-headed man of "Blue Notebook no. 10," and implications to truth evaluation in "Sonnet" and "Symphony no. 2," in the context of anti-Kantian theories of truth and logic, which arose in the period around the turn of twentieth century.
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Aukerman, Jason Michael. "The true war story: ontological reconfiguration in the war fiction of Kurt Vonnegut and Tim O'Brien." Thesis, 2017. https://doi.org/10.7912/C25369.
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Indiana University-Purdue University Indianapolis (IUPUI)This thesis applies the ontological turn to the war fiction of veteran authors, Kurt Vonnegut and Tim O’Brien. It argues that some veteran authors desire to communicate truth through fiction. Choosing to communicate truth through fiction hints at a new perspective on reality and existence that may not be readily accepted or understood by those who lack combat experience. The non-veteran understanding of war can be more informed by entertaining the idea that a multiplicity of realities exists. Affirming the combat veteran reality—the post-war ontology—and acknowledging the non-veteran reality—rooted in what I label “pre-war” or “civilian” ontology—helps enhance the reader’s understanding of what veteran authors attempt to communicate through fiction. This approach reframes the dialogic interaction between the reader and the perspectives presented in veteran author’s fiction through an emphasis on “radical alterity” to the point that telling and reading such stories represent distinct ontological journeys. Both Kurt Vonnegut and Tim O’Brien provide intriguing perspectives on reality through their fiction, particularly in the way their characters perceive and express morality, guilt, time, mortality, and even existence. Vonnegut and O’Brien’s war experiences inform these perspectives. This does not imply that the authors hold an identical perspective on the world or that combat experience yields an ontological understanding of the world common to every veteran. It simply asserts that applying the ontological turn to these writings, and the writings of other combat veterans, reveals that those who experience combat first-hand often walk away from those experiences with a changed ontological perspective.
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Lee, Clarissa Ai Ling. "Speculative Physics: the Ontology of Theory and Experiment in High Energy Particle Physics and Science Fiction." Diss., 2014. http://hdl.handle.net/10161/9046.
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The dissertation brings together approaches across the fields of physics, critical theory, literary studies, philosophy of physics, sociology of science, and history of science to synthesize a hybrid approach for instigating more rigorous and intense cross-disciplinary interrogations between the sciences and the humanities. I explore the concept of speculation in particle physics and science fiction to examine emergent critical approaches for working in the two areas of literature and physics (the latter through critical science studies), but with the expectation of contributing new insights to media theory, critical code studies, and also the science studies of science fiction.
There are two levels of conversations going on in the dissertation; at the first level, the discussion is centered on a critical historiography and philosophical implications of the discovery Higgs boson in relation to its position at the intersection of old (current) and the potential for new possibilities in quantum physics; I then position my findings on the Higgs boson in connection to the double-slit experiment that represents foundational inquiries into quantum physics, to demonstrate the bridge between fundamental physics and high energy particle physics. The conceptualization of the variants of the double-slit experiment informs the aforementioned critical comparisons. At the second level of the conversation, theories are produced from a close study of the physics objects as speculative engine for new knowledge generation that are then reconceptualized and re-articulated for extrapolation into the speculative ontology of hard science fiction, particularly the hard science fiction written with the double intent of speaking to the science while producing imaginative and socially conscious science through the literary affordances of science fiction. The works of science fiction examined here demonstrate the tension between the internal values of physics in the practice of theory and experiment and questions on ethics, culture, and morality.
Nevertheless, the dissertation hopes to show the beginnings of a possibility, through the contentious but generative space provided by speculative physics, to produce more cross-collaborative thinking between physics as represented by the hard sciences, and science fiction representing the objects of literary enterprise and creative evolution.
Dissertation
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TOLAN, HOMER COOK TRIMPI. "THE QUEST FOR IDENTITY IN THE SHORTER FICTION OF D. H. LAWRENCE (ONTOLOGY, STORIES, HEIDEGGER, CHRONOLOGY, LICHTENSTEIN)." Thesis, 1986. http://hdl.handle.net/1911/16013.
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D. H. Lawrence's short stories have suffered critically in part because no complete examination of them has been achieved. This thesis divides Lawrence's stories into six separate chronological categories and then approaches each group thematically, utilizing a variety of critical tools to explore the stories. The first two groups are weakest, as might be expected, since they precede Lawrence's commitment to writing, his mother's death, and his alliance with Frieda Weekley. After that time period, the remaining four groups of stories are shown more clearly to deal with essential Lawrentian themes that appear in all his works, including fiction, essays, poems and travel books. For Lawrence more than many other writers, death and regeneration is a part of the process forming a viable identity for self, with which one may then attempt viable relationships--interrelatednesses--with others and the cosmos. The stories offer a good proving ground for this thesis, and demonstrate many ways in which characters both succeed and fail in achieving identity.
In summary, it must no longer be overlooked that all of Lawrence's short stories are part of the whole fabric from which the Lawrentian cloth is woven; the stories, even in isolation, reflect the changing nature of Lawrence's polemics over the years, as well as changes in the construction elements of his craft. Examined with a view to his other works, the short stories further amplify Lawrence's historical and philosophical place in the twentieth century context.
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Trauvitch, Rhona. "Adventures in fictionality: Sites along the border between fiction and reality." 2013. https://scholarworks.umass.edu/dissertations/AAI3589200.
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This project is a narratological study of the border between fiction and reality, and the traversing thereof. I postulate that the permeability of this border is the consequence of textual acts: Cataloged Fabulations, Second-tier Fictionals, and Rhizomatic Fabrications. These are akin to speech acts in that fictional entities gain nonfictional status by means of an implicit contract at the heart of the textual act. Having laid out the narratological foundation of the textual acts' power, I argue that the narratological bears on the ontological through performative speech acts, as portrayed in J. L. Austin's tripartite model. I use two lenses in my analysis: the work of Jorge Luis Borges and the Hebrew Bible and its commentaries. The Borgesian trifecta is encyclopedia, mirror, and labyrinth, referents that are synonymous with the three textual acts noted above. In terms of the biblical lens, my analysis focuses on a metaphor family in Jewish mysticism. This family includes the World as Book, The Torah as Blueprint, God as Author, and Letters as Building Blocks. The resulting conceptual system is narratological in nature. Consequently it is useful to draw on this system so as to elucidate the field of narratology. The binoculars offer a parallax view, which provides a unique perspective on narratology: the combination of modernist/postmodernist fantasy and the urtext of the Western literary canon. My aim is to further the conception of narratology into the crosshatched territory of literary theory and cultural studies.
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Bruhns, Adrian. "Zur Ontologie fiktiver Entitäten und ihrer Beschreibung in der Fiktionstheorie und Literaturwissenschaft." Doctoral thesis, 2016. http://hdl.handle.net/11858/00-1735-0000-0023-3EC0-E.
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Gaudreault, Marc. "Une ontologie de l'espace-temps, ou, L'abîme temporel du Cycle de Dune : de la prescience à la mémoire génétique." Mémoire, 2009. http://www.archipel.uqam.ca/1994/1/M10832.pdf.
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Toute la réflexion contenue dans ces pages porte sur un seul postulat: peut-on prédire l'avenir? À partir de ce questionnement, se dessine la nécessité d'élaborer une ontologie du temps qui prend son assise non seulement dans la métaphysique, mais aussi dans la physique et la littérature. Cette dernière vient agir comme balise, puisque l'imaginaire se met au service d'une réflexion sur la structure même du temps à travers la représentation esthétique qu'une oeuvre d'anticipation en particulier traite comme objet du discours -soit Le Cycle de Dune de Frank Herbert. Puisque l'anticipation, en tant que sous-genre de la science-fiction, emprunte certaines de ces conceptions à la science exacte, cette balise esthétique particulière permet ainsi à cette ontologie du temps de référer directement à la science. L'oeuvre d'Herbert, parce qu'elle met en scène des protagonistes dotés de pouvoirs temporels, comme la prescience et la mémoire génétique, ouvre de facto la porte à une ontologie du temps qui s'articule selon quatre axes méthodologiques -chacun de ces chapitres renvoyant directement sa réflexion physique, métaphysique et littéraire à l'imaginaire dépeint dans la fiction du Cycle de Dune. Primo, une ontologie du futur, qui est rendue possible par une analyse de la prescience, cette capacité à voir le temps de manière omnisciente -laquelle omniscience permet d'élaborer un modèle physique du temps, ou plutôt de l'espace-temps, puisqu'il est démontré que temps et espace sont indissociables. Secundo, une ontologie de la mémoire et sa relation avec le passé et l'historicité, grâce à l'étude de la mémoire génétique qui révèle l'immortalité de cette mémoire, laquelle demeure néanmoins subjective et sujette, dans sa fonction de témoignage, au parjure. Tertio, une ontologie du présent, nuancée par une distinction entre le présent physique et le présent phénoménologique, ce dernier créant des conséquences particulièrement néfastes pour les protagonistes d'Herbert, soit une perte de repère temporel, un risque de possession et l'ennui causé par un futur décidé qui fixe le présent du prophète en un déterminisme figé. Quarto, un examen de la forme temporelle du Cycle de Dune, où les exergues adoptent une temporalité indépendante du reste de la narration qui rend cette dernière assimilable à un simulacre de récit, au point où, de façon surprenante, il devient possible d'affirmer que les exergues seraient le véritable présent diégétique, et la narration, une reconstruction du passé faussée par des preuves documentaires erronées et un éloignement temporel cinq fois millénariste.
Finalement, il semble que l'avenir peut être prédit dans le modèle d'espace-temps ontologique proposé, mais qu'une telle prédiction est une arme à deux tranchants, une chose peu souhaitable parce que contraignant le prophète à déterminer, de façon figée, lequel des futurs possibles deviendra l'à venir du présent -comme les protagonistes d'Herbert le font dans le Cycle de Dune, afin d'assurer la survie de l'humanité par une corruption volontaire de la mémoire collective. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Ontologie de l'espace-temps, Le Cycle de Dune de Frank Herbert, Science-fiction, Science et littérature, Prédiction du futur, Histoire et mémoire collective, Phénoménologie du présent, Exergues et simulacre de récit.
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Rieske, Tegan Echo. "Alzheimer's Disease Narratives and the Myth of Human Being." Thesis, 2012. http://hdl.handle.net/1805/3183.
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Indiana University-Purdue University Indianapolis (IUPUI)The ‘loss of self’ trope is a pervasive shorthand for the prototypical process of Alzheimer's disease (AD) in the popular imagination. Turned into an effect of disease, the disappearance of the self accommodates a biomedical story of progressive deterioration and the further medicalization of AD, a process which has been storied as an organic pathology affecting the brain or, more recently, a matter of genetic calamity. This biomedical discourse of AD provides a generic framework for the disease and is reproduced in its illness narratives. The disappearance of self is a mythic element in AD narratives; it necessarily assumes the existence of a singular and coherent entity which, from the outside, can be counted as both belonging to and representing an individual person. The loss of self, as the rhetorical locus of AD narrative, limits the privatization of the experience and reinscribes cultural storylines---storylines about what it means to be a human person. The loss of self as it occurs in AD narratives functions most effectively in reasserting the presence of the human self, in contrast to an anonymous, inhuman nonself; as AD discourse details a loss of self, it necessarily follows that the thing which is lost (the self) always already existed. The private, narrative self of individual experience thus functions as proxy to a collective human identity predicated upon exceptionalism: an escape from nature and the conditions of the corporeal environment.