To see the other types of publications on this topic, follow the link: Ontology of fiction.
Journal articles on the topic 'Ontology of fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research 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.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
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 textAbstract:
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.
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
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 textAbstract:
(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.
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
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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
11
Friedell, David. "Fiction and indeterminate identity." Analysis 80, no. 2 (November 15, 2019): 221–29. http://dx.doi.org/10.1093/analys/anz066.
Full textAbstract:
Abstract In ‘Against fictional realism’ Anthony Everett argues that fictional realism leads to indeterminate identity. He concludes that we should reject fictional realism. Everett’s paper and much of the ensuing literature does not discuss what exactly fictional characters are. This is a mistake. I argue that some versions of abstract creationism about fictional characters lead to indeterminate identity, and that some versions of Platonism about fictional characters lead only to indeterminate reference. In doing so I show that Everett’s argument poses a more pressing problem for abstract creationism than for Platonism. The general lesson is that fictional realists should think more about the ontology of fictional characters in order to discern whether they are committed to indeterminate identity.
12
Quinn, Michael. "Fuller on legal fictions: a Benthamic perspective." International Journal of Law in Context 9, no. 4 (December 2013): 466–84. http://dx.doi.org/10.1017/s1744552313000256.
Full textAbstract:
AbstractThis paper attempts first to explain Bentham's distinction between a fiction and the name of a fictitious entity, and to relate that distinction to his rationale for the critique of legal fictions. A second goal of the paper is to investigate the tensions involved in Bentham's ontology and epistemology, and more specifically the tension between the objectivist and subjectivist Bentham. It is argued that Bentham's objections to legal fictions were traceable to their use in deceptive or fallacious argument, whilst his logic provided a means of rehabilitating the use of the names of those fictitious entities which could be explicated through his technique of paraphrasis (that is, explained in terms of real entities), in relation to which both meaning and truth might be exchanged. This realist perspective differs markedly from that of Fuller, who, following Vaihinger, rejects the attempt to replace fiction with truth. There are significant areas of agreement between Bentham and Fuller, on the figurative nature of much language, and even, in certain contexts, on the utility of the self-conscious deployment of fictions. However, in the context of law and morality, it appears that his development of a route to truth through paraphrasis makes Bentham the enemy of fictions, since, in this field at least, truth and utility stand or fall together.
13
Franklin-Brown, Mary. "Fugitive Figures." Romanic Review 111, no. 1 (May 1, 2020): 66–84. http://dx.doi.org/10.1215/00358118-8007964.
Full textAbstract:
Abstract Through a study of early French romances, especially the Conte de Floire et Blancheflor and Alexandre de Paris’s Roman d’Alexandre, this essay offers a new approach to the automaton in medieval literature. Bruno Latour’s plural ontology, which elaborates on the earlier work of Gilbert Simondon and Étienne Souriau, provides a way to break down the division between the human mind and the world (and hence the mind and the machine), offering a rich understanding of the way in which the beings of technology [TEC], fiction [FIC], and religion [REL] act in concert upon us to inspire our desire for technological fictions.
14
Pihlainen, Kalle. "Narrative Objectivity Versus Fiction: On the ontology of historical narratives." Rethinking History 2, no. 1 (January 1998): 7–22. http://dx.doi.org/10.1080/13642529809408759.
Full text
15
West-Pavlov, Russell. "Proximate historiographies in Jennifer Nansubuga Makumbi’s Kintu." Tydskrif vir Letterkunde 58, no. 1 (May 7, 2021): 76–85. http://dx.doi.org/10.17159/tl.v58i1.8284.
Full textAbstract:
Jennifer Nansubuga Makumbi’s novel Kintu (2014) places alongside forms of historical fiction familiar to European readers, a form of historical causality that obeys a different logic, namely, one governed by the long-term efficacity of a curse uttered in pre-colonial Buganda. The novel can be read as a historiographical experiment. It sets in a relationship of ‘proximity’ linear historical narration as understood within the framework of European historicism and the genre of the historical novel theorised by Lukács, and notions of magical ‘verbal-incantatory’ and ‘somatic’ history that elude the logic of hegemonic European historicism but nonetheless cohabit the same fictional space. Makumbi’s novel thus sketches an ‘entanglement’ of various historical temporalities that are articulated upon one another within the capacious realm of fiction, thereby reinforcing a cosmic ontology and axiology of reciprocity and fluid duality whose infringement in fact triggers the curse at the origin of the narrative.
16
Lee, Sara. "The Fiction of Neoliberal Ontology in Chang-rae Lee’s Native Speaker." Journal of American Studies 49, no. 3 (December 31, 2017): 249–73. http://dx.doi.org/10.22505/jas.2017.49.3.11.
Full text
17
Michelson, Jared. "Covenantal history and participatory metaphysics: formulating a Reformed response to the charge of legal fiction." Scottish Journal of Theology 71, no. 4 (November 2018): 391–410. http://dx.doi.org/10.1017/s0036930618000595.
Full textAbstract:
AbstractTo combat the charges raised by Radical Orthodoxy and others, which allege that Protestant soteriologies amount to a legal fiction, Bruce McCormack and Michael Horton suggest that Reformed theology embrace a covenantal ontology, which aims to overcome legal fiction objections without sacrificing Reformational insights or making recourse to medieval participatory metaphysics. For both theologians, covenantal history and participatory metaphysics are treated as rival paradigms. I suggest that their proposals display serious weaknesses and propose an alternative approach, inspired by the retrieval of Reformed scholastic insights, which treats covenant and participatory metaphysics as complementary motifs rather than rival paradigms, and is thereby able to overcome the legal fiction objection while maintaining Protestant distinctives.
18
Boy, Nina. "Endgame: The false destruction of the social imaginary." Finance and Society 7, no. 2 (December 15, 2021): 162–66. http://dx.doi.org/10.2218/finsoc.v7i2.6654.
Full textAbstract:
Vogl’s account of contemporary financial truth games suggests that a full understanding of our present condition requires the kind of knowledge produced by fiction and those who study it. But what kind of knowledge is that, and how does it escape the capitalist ontology of information?
19
Hellstrand, Ingvil. "‘Almost the same, but not quite’: Ontological politics of recognition in modern science fiction." Feminist Theory 17, no. 3 (September 16, 2016): 251–67. http://dx.doi.org/10.1177/1464700116666240.
Full textAbstract:
This article explores how issues of ‘not quite human-ness’ expose the conditions of possibility of being considered human; of human ontology. I refer to these dynamics for identifying sameness and difference as ontological politics of recognition. Tracing the genealogies of passing, I situate passing and Othering socio-political regulation and ideological frameworks for conceptualising ontology. I am particularly concerned with how the notion of ontology is bound up in questions of race and gender, and with the entanglements of technology and biology that can destabilise apparently fixed boundaries between the (natural/normative) human and its (constructed/abnormal) Others. I identify three trajectories of passing as human in the histories of science fiction. The first trajectory discusses ontological mimicry: the ways in which the non-human attempts to be like the human. The second trajectory addresses how passing as human relies on a Butlerian performativity: doing human-ness by complying with the regulatory frames for appearances and practices. The final trajectory discusses what is at stake in contemporary ontological politics of recognition: a renegotiation of human supremacy through an emphasis on collectivity and collaboration rather that singularity and boundedness.
20
Hansen, Nils Gunder. "Käte Hamburger og »digtningens logik«." K&K - Kultur og Klasse 34, no. 101 (April 2, 2006): 44–73. http://dx.doi.org/10.7146/kok.v34i101.22325.
Full textAbstract:
Käte Hamburger, and »the logic of literature«This paper examines the principal content and line of thought in Käte Hamburger’s classic study on the character of fiction, Die Logik der Dichtung, from 1957. Hamburger’s book is an ambitious and original attempt to relate the differences of literary genres and the reader’s phenomenological experience of these differences to linguistic circumstances and a theory of enunciation. The paper first develops the theory of enunciation that marks Hamburger’s linguistic point of departure and thereafter carefully examines her points on epic fiction (third-person narration), which stands as the cornerstone of her theory of fiction. Subsequently her »logical« definitions of lyric poetry, first-person narration, drama and film are summarized. The paper concludes that the work of Hamburger contains extremely valuable contributions to a theory of fiction, but several arguments of both a theoretical and a more pragmatic nature can be raised against it. Furthermore her theory of fiction seems to rest on premises inspired by existential ontology, and these premises remain somewhat blurred.
21
Saarti, Jarmo, and Kaisa Hypén. "From thesaurus to ontology: the development of the Kaunokki Finnish fiction thesaurus." Indexer: The International Journal of Indexing 28, no. 2 (June 2010): 50–58. http://dx.doi.org/10.3828/indexer.2010.15.
Full text
22
Suleiman, Susan Rubin. "Ontology and politics: the representation of communists in Sartre’s fiction and theatre." Journal of Romance Studies 6, no. 1-2 (March 2006): 127–42. http://dx.doi.org/10.3828/jrs.6.1-2.127.
Full text
23
Farahbakhsh, Alireza, and Soulmaz Kakaee. "A DYSTOPIAN READING OF THE PRESENT TIME IN DAVID MITCHELL'S NUMBER 9 DREAM." International Journal of Research -GRANTHAALAYAH 6, no. 12 (December 31, 2018): 12–22. http://dx.doi.org/10.29121/granthaalayah.v6.i12.2018.1070.
Full textAbstract:
With the intention to study the implications and their affinity with and deviation from reality, the present study will analyze Number9Dream (2001) in terms of its narrative style, ontological qualities, and certain conventions which lead to the particular genre of dystopian science fiction. It tends to settle the following questions: are the implications and contributions of categorizing Number9Dream as a dystopian science fiction significant in any way? What is the role and ontological significance of setting in the novel? Narratological approach and genre criticism are applied to the novel to analyze it from the perspective of its critical engagement with dystopia. It traces science fictional elements and then continues to examine their utopian or dystopian nature and the different functions of those elements. It also refers to the connection between the given ontologies and reality. The present article shows that the novel provides a range of multiple possible worlds through two layers of internal and external ontology which are the representations of the real world. Dystopian narrative and science fiction conventions are exploited to address today's world issues. Through a detached view toward the present societies, Mitchell gives the opportunity to criticize what is not otherwise visible. The novel warns about human's isolation, alienation, and dehumanization and calls people to action accordingly. It briefly refers to the reconciliation of past/ present and nature/ science as a solution.
24
Goldman, Marlene. "Autobiography in the Anthropocene. A Geological Reading of Alice Munro." European Journal of Life Writing 9 (December 28, 2020): BE75—BE92. http://dx.doi.org/10.21827/ejlw.9.37326.
Full textAbstract:
In the autobiographical stories of Nobel Prize award-winning author Alice Munro, questions of ontology and mortality are inextricably connected to matters of space and place. Fundamental existential dilemmas expressed in Munro’s corpus – signaled by the title of her second short story collection Who Do You Think You Are? – are linked to basic questions concerning orientation. Although autobiographical fiction frequently interweaves concerns about identity and deceased parents with recollections of ancestral spaces, as the literary critic Northrop Frye famously stated, the question ‘Where is here?’ is characteristic of the Canadian imagination. It is now also fundamental to the epoch of the Anthropocene. Although critics frequently praise Munro for her skill in presenting haunting, epiphanic moments, she is less often credited for her far less conventional tendency to tell stories covering years, even decades. My paper explores Munro’s preoccupation with these vast temporal arcs and their impact on her recursive autobiographical fiction. I argue that Munro’s penchant for ‘return and revision’ in her non-fictional works affords an opportunity for her protagonists and, by extension, her readers to revisit and ponder ancestral connections and the non-human dimensions of existence, which include sublime geological features and deep time.
25
Barbosa, Gabriel Túlio de Oliveira. "O “quem das coisas”: agência e ontologia da paisagem em Guimarães Rosa / The “Who of Things”: Agency and Landscape Ontology in Guimarães Rosa." O Eixo e a Roda: Revista de Literatura Brasileira 31, no. 1 (June 4, 2022): 82. http://dx.doi.org/10.17851/2358-9787.31.1.82-99.
Full textAbstract:
Resumo: Este artigo discorre sobre alguns dos aspectos referentes aos entrelaçamentos entre literatura e espaço e/ou texto e paisagem na obra de João Guimarães Rosa. A chave analítica que empreendemos visa compreender como as formas de escrita rosiana são mobilizadas para deslocar a perspectiva ficcional, escolhendo ver e escutar o mundo a partir de outros pontos de vista, humanos e não-humanos. Propõe-se, assim, apreender e discutir as maneiras como os perfis orográficos de serras, morros e cavernas organizam de forma particular as ações ficcionais e a composição narrativa em “O recado do morro”, enquanto elemento central para o deslanche do enredo e de seus personagens. Em um segundo momento, como digressão final e complementar às questões levantadas, evidencia-se ainda as correspondências entre os afloramentos minerais da Serra do Espinhaço e os “segredos” de Diadorim em Grande sertão: veredas. Palavras-chave: Guimarães Rosa; espaço e literatura; ficção; geografia; ontologia da paisagem. Abstract: This article discusses some of the aspects related to the connections between literature and space and/or text and landscape in João Guimarães Rosa’s work. The analytical key we undertake aims to understand how Rosa’s writing is mobilized to shift the fictional perspective, prioritizing seeing and hearing the world from other points of view, that are human or non-human. It is proposed, therefore, to apprehend and discuss the ways in which the orographic shape of mountains, hills and caves organizes in a particular way the fictional actions and the narrative composition in “O recado do morro”, as a central element for the development of the storyline and its characters. In a second moment, as a final and complementary digression to the debated issues, the correspondences between the Serra do Espinhaço’s mineral outcrops and the “secrets” of Diadorim in Grande sertão: veredas are also highlighted. Keywords: Guimarães Rosa; space and literature; fiction; geography; landscape ontology.
26
Stjernfelt, Frederik. "The ontology of espionage in reality and fiction: A case study on iconicity." Sign Systems Studies 31, no. 1 (December 31, 2003): 133–62. http://dx.doi.org/10.12697/sss.2003.31.1.05.
Full textAbstract:
A basic form of iconicity in literature is the correspondence between basic conceptual schemata in literary semantics on the one hand and in factual treatments on the other. The semantics of a subject like espionage is argued to be dependent on the ontology of the field in question, with reference to the English philosopher Barry Smith’s “fallibilistic apriorism”. This article outlines such an ontology, on the basis of A. J. Greimas’s semiotics and Carl Schmitt’s philosophy of state, claiming that the semantics of espionage involves politology and narratology on an equal footing. The spy’s “positional” character is analyzed on this basis. A structural difference between police and military espionage is outlined with reference to Georges Dumézil’s theory of the three functions in Indo-European thought. A number of ontological socalled “insecurities” inherent in espionage and its literary representation are outlined. Finally, some hypotheses are stated concerning the connection between espionage and literature, and some central allegorical objects — love, theology — of the spy novel are sketched, and a conclusion on the iconicity of literature is made.
27
Robinson, Benjamin Lewis. "Fiction Cares: J. M. Coetzee's Slow Man." Novel 53, no. 3 (November 1, 2020): 399–418. http://dx.doi.org/10.1215/00295132-8624588.
Full textAbstract:
Abstract J. M. Coetzee's Slow Man considers “care” in contemporary liberal-capitalist societies, including the ostensibly frivolous care of and care for literature. In contrast to grander affects and occupations, care often seems to be “just care,” as if it fails to live up to certain criteria of reality in much the same way that one says something is “just fiction.” If in its literary investigation of such serious issues as disability, aging, and immigration, Slow Man turns into a reflection on the ontology of fiction, this is not mere metafictional frivolity—for care shares the disparaged form of fiction. Coetzee's Elizabeth Costello writings, of which Slow Man appears to be the last, advocate in fiction an “ethics of care.” They are concerned with modes of attention that lack the categorical determinacy of the discourse of rights and of justice and are instead characterized by what I propose to call “justness.” In this light, the novel can be read as examining the skepticism and disappointment with which, on account of this justness, earnest pleas for an ethics of care, or apologies for fiction, are met. The advocacy of care, as of fiction, requires not only good will but also good humor, even if this comes at the cost of being taken seriously. Accordingly, Slow Man proves to be one of the most heavy-going but also lighthearted of Coetzee's novels. It is, after all, “just a joke.”
28
Madroñero Morillo, Mario. "Desconstrucción artística y “plasticidad destructiva” ficción, estéticas y reinvención de lo político." CALLE14: revista de investigación en el campo del arte 11, no. 19 (October 21, 2016): 126. http://dx.doi.org/10.14483//udistrital.jour.c14.2016.2.a11.
Full textAbstract:
RESUMENLa relación entre ficción e invención como críticas a la formación de regímenes de representación permite generar movimientos y fisuras en la transición entre la representación moderna y la irrepresentabilidad posmoderna, cuestión que implica una posible desconstrucción artística, relacionada con la “ontología del accidente” y la “plasticidad destructiva” como expresiones límite de la representación, que expondría las particularidades de una estética de la inconstancia, como dimensión en la que se hace patente una autodesconstrucción de un régimen de representación del ser, que podría ser asumida como una temporalidad crítica expuesta en la ficción, como tiempo de lo póstumo, capaz de generar espacios de encuentro creativo a partir del disenso.PALABRAS CLAVEFicción, política, transición, desconstrucción, accidente, plasticidad.ARTISTIC DECONSTRUCTION AND “DESTRUCTIVE PLASTICITY” FICTION, AESTHETICS, AND POLITICS REINVENTIONABSTRACTThe relationship between fiction and invention in opposition to the formation of representation regimes offers the opportunity to generate movements and fissures in the transition of modern representation and postmodern unrepresentability. Being a matter that implies a possible artistic deconstruction related to the “ontology of accident” and “destructive plasticity”, as a limitative expression of representation. Which, in turn, would expose the particularities of the esthetics of inconstancy as a dimension in which it is shown a self-deconstruction of an individual representation regime, that could possibly be assumed as a critic temporality exposed in fiction as posthumous time, capable of generate a meeting space marked by dissent. KEY WORDSFiction, politics, transition, deconstruction, accident, plasticity.WALLILII RURAIKUNA MAKIWA WALLICHISKA, MUNAI KAWWAI MAILLA RURANGAPA PARIASPAMAILLALLACHISKAKai kilkapi ninakumi imasami kai iskai ruraikuna kawachinaku allimanda kallaringapa tapuchispa, imasami kaanaku kanchanimanda mailla mailla wallirispa riku “ontología kanchani manda” chasallata kai rurai suti “ plasticidad wallichiska” nukanchikikin wallichinakunchi mailla ruraskata nispa llakispa, iuiarinakunchi imasami, mana, pudiskanchi, allilla, ruranga nukanchipa atun llagtapi munaskasina.RIMANGAPA MINISTISKAKUNAMunaska, Parlaska, iallichiska, mal pasaska, ruraikuna.DÉCONSTRUCTION ARTISTIQUE ET “PLASTICITÉ DESTRUCTIVE” FICTION, ESTHÉTIQUES ET RÉINVENTION POLITIQUERÉSUMÉLa relation entre fiction e invention comme postures critiques à la formation de systèmes de représentation permet de générer mouvements et fissures dans la transition entre la représentation moderne et l’impossibilité de représenter la postmodernité. Point impliquant une possible déconstruction artistique liée à «L’ontologie de l’accident » et la «plasticité destructive » comme expressions qui encadrent la représentation exposant les particularités d’une esthétique inconstante, une dimension où se fait évidente la auto-déconstruction d’un système de représentation de l’être qui peut s’assumer comme un moment critique exposé à travers la fiction, comme temps lié au posthume, capable de construire espaces de socialisation à partir du débat.MOTS CLÉSFiction, politique, transition, déconstruction, accident, plasticité.
29
Burling, William. "Reading Time: The Ideology of Time Travel in Science Fiction." KronoScope 6, no. 1 (2006): 5–30. http://dx.doi.org/10.1163/156852406777505255.
Full textAbstract:
AbstractThis essay argues for the existence and ideological significance of two principal variants of time travel form in science fiction (SF): the temporal dislocation form and the temporal contrast form. The principle examples for discussion are, respectively, Stephen Baxter's manifold: time (2000) and Marge Piercy's Woman on the Edge of Time (1976), though the case is bolstered by additional references to other SF works. Drawing on the work of theorists such as Adorno, Benjamin, Žižek, and Jameson, the argument then considers more broadly the connection between ideology and ontology implicit in these time travel forms. The essay concludes with a critique of the assumptions by which time travel SF stories are created, studied, taught, and read by SF writers and academics, as well as general readers.
30
Lobo, Luiza. "Existentialism, Ontology, and Mysticism in Clarice Lispector’s A descoberta do mundo." Journal of Lusophone Studies 4, no. 2 (January 1, 2020): 56–74. http://dx.doi.org/10.21471/jls.v4i2.335.
Full textAbstract:
This article aims to place Clarice Lispector as the inventor of a new type of newspaper chronicle. The style of her 468 chronicles published weekly in Jornal do Brasil, from 1967 to 1973, and collected in the book A descoberta do mundo (1984), differs from that of her contemporary male chroniclers, such as Rubem Braga, Paulo Mendes Campos, Fernando Sabino, and Otto Lara Resende, or even women chroniclers, such as Rachel de Queiroz and Dinah Silveira de Queiroz. Mingling Sartre’s existentialism and Heidegger’s phenomenology with the Jewish mysticism learned as a child enabled Lispector to write in a style that pioneered modern women’s prose fiction in Brazil after 1970. This article argues that fragmentation and hybridization are the marks of her “discovery” of a new world as a woman writer, making her crônicas predecessors of today’s women’s blogs.
31
Sheridan, Paul, Mikael Onsjö, Claudia Becerra, Sergio Jimenez, and George Dueñas. "An Ontology-Based Recommender System with an Application to the Star Trek Television Franchise." Future Internet 11, no. 9 (August 22, 2019): 182. http://dx.doi.org/10.3390/fi11090182.
Full textAbstract:
Collaborative filtering based recommender systems have proven to be extremely successful in settings where user preference data on items is abundant. However, collaborative filtering algorithms are hindered by their weakness against the item cold-start problem and general lack of interpretability. Ontology-based recommender systems exploit hierarchical organizations of users and items to enhance browsing, recommendation, and profile construction. While ontology-based approaches address the shortcomings of their collaborative filtering counterparts, ontological organizations of items can be difficult to obtain for items that mostly belong to the same category (e.g., television series episodes). In this paper, we present an ontology-based recommender system that integrates the knowledge represented in a large ontology of literary themes to produce fiction content recommendations. The main novelty of this work is an ontology-based method for computing similarities between items and its integration with the classical Item-KNN (K-nearest neighbors) algorithm. As a study case, we evaluated the proposed method against other approaches by performing the classical rating prediction task on a collection of Star Trek television series episodes in an item cold-start scenario. This transverse evaluation provides insights into the utility of different information resources and methods for the initial stages of recommender system development. We found our proposed method to be a convenient alternative to collaborative filtering approaches for collections of mostly similar items, particularly when other content-based approaches are not applicable or otherwise unavailable. Aside from the new methods, this paper contributes a testbed for future research and an online framework to collaboratively extend the ontology of literary themes to cover other narrative content.
32
Amin, Kadji. "Trans* Plasticity and the Ontology of Race and Species." Social Text 38, no. 2 (June 1, 2020): 49–71. http://dx.doi.org/10.1215/01642472-8164740.
Full textAbstract:
During the 1920s, French surgeon Serge Voronoff became an international sensation for his technique of grafting chimpanzee testicular matter into human testicles. Félicien Champsaur’s 1929 popular speculative fiction novel, Nora, la guenon devenue femme (Nora, the Ape-Woman), imagines the possibilities of human-ape ontological and erotic proximity suggested by Voronoff’s practice of gland xenotransplantation, or transspecies transplantation. This article puts Nora and the early twentiethcentury science of ductless glands (ovaries, testicles, thyroid, thalamus, etc.) into conversation with trans* new materialist science studies around their shared investment in plasticity. In so doing, it contributes to the burgeoning inquiry into transsex, tranimal, and transspecies plasticity— which the author terms, jointly, trans* plasticity—while interrogating the affirmative and even utopian valance of such inquiry. Trans* plasticity describes the capacity of organic matter to transform itself in ways that transgress ontological divides among sex, race, and species. Building on Eva Hayward and Che Gossett’s claim that “the Human/Animal divide is a racial and colonial divide,” this article zeroes in on the historical process by which race and animality were produced in relation to each other. Ultimately, the author argues that gland xenotransplantation was a use of trans* plasticity that generated rather than troubled the ontobiological concepts of sexual, racial, and species difference.
33
Olsson, Jesper. "Stranger Things, Plant Life, and Posthuman Endgames: Reading Beckett with Others." Humanities 11, no. 2 (February 25, 2022): 32. http://dx.doi.org/10.3390/h11020032.
Full textAbstract:
This essay reads work by Samuel Beckett, especially his prose, with a focus on vegetal ontology and plant life, soil, mud, and dirt. By juxtaposing Beckett with recent fiction, e.g., the Netflix series Stranger Things, contemporary plant theory, and the general ecology of Erich Hörl, posthuman entanglements and relations are discussed as part of an ontological infrastructure in the texts, which can also be linked to Beckett’s interest in prosthetics and technical media. It is suggested that an approach of this kind might offer new perspectives on the dispersed subjectivity in Beckett’s texts.
34
Lecomte, Guillaume. "Adapting the Rhetoric of Authentication of Riad Sattouf’s La Vie secrète des jeunes." European Comic Art 10, no. 1 (March 1, 2017): 41–57. http://dx.doi.org/10.3167/eca.2017.100105.
Full textAbstract:
The comic book series La Vie secrète des jeunes is a sardonic account of French young people’s behaviours witnessed from the voyeuristic viewpoint of its author-illustrator, Riad Sattouf. Despite its caricatural and non-photorealistic visual style, the work conveys a strong sense of authenticity, mixing truth claims borrowed from established non-fiction traditions (journalism, autobiography and documentary). It is also a rare example of a non-fiction comic turned into live action. This article considers the comic and its TV adaptation, and discusses film’s ability to adapt an account of truth rooted in comics ontology. The article first provides a theoretical structure that details the intricacy of repeating the truth from comic to film. Second, it highlights the way in which the comic develops its authenticity by constantly reaffirming Sattouf’s presence and subjectivity. The article aims to show that the adaptation anonymises this viewpoint in order to re-construct the authenticity of its reality.
35
Davis, Erik. "Weird Naturalism of the Brothers McKenna." International Journal for the Study of New Religions 7, no. 2 (February 20, 2017): 175–98. http://dx.doi.org/10.1558/ijsnr.v7i2.31944.
Full textAbstract:
When Terence McKenna and his brother Dennis performed the so-called “Experiment at La Chorrera” in Columbia in 1971, they staged what became one of the most legendary and storied trip tales in contemporary psychedelic culture. This paper diagrams the matrix of Jungian alchemy, Marshall McLuhan, and science fiction that underpinned the protocols and conceptual apparatus of the Experiment. These ideas are tied to McKenna’s early unpublished text Crypto-Rap, which is briefly summarized as an example of “weird naturalism.” In essence, it is argued that Terence and Dennis McKenna “esotericized” media theory into an occult apparatus of resonance, sympathy, and apocalyptic ontology.
36
Crisp, Peter. "Between extended metaphor and allegory: is blending enough?" Language and Literature: International Journal of Stylistics 17, no. 4 (November 2008): 291–308. http://dx.doi.org/10.1177/0963947008095960.
Full textAbstract:
Allegory can both be related to and differentiated from extended, linguistic metaphor. From one point of view it is simply a super-extended metaphor; from another however it involves a shift from a consciously apprehended metaphorical blend to a consciously apprehended fictional situation. Understanding the nature of this shift involves the issue of blending. Although almost vacuous in its most general versions, if construed as a theory of specifically figurative forms of thought, blending theory does have content. There is as yet however no evidence from experimental psychology for the occurrence of blending. The only presently available evidence for this is the conscious sense of fusion associated with new, poetic metaphor and related phenomena. In Blake's 'A Poison Tree' an allegorical fiction emerges out of a blend whose setting up is prompted by an extended metaphor, which itself in turn emerges out of a conventional metaphor that, almost certainly, does not involve blending. The analysis of 'A Poison Tree' casts vivid light on the relations between blending, allegory and issues of ontology, truth and reference.
37
Arun Kumar Pokhrel. "Science Fiction, Globalization, and “The Desire Called Utopia”: Reimagining the Future and the Ontology of Possibility." Discourse 39, no. 3 (2017): 425. http://dx.doi.org/10.13110/discourse.39.3.0425.
Full text
38
Paris, Yago. "Escaping Confinement." Interactive Film and Media Journal 2, no. 1 (January 30, 2022): 32–47. http://dx.doi.org/10.32920/ifmj.v2i1.1512.
Full textAbstract:
One of the most representative aspects of fiction films that address the COVID-19 pandemic is the insistent appearance of electronic devices (laptops, tablets, smartphones) to allow virtual communication between the main characters of the story. I claim that, in those films, the use of these devices and the images they produce is different from those that appeared in pre-pandemic cinema, and, as such, conveys different meanings to the filmed images. In order to explore these ideas, I will first study the ontology of phone footage imagery, to establish the main traits of this type of image. Afterwards, I will signal the differences between pre-pandemic and pandemic phone footage imagery, in order to understand the key formal traits that imply different meanings for each case. Finally, by analyzing some of the most relevant commercial films about the COVID-19 pandemic that have been produced so far (Songbird (2020), Locked Down (2021), Safer at Home (2021), Host (2020), and Ctrl+Alt+Trick/treat (2020)), I will intend to prove that in these fictions phone footage (as opposed to other electronic-device footage) addresses the desire to gain certain freedom in a scenario of confinement.
39
Horton, Ray. "“Rituals of the Ordinary”: Marilynne Robinson's Aesthetics of Belief and Finitude." PMLA/Publications of the Modern Language Association of America 132, no. 1 (January 2017): 119–34. http://dx.doi.org/10.1632/pmla.2017.132.1.119.
Full textAbstract:
Marilynne Robinson, the author of Housekeeping, Gilead, Home, and Lila, has garnered attention for her sustained engagement with religious themes. Yet for all its robust participation in the theology of a distinctively Calvinist Protestantism, Robinson's fiction is invested in religious forms that are less propositional than phenomenological. It imagines belief as both a perceptual background and a system of thought that activates concentrated aesthetic attention to quotidian moments of temporal contingency and worldly ephemerality. Consequently, Robinson's work intervenes in the burgeoning critical discourse surrounding religion and literature, offering an alternative to methodologies that prioritize the ontology of belief over the aesthetic modes of perception that belief makes available.
40
Blanco García, Jorge Enrique. "Silencios y repeticiones de la violencia en Colombia. La novela histórica como ontología crítica del presente." Catedral Tomada. Revista de crítica literaria latinoamericana 8, no. 15 (January 5, 2021): 62–91. http://dx.doi.org/10.5195/ct/2020.472.
Full textAbstract:
This paper addresses the contemporary historical novel as a practice of critical ontology of the present. That is to say, a field of reflection that investigates the current ontological status. In the Colombian case, historical fiction has been attentive to interpret the past of violence and armed conflict in an aesthetic way as a mechanism to understand the future of the present. This essay proposes that historical novels, despite being located in a space-time already travelled, maintain a matrix of meaning anchored in the present reality's interpellation. To this end, this paper analyzes the novels The Crime of the Century (2006) by Miguel Torres and So much blood seen (2007) by Rafael Baena.
41
Neves, Márcia Seabra. "Um olhar sobre a ficção animalista de João Guimarães Rosa: devires e metamorfoses / The Animal Fiction of João Guimarães Rosa at a Glance: Becomings and Metamorphoses." Caligrama: Revista de Estudos Românicos 25, no. 2 (September 16, 2020): 99. http://dx.doi.org/10.17851/2238-3824.25.2.99-115.
Full textAbstract:
Resumo: Nas últimas décadas, a inscrição do animal na literatura tem assumindo novos contornos e complexidades, assistindo-se à emergência de uma zooliteratura fundada numa apreensão inédita da animalidade e no trespassamento das fronteiras entre o humano e o não humano. Cada vez mais, os escritores têm multiplicado as tentativas de encenar, por procuração ficcional, novas formas de interação com o animal, seja pela via do compartilhamento de sentidos e afetos, seja pela dos devires e metamorfoses. Neste contexto, a ficção animalista do escritor brasileiro João Guimarães Rosa, um dos maiores animalistas do século XX, constitui um paradigma modelar da figuração literária do animal, visto e escrito, não como simples constructo teórico-ficcional, mas antes como sujeito dotado de uma subjetividade própria e capaz de um olhar interrogante e judicativo sobre o Homem. É o que se tentará demonstrar, neste trabalho, através da leitura crítica de três dos seus contos: “O burrinho pedrês” e “Conversa de bois”, de Sagarana (1946), e “Meu tio o Iauaretê”, de Estas estórias (1969).Palavras-chave: animal; humano; interação; compartilhamento; devir; metamorfose.Abstract: Over the last decades, animal presence in literature has taken on new forms and disclosed new complexities, giving rise toa zooliterature founded upon a renewed insight into animality and the trespassing of the frontiers separating humans and non-humans. Writers have progressively multiplied attempts to enact, through fiction, new forms of interaction with the animal, either through sharing of meaning and affection, or through becoming and metamorphosis. In this context, the Brazilian writer João Guimarães Rosa’s animal fiction, one of the most remarkable 20th century animalist fiction writers, offers a perfect paradigm of the literary figuration of the animal, both seen and written, considered not as a mere theoretical and fictional artifact, but rather as a subject invested with its own ontology and capable of interrogating and judging human behavior. This is the argument we will seek to demonstrate in this article through the critical reading of three of Rosa’s short stories: “O burrinho pedrês” and “Conversa de bois”, included in Sagarana (1946), and “Meu tio o Iauaretê”, from Estas estórias (1969).Keywords: animal; human; interaction; sharing; becomings; metamorphosis.
42
Romanova, Svetlana V. "THE ONTOLOGY AND POETICS OF NON-FICTION PROSE OF SVETLANA ALEXIEVICH (‘Chernobyl Prayer. A Chronicle of the Future’)." Вестник Пермского университета. Российская и зарубежная филология 11, no. 1 (2019): 130–39. http://dx.doi.org/10.17072/2073-6681-2019-1-130-139.
Full text
43
Maniglier, Patrice, and Stephen Muecke. "Art as Fiction: Can Latour’s Ontology of Art be Ratified by Art Lovers? (An Exercise in Anthropological Diplomacy)." New Literary History 47, no. 2-3 (2016): 419–38. http://dx.doi.org/10.1353/nlh.2016.0021.
Full text
44
Matthews, Daniel. "From Jurisdiction to Juriswriting: At the Expressive Limits of the Law." Law, Culture and the Humanities 13, no. 3 (March 20, 2014): 425–45. http://dx.doi.org/10.1177/1743872114525745.
Full textAbstract:
Through the work of Jean-Luc Nancy, and following recent publications that champion the theoretical significance of jurisdiction, this article reads jurisdiction as a technique of legal fiction-making and as capable of exposing an originary ontological category of “being-with.” Rather than thought of purely as an expression of the law’s sovereign authority, it is argued that jurisdiction is a privileged point at which we can see the law’s fragility and thus open to critical intervention and interruption. Following Nancy’s understanding of “writing” and “literature” as that which exposes being-with, I suggest that we might name such strategies of creative intervention “juriswriting.” This account of jurisdiction, developed by thinking with Nancy’s account of ontology, is explored with reference to the common law constructions of jurisdiction in the sixteenth and seventeenth centuries.
45
O'Connell, Hugh Charles. "“Can We Imagine a World Without Funds or Banks?” Abderrahmane Sissako's Bamako as African-Utopian Speculative Fiction." Utopian Studies 30, no. 1 (May 1, 2019): 67–86. http://dx.doi.org/10.5325/utopianstudies.30.1.67.
Full textAbstract:
ABSTRACT This article reconsiders Abderrahmane Sissako's 2006 film Bamako as a formal example of sf predicated upon an African-utopian impulse that intervenes in the political closure of capitalist realism and the ontology of debt perpetuated by structural adjustment programs. Due to the radically unlikely events of the film's narrative, in which international financial institutions can be put on trial by ordinary citizens, this article argues that Bamako is best understood as an sf “alternate cosmology” narrative. Moreover, given the pseudo-utopian ideologies of neoliberal and neo-imperial enterprises, this article examines how Bamako operates as the preconceptual figuration of African-utopianism itself. To do so, it first raises a pseudo-African-utopianism in order to negate it and point the way toward the structurally unenunciable, inconceivable content of a radical African-utopianism. As such, Bamako needs to be read as both a desire for and a preconceptual harbinger of African-utopianism and situated alongside the rise of African sf more broadly.
46
Vellanki, Vivek. "Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research." Cultural Studies ↔ Critical Methodologies 22, no. 2 (December 28, 2021): 132–42. http://dx.doi.org/10.1177/15327086211045976.
Full textAbstract:
In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.
47
Zhang, Ling. "Foreshadowing the Future of Capitalism: Surveillance Technology and Digital Realism in Xu Bing’s Dragonfly Eyes." Comparative Cinema 8, no. 14 (May 22, 2020): 62–81. http://dx.doi.org/10.31009/cc.2020.v8.i14.05.
Full textAbstract:
How has the development of surveillance technology and its normalized intervention into our social structures and daily lives impact our imagination of the future? Does the “total view” of the intense yet impassive gaze of surveillance cameras, combined with the mediated intimacy of social media videos, foreshadow deeper social alienation or the fulfillment of individual desire? In order to address such questions, I take the Chinese artist Xu Bing and his team’s film Dragonfly Eyes (Qingting zhi yan, 2017) and its surrounding media culture as a case study to demonstrate how surveillance footage and various modes of cinematic ontology, digital realism, and temporality work in a contemporary socio-political-medial context. Composed by Xu and a group of collaborators, Dragonfly Eyes is the only existing feature-length fiction film constructed completely from surveillance footage. As a highly reflexive film, Dragonfly epitomizes and embodies the precarious potentials of the digital future of capitalism, both invigorating and bleak, expressive and corrupt.
48
Whittaker, Ed. "Where is the photography of Non-Photography?" Philosophy of Photography 10, no. 1 (April 1, 2019): 133–50. http://dx.doi.org/10.1386/pop_00011_1.
Full textAbstract:
Abstract François Laruelle's writing on Non-Photography is examined from its ontological condition to its desired form of a unity derived from the work of Kant, discussing precisely how the logic of transcendence and the ontology of immanence central to Laruelle's theory impact on how the photographic image is incontrovertibly involved with Kant's paradox of appearance and reality. In a context of burgeoning technoscience, which lays bare the meaning of Non-Photography for the seemingly impossible reversion to actual photography, the article goes on to consider Photo-Fiction in the context of the Real of science now yoked to an economy of technical models. But by foreclosing the Kantian Real by fractal‐virtual ratio, does not this science reify the Real of Identity and displace real photography with a photography in the Real? The article thus questions how Laruelle's' thesis hangs together in terms of its cause and the contingency of effect that infuses Laruelle's radical aesthetic.
49
Visser, Robin. "Ecology as Method." Prism 16, no. 2 (October 1, 2019): 320–45. http://dx.doi.org/10.1215/25783491-7978515.
Full textAbstract:
Abstract In “China as Method,” Mizoguchi Yūzō argues that “a world that takes China as method would be a world in which China is a constitutive element.” Similarly, a world that takes ecology as method is a world in which humans are a constitutive element, one of “the ten thousand things” (wanwu 萬物). In this essay, the author examines distinct ways in which fictional writers imagine relational dynamics between humans, nonhuman animals, regional ecosystems, and the cosmos to theorize ecology as method. Ecology as method works to radically decenter anthropocentric understandings of the cosmos, historicizes regional ecologies in order to illuminate global dynamics, and acknowledges deterritorialization. While mourning loss, it resists sentimentalizing cultural narratives that rationalize the genocide of species as inevitable. This article focuses on three contemporary eco-writers of Inner Mongolia. Mandumai 滿都麥, one of the People's Republic of China's earliest post-Mao eco-writers, romanticizes indigeneity in his Mongolian-language stories (read in this article in Mandarin translation). Mongolian-Han Sinophone writer Guo Xuebo 郭雪波 juxtaposes “grassland logic” against “agrarian logic” in his desert fiction series, illustrating how agrilogistics dominates the ecological imagination of the ethnically diverse desert-dwellers. Finally, the article analyzes the best-selling Wolf Totem by Beijing-based sent-down youth Jiang Rong 姜戎. Despite attributing desertification to Han ignorance, the novel simultaneously maps the steppes via ecological understandings from Hanspace ontology.
50
Ponomareva, Anastasiia. "Absurdist Fiction in the Focus of Philosophy: Máirtín Ó Cadhain and his Novel "The Dirty Dust"." Философская мысль, no. 12 (December 2022): 42–49. http://dx.doi.org/10.25136/2409-8728.2022.12.38927.
Full textAbstract:
The subject of the study is the phenomenon of the absurd in Irish fiction and its relation to philosophical discourse. Absurdist fiction is proposed to be analyzed from the point of view of the philosophical meanings embedded in it. Most often, this is the interpretation of the absurd as a concept meaning a person's discord with the world. The novel by the Irish writer Ó Cadhain is considered as representing the absurdity of the human existence. In the analysis of the novel, the methods of modern cultural knowledge were used: the description of various sociocultural trends and phenomena, their theoretical generalization. The purpose of the work is to clarify the meaning of the absurd for the constitution of human existence. The article explores the connection of the realities present in the novel with the philosophy of traditionalism. The absurd is investigated as an indicator of the "silencing" of meaning. The factors that bring together the views of modernists who wrote about the absurd and the traditionalist doctrine are: fixation of the destruction of the habitual way of life, self-integrity, perversion or disappearance of the hierarchical social order, substitution of values, a direct indication of the "end of time" (eschatology). Changes in speech almost always act as an indicator of the heroes losing their own identity. With the help of this indicator, as a rule, loss of connection with Another, global alienation and dehumanization of a human being are recorded. Thus, the importance of the category of the absurd for fundamental philosophical ontology is proved.