Littérature scientifique sur le sujet « Fictional time »
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Articles de revues sur le sujet "Fictional time"
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Valsiner, Jaan. « Between fiction and reality : Transforming the semiotic object ». Sign Systems Studies 37, no 1/2 (15 décembre 2009) : 99–113. http://dx.doi.org/10.12697/sss.2009.37.1-2.05.
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(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.
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Mosselaer, Nele Van de. « How Can We Be Moved to Shoot Zombies ? A Paradox of Fictional Emotions and Actions in Interactive Fiction ». Journal of Literary Theory 12, no 2 (3 septembre 2018) : 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Urian, Adriana Diana. « Narrative Language and Possible Worlds in Postmodern Fiction. A Borderline Study of Ian McEwan’s The Child in Time ». Studia Universitatis Babeș-Bolyai Philologia 66, no 3 (20 septembre 2021) : 247–64. http://dx.doi.org/10.24193/subbphilo.2021.3.16.
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"Narrative Language and Possible Worlds in Postmodern Fiction. A Borderline Study of Ian McEwan’s The Child in Time. The present paper is a study of more traditional hermeneutics combined with a tinge of possible world modality, with the purpose of creating a thorough picture of narrative worlds and balancing it against the possible world system, with practical applications onto postmodern fiction, in Ian McEwan’s novel The Child in Time. The article focuses on exposing narrative language, worlds and characters, viewing them through Seymour Chatman’s perspective and slightly counterbalancing this approach with the possible world semantics system (as envisioned by Kripke, Lewis, Nolan, Putnam) for a diverse understanding of the inner structure and functioning of narrative text and fictional worlds. Keywords: possible worlds, possible-world semantics, narrative worlds, fictional worlds, narrative language, fiction, postmodern fiction, fictional characters "
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M. Adel, Abdel-Fattah. « Fictional Characters Outside Fiction : “Being” as a Fictional Character in Heidegger’s Being and Time ». Arab World English Journal For Translation and Literary Studies 1, no 2 (15 mai 2017) : 163–75. http://dx.doi.org/10.24093/awejtls/vol1no2.13.
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Villegas López, Sonia. « Truth and Wonder in Richard Head’s Geographical Fictions ». Sederi, no 30 (2020) : 117–37. http://dx.doi.org/10.34136/sederi.2020.6.
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In line with the method prescribed by members of the Royal Society for natural history and travel writing, Richard Head explored the limits of verisimilitude associated with geographical discourse in his three fictions The Floating Island (1673), The Western Wonder (1674) and O-Brazile (1675). In them he argues in favor of the existence of the mysterious Brazile island and uses the factual discourse of the travel diarist to present a semi-mythical place whose very notion stretches the limits of believability. In line with recent critical interpretations of late seventeenth-century fiction as deceptive, and setting the reading of Head’s narrations in connection with other types of travel writing, I argue that Head’s fictions are a means of testing the readers’ gullibility at a time when the status of prose, both fictional and non-fictional, is subject to debate.
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WU, Meng. « Fanning Out Possibilities : Dung Kai-cheung and the Multiplicities of Time ». Modern Chinese Literature and Culture 34, no 2 (décembre 2022) : 420–44. http://dx.doi.org/10.3366/mclc.2022.0020.
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Hong Kong has brought to world literature some of the most prolific and best-loved fiction writers in modern Chinese history. Dung Kai-cheung is one of them — a Hong Kong-based writer who has found the city to be a constant source of inspiration. This article discusses the significance of multiplicity in Dung’s fictional representation of Hong Kong (“the V-City”), focusing on his 2007 novel Histories of Time: The Luster of Mute Porcelain. In this novel, Dung explores the narrative possibility of perceiving Hong Kong as a multi-historical space through the lens of multiplying temporalities. I have coined the term “V-shaped time” to refer to this multiplication of characters and archaeology of ideas. Time, in Dung’s work, fans out with multiple possibilities of individual and collective experiences in history, with mirrored Vs resembling an hourglass. In this stratified narrative, characters create their fictional selves in their own writing. Identifying the creative self as a literary architect, Dung’s fictional writing challenges the reader to rethink a local history that has been marginalized in the linear narrative of colonial modernity.
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Panto, Francesco, Tamaki Saito, Nobuaki Morita et Yasukazu Ogai. « The Correlation between Enjoying Fictional Narratives and Empathy in Japanese Hikikomori ». F1000Research 10 (9 août 2021) : 776. http://dx.doi.org/10.12688/f1000research.55398.1.
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Background: Hikikomori is a Japanese social withdrawal phenomenon which, in recent years, is spreading in western developed countries as well. Spending a lot of time secluded indoors, watching and playing with fictional narratives may be relatively common for Hikikomori people and may represent a protective factor for their psychological well-being. Method: We evaluated the role of enjoying fictional narratives on empathy, relaxation, depression, and anxiety in people with Hikikomori experience, in relation to their daily consumption of fictional narratives and their emotional transportation toward fictional narratives. Hikikomori from one psychiatric clinic and three different support facilities were enrolled in this study. Multidimensional empathy scale, CES-D, STAI questionnaire, and relaxation inventory self-report scale were used as outcome measures. Results: We found a significant correlation between empathy and emotional transportation toward fictional narratives and between relaxation during watching and reading fictional narratives and consumption frequency of fictional narratives. We failed, however, to find any significant correlation with depression and anxiety. Conclusions: These findings suggest a possible correlation between fiction and empathy/relaxation response; however, any causal relationship is not proven, consequently we deem that further investigations with a larger sample size are required for a better understanding.
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Panto, Francesco, Tamaki Saito, Nobuaki Morita et Yasukazu Ogai. « The Correlation between Enjoying Fictional Narratives and Empathy in Japanese Hikikomori ». F1000Research 10 (21 janvier 2022) : 776. http://dx.doi.org/10.12688/f1000research.55398.2.
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Background: Hikikomori is a Japanese social withdrawal phenomenon which, in recent years, is spreading in western developed countries as well. Spending a lot of time secluded indoors, watching and playing with fictional narratives may be relatively common for Hikikomori people and may represent a protective factor for their psychological well-being. Method: We evaluated the role of enjoying fictional narratives on empathy, relaxation, depression, and anxiety in people with Hikikomori experience, in relation to their daily consumption of fictional narratives and their emotional transportation toward fictional narratives. Hikikomori from one psychiatric clinic and three different support facilities were enrolled in this study. Multidimensional empathy scale, CES-D, STAI questionnaire, and relaxation inventory self-report scale were used as outcome measures. Results: We found a significant correlation between empathy and emotional transportation toward fictional narratives and between relaxation during watching and reading fictional narratives and consumption frequency of fictional narratives. We failed, however, to find any significant correlation with depression and anxiety. Conclusions: These findings suggest a possible correlation between fiction and empathy/relaxation response; however, any causal relationship is not proven, consequently we deem that further investigations with a larger sample size are required for a better understanding.
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Descher, Stefan. « Satirical Novels of the Late Enlightenment and the Practice of Fiction. A Methodological Proposal for Investigations Into the History of Fiction ». Journal of Literary Theory 14, no 2 (25 septembre 2020) : 147–72. http://dx.doi.org/10.1515/jlt-2020-2003.
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AbstractThe paper examines German satirical novels of the late Enlightenment period, published roughly between 1760 and 1790, under the following question: Is there any evidence that the historical practice of fiction (concerning this time and these texts) deviates from the modern practice of fiction as described by institutional accounts of fictionality? First, it is explained what, in this essay, is meant by the ›modern practice of fiction‹. Four ›core rules‹ are identified that, according to institutional accounts of fictionality, characterize the practice of reading works of fiction. These core rules are: You should not conclude that what is expressed by fictional utterances is actually true! You should not conclude that the author believes that what is expressed by his fictional utterances is actually true! You should imagine what is expressed by fictional utterances (make-believe, pretence)! You should (or at least can) make your imaginations the object of higher-level attitudes (for example you can evaluate, emotionally respond to, interpret them etc.)! Then, using the example of German satirical novels of the late Enlightenment, seven features of fictional texts are discussed that may provide clues about the historical practice of fiction and that could give an indication of whether the core rules actually do apply. These features are: assurances of truthfulness by the author or fictional authors/editors; direct thematization of the fictional/factual-text-distinction; fictional reading scenarios; comments by fictional narrators and/or characters on the practice of reading; statements of the actual author in the fictional text; ›that cannot be true‹-passages (intentional mistakes, anachronisms, various ways of breaking the reader’s expectations, etc.); various kinds of reference to the actual world (for example satirical allusions to actual persons or states of affairs). It will be argued that, for the corpus of texts under consideration, there is no convincing evidence that the historical practices of reading works of fiction deviates in any significant way from the core rules of the modern practice of fiction. However, the main aim of this paper is not to provide an exhaustive historical case study. First, the investigation is limited to the exemplary discussion of some (although significant) texts and text passages, so the results can only be considered preliminary. Second, while the satirical novel of the late Enlightenment indeed is a particularly interesting and revealing genre for the study of the historical practice of fiction (arguments are given in section 3), the main purpose of this essay is to make a methodological proposal. A general procedure is provided for finding out whether the historical practice of fiction differs from our modern practice – a procedure that can be applied to texts of other times and genres as well.
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Park, J. P. « Art-Historical Fiction or Fictional Art History ? » Archives of Asian Art 72, no 2 (1 octobre 2022) : 181–219. http://dx.doi.org/10.1215/00666637-9953432.
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Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since it provides accounts of paintings by artists whose works are no longer extant. But there is one major problem: the book is a forgery. What is more, Zhang also forged paintings to match the documentation he created, so he could also profit from trading in them. Interestingly, the book also echoes unfounded claims registered in art-historical writings of the time, wherein leading critics and connoisseurs, including Dong Qichang (1555–1636), propounded completely contrived arguments by which they tried to establish legitimate lineages in Chinese art. Such propositions represent, borrowing from Eric Hobsbawm's insight, a kind of “invented tradition,” a fictional history of practice and artifact that runs as some thought it ought to have, rather than as it did. By looking into all the three major components of forgeries in early modern China that are referenced throughout Zhang Taijie's catalog—(1) fabricated texts, (2) forged paintings, and (3) fake histories/theories—this paper aims to explain how Baohuilu facilitated Zhang's candid desire for fame and profit in the booming art market of the time, while unveiling certain cultural, social, and genealogical anxieties and tensions negotiated in the form of art-historical theories.
Thèses sur le sujet "Fictional time"
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Armstrong, Sean Somerville. « Being in time : the fictional coloniser as Dasein ». Thesis, University of Glasgow, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274759.
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Primorac, Ranka. « Displacement, identity and fictional formation in selected recent Zimbabwean novels ». Thesis, Nottingham Trent University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271213.
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Sambell, Kay. « The use of future fictional time in novels for young readers ». Thesis, University of York, 1996. http://etheses.whiterose.ac.uk/4269/.
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Slagle, Judith Bailey. « Appropriating the Restoration : Fictional Place and Time in Rose Tremain’s Restoration : A Novel of Seventeenth-Century England ». Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/721.
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Excerpt: It was the sixties—albeit the 1660s—a time for tricksters, rakes, subversive women and sexual energy on the stage. It was a time of fun for those with the means to partake of it. The “good old days” are, of course, always better from a distance, but writers on through the twentieth century found the Restoration an apt setting for their fictions about prostitution, political intrigue, and tragic or comic historical events, especially for the cinema.
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Yu, Chen-Wei. « Perception and its objects in time : narrative dynamics and the existence of Ursula K. Le Guin's fictional worlds ». Thesis, University of Warwick, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443627.
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Slagle, Judith Bailey. « Appropriating the Restoration : Fictional Place and Time in Works by Daniel Defoe, Sir Walter Scott and Rose Tremain ». Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3220.
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While authors have appropriated literary works for centuries, they have also appropriated historical settings and places well outside their own realities, creating new works in historical settings that reflect a new cultural purpose. The Restoration and eighteenth century are frequent subjects of popular formula-fiction romances due to the distinctive, easily replicated atmospheres; but the period has also inspired serious, traditional historical fiction and fictionalized biography as well as productions of novels from the period. This panel focuses on the long eighteenth century and the period’s intrigue for filmmakers, TV producers and audiences in a modern-day culture
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Picard, Manon. « La smartfiction : une fiction interactive à lire, un rôle à incarner ou une partie à jouer sur son smartphone ? » Electronic Thesis or Diss., Compiègne, 2022. http://www.theses.fr/2022COMP2681.
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La smartfiction est un récit à lire et à jouer sur son smartphone. Reprenant les codes techniques, esthétiques, sociaux et culturels du smartphone pour les réinvestir dans le cadre d’une fiction, la smartfiction repose sur une dimension réflexive par rapport au smartphone. En exploitant les conventions des pratiques ordinaires du smartphone, l’utilisateur d’une smartfiction doit se projeter en tant qu’utilisateur de smartphone lorsqu'il lit, interprète et joue un récit de vie fictionnel. En effet, le propre du récit est de raconter une vie qui n’est plus la mienne ou qui n'est pas la mienne. « Moi » écoutant, je coïncide avec un temps racontant qui me projette sur le temps raconté. L'écriture et les dispositifs font du temps racontant une construction du « Moi » lisant. Dans le cadre des smartfictions, ce jeu sur le temps repose notamment sur la discussion instantanée (chat fictionnel) et les notifications (que je nomme notifictions pour désigner des notifications fictionnelles). Ainsi, l’utilisateur dispose d’un cadre pour se fondre dans le temps du récit en l’articulant à un temps de lecture. Mais ce récit, il l’interprète comme un acteur interprète un rôle au théâtre. En incarnant le rôle qui lui est attribué, l’utilisateur vit le temps du récit comme un temps joué à la première personne. Pour ce faire, il doit aborder son rôle comme s’il jouait une partie et ainsi transformer le temps du récit en un temps de jeu. Il doit « jouer le je.u ». Récit, théâtre et jeu sont alors trois modalités temporelles du temps vécu qui sont reconfigurées par la smartfiction : une histoire que l’on joue et que l’on incarne. La smartfiction relève donc d'un double statut, phénoménologique et sémiotique. En effet, le lecteur-acteur-joueur interagit avec la smartfiction et synchronise son flux de conscience avec les différents objets la composant pour vivre l’expérience de lecture à la première personne. Il synchronise son temps vécu au temps de la fiction. Cette synchronisation est rythmée par l'interaction avec les codes propres à l'utilisation d'un smartphone, qui devient le cadre sémiotique et pragmatique de la smartfiction. Ce cadre permet à la fois la contextualisation de la smartfiction et fonctionne comme une défamiliarisation du smartphone. L'étude, qui repose sur un corpus de onze smartfictions, articule ainsi une double approche phénoménologique et sémiotique. La smartfiction est un récit sur smartphone qui est arrivé à quelqu'un, un récit qui est un jeu dans lequel l’utilisateur joue comme un acteur. Avec la smartfiction, nous assistons à la naissance d’un format, voire d'un genre. L’émergence d’un nouveau genre invite à s'interroger sur son articulation aux genres existants, voire à leurs reconfigurations : la smartfiction correspond-elle à une autre manière de raconter, une autre forme de mise en scène, une autre pratique de jeu ? Ces questions renvoient également au rôle des dispositifs, rôle qui se révèle dans ces formes créatives. En particulier, la smartfiction invite à objectiver le rôle d'un smartphone dans le cadre d'un récit. La smartfiction est donc un laboratoire pour l’analyse des genres créatifs et la compréhension du rôle des supports et des dispositifsA smartfiction is a story to be read and played on the smartphone. Taking the technical, aesthetic, social and cultural codes of the smartphone to reinvest them in the framework of a fiction, smartfiction relies on a reflexive dimension in relation to the smartphone. By using the conventions of ordinary smartphone practices, the user of a smartfiction must project themself as a smartphone user when reading, interpreting and acting out a fictional life story. Indeed, the very nature of the story is to tell a life that is no longer mine or that is not mine. Me listening, I coincide with a telling time which projects me in the told time. The writing of the story and the devices make the telling time a construction of the reading self. Within the framework of the smartfictions, this game on time relies in particular on the instant (fictional) chat and the notifications (which I name notifictions to indicate fictional notifications). That way, the user has a framework for blending into the time of the story by articulating it to a reading time. But they interpret this story as an actor interprets a role in the theater. By embodying the role assigned to him, the user lives the time of the story as a time played in the first person. To do this, they must approach their role as if they were playing a game and thus transform the time of the story into a time of play. They must “play the ga.Me”. Narrative, theater and game are then three temporal modalities of the lived time that are reset by the smartfiction : a story that one plays and that one incarnates. A smartfiction has thus a double status, phenomenological and semiotic. Indeed, the reader-actor-player interacts with the smartfiction and synchronizes their flow of consciousness with the different objects composing it in order to live the experience of reading in the first person. They synchronize their living time with the time of the fiction. This synchronization is punctuated by the interaction with the specific codes related to the use of a smartphone, which becomes the semiotic and pragmatic framework of the smartfiction. This framework allows both the contextualization of the smartfiction and functions as a defamiliarization of the smartphone. The study, based on a corpus of eleven smartfictions, thus articulates a double phenomenological and semiotic approach. A smartfiction is a story on a smartphone that happened to someone, a story that is a game in which the user plays as an actor. With the smartfiction, we witness the birth of a format, even of a genre. The emergence of a new genre invites us to question its articulation with existing genres, or even their reconfiguration: does smartfiction correspond to another way of telling, another form of staging, another practice of acting? These questions also refer to the role of the device which stands out in these creative modes. In particular, smartfiction invites us to objectify the role of a smartphone in a narrative. Smartfiction is thus a laboratory for the analysis of creative genres and for the understanding of the role of the medium and the devices
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Mitin, Andrew. « Time Spent Away ». PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3033.
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After the death of his father, Joshua Klein drops out of college and moves to Chicago. Alone in the city and with nothing of consequence to do, he attempts to justify to himself the ways of God, the sense of an early death and what is the good to do in life.
In this excerpt of Time Spent Away, Joshua seeks out the hidden aspects of the city and his spirit. Guided by his father's Bible and the formative texts of his undergraduate coursework, he sets out to complete his own education. During a tour of The Auditorium Building Joshua meets Felix Servo, a preserver of historic landmarks and an architectural enthusiast, who will show Joshua the city heights in a new way. When he explores the depths, Joshua meets Roland Charles, a self-proclaimed actor whose true use of time eludes Joshua and will jeopardize his peaceful search for meaning.
Told from the perspective of a timid though curious young man, Time Spent Away engages with architecture, literature and love; Louis Sullivan, the Western Cannon and the person of Jesus Christ; preservation, destruction and the fine line between both to present a heart-felt account of self-discovery.
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Armstrong, Paul Walter. « Fact or fiction : the problem of bias in Government Statistical Service estimates of patient waiting times ». Thesis, London School of Hygiene and Tropical Medicine (University of London), 2000. http://researchonline.lshtm.ac.uk/682277/.
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The cumulative likelihood of admission estimated for any given 'time-since-enrolment' depends on how we define membership of the population 'at-risk' and on how we handle right and left censored waiting times. As a result, published statistics will be biased because they assume that the waiting list is both stationary and closed and exclude all those not yet or never to be admitted. The cumulative likelihood of admission within three months was estimated using the Government Statistical Service method and compared with estimates which relaxed the assumption of stationarity and reflected variation in the numbers recruited to, and admitted from, the waiting list each quarter. The difference between the two estimates ranged from +5.5 to -9.1 percentage points among 11 Orthopaedic waiting lists in South Thames Region. In the absence of information on 'times-to-admission', exact 'times-since-enrolment' were extracted from Hospital Episode Statistics and assumed to be similarly distributed. In the absence of information on 'times-to-competing-event', the number of competing events falling in each waiting time category was estimated by differencing. A period lifetable was constructed using these approximations, census counts, counts of the number of new recruits and estimates of the number 'reset-to-zero' each quarter. The results support the view that the method used by the Government Statistical Service overestimates the cumulative likelihood of elective admission among those listed. The Government Statistical Service calculates the cumulative likelihood of admission within three months (range: 0.62-0.27) conditional on the fact of admission. Multiplying by the unconditional likelihood of being admitted (range: 0.93-0.31) estimates the cumulative likelihood of admission within three months among those listed (range: 0.55-0.12) and gives a rather different ranking of waiting list performance among 34 Orthopaedic waiting lists in South Thames Region.
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McSorley, Tom. « Modern times : time and the modern in the fiction films of William D. MacGillivray ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33477.
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The work of contemporary Atlantic Canadian filmmaker William O. MacGillivray is a set of confrontations. His five fiction feature films investigate, perhaps even recalibrate, conventionally understood ideas of centre and margin, time and space, and most pointedly, traditional and modern. What MacGillivray presents in his work is not, in the manner of George Grant, a lament for a traditional or old and noble world locked inexorably in the processes of technological erasure. Instead, echoing the actively ambivalent response to technology-induced change advanced by Harold Innis and others, what the films reveal is a range of possible alternative critical positions within the experience of modern lite in contemporary Atlantic Canada. As Carlos Fuentes reminds us, this does not necessarily entail 'sacrificing the past in favour of the new,' as much of the rhetoric surrounding notions of the modern insists, but rather the 'maintaining, comparing, and remembering values we have created, making them modern so as not lose the value of the modern.' ln a sense, this process is about remembering time. Fundamentally, in creating rich, complex narratives about a part of Canada facing considerable and rapid change, MacGillivray is making his own cinematic 'plea for time' in his confrontations with notions of what constitutes a modern existence. It is also a plea for space, to remember that as there are 'different modern times' there are also 'different modern spaces.'
Livres sur le sujet "Fictional time"
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1959-, Jarvis Robert M., et Joseph Paul R, dir. Prime time law : Fictional television as legal narrative. Durham, N.C : Carolina Academic Press, 1998.
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Kataev, Valentin Petrovich. Time, forward ! Evanston, Ill : Northwestern University Press, 1995.
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How to live safely in a science fictional universe : A novel. New York : Pantheon Books, 2010.
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Martín-Santos, Luis. Time of silence. New York, USA : Columbia University Press, 1989.
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Wells, H. G. (Herbert George), 1866-1946, dir. The time machine. New York : Skyview Books, 2009.
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Alkon, Paul K. Defoe and Fictional Time. University of Georgia Press, 2010.
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Predelli, Stefano. Fictional Discourse. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854128.001.0001.
Texte intégralRésumé :
This book defends a Radical Fictionalist Semantics for fictional discourse. Focusing on proper names as prototypical devices of reference, it argues that fictional names are only fictionally proper names, and that, as a result, fictional sentences do not encode propositions. According to Radical Fictionalism, the contentful outcomes achieved by fiction are derived from the outcomes of so-called impartation, that is, from the effects achieved by the use of language. As a result, Radical Fictionalism pays special attention to fictional telling and to related themes in narrative fiction. In particular, the book proposes a Radical Fictionalist approach to the distinction between homodiegetic and heterodiegetic fiction, and to the divide between storyworlds and narrative peripheries. These ideas are then applied to the discussion of classic themes in the philosophy of fiction, including narrative time, literary translation, storyworld importation, fictional languages, inconsistent fictions, nested narratives, and narrative closure. Particular attention is also given to the commitments of Radical Fictionalism when it comes to discourse about fiction, as in prefixed sentences of the form ‘according to fiction F, … ’. In its final two chapters, the book extends Radical Fictionalism to critical discourse. In Chapter 7 it introduces the ideas of critical and biased retelling, and in Chapter 8 it pauses on the relationships between Radical Fictionalism and talk about literary characters.
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Spacey, John. Negative Space Time : Fictional Scientific Essay. Independently Published, 2019.
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Grossman, Robert M. Another Time/ Another Land : A Fictional Memoir. Xlibris Corporation, 2011.
Trouver le texte intégralChapitres de livres sur le sujet "Fictional time"
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Bourne, Craig, et Emily Caddick Bourne. « Fictional Branching Time ? » Dans Around the Tree, 81–94. Dordrecht : Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-5167-5_5.
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Hemmeter, Thomas. « Hitchcock's Narrative Modernism : Ironies of Fictional Time ». Dans A Companion to Alfred Hitchcock, 67–85. Oxford, UK : Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444397321.ch4.
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Spiropoulou, Angeliki. « Historical Fictions, Fictional Fashions and Time : Orlando as the ‘Angel of History’ ». Dans Virginia Woolf, Modernity and History, 75–95. London : Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230250444_5.
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De Grandis, Mario, et Filippo Costantini. « Negotiating with the tradition : representations of fish in Alai’s fictional writing ». Dans Studi e saggi, 111–25. Florence : Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-506-6.11.
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Tibet has long been orientalized in fictional representations. Taking as a case study two texts by Alai, this paper investigates how a traditional Tibetan cultural trait–the fish taboo–is mobilized to complicate the representation of Tibetan culture. By describing the fish taboo Alai points at Tibet's cultural specificity, which in virtue of its exoticism can catch the attention of non-Tibetan readers. At the same time, however, Alai equips his characters with psychological depth, showing their contrasting inner emotions of attraction and repulsion toward fish. In this sense, Alai subtly points at the fallacies of flat representations of Tibet, thus dismantling them from within.
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Naicker, Kamil. « Time and Tide ». Dans Women and Water in Global Fiction, 155–70. New York : Routledge, 2023. http://dx.doi.org/10.4324/9780429298837-11.
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« Fictional time ». Dans Possible Worlds in Literary Theory, 197–228. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511597480.008.
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« 7. Fictional Knowledge ». Dans About Time, 107–36. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748630400-009.
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Bourne, Craig, et Emily Caddick Bourne. « Branching Fictional Time ? » Dans Time in Fiction, 67–82. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199675319.003.0006.
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Bourne, Craig, et Emily Caddick Bourne. « Recurring Fictional Time ? » Dans Time in Fiction, 91–116. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199675319.003.0008.
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Bourne, Craig, et Emily Caddick Bourne. « The Fictional Future ». Dans Time in Fiction, 42–64. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199675319.003.0005.
Texte intégralActes de conférences sur le sujet "Fictional time"
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Dzyubenko, Anna I., et Irina A. Zyubina. « MODERN ENGLISH FEMALE FICTIONAL DISCOURSE THROUGH THE PRISM OF TIME REFERENCE ». Dans Current Issues in Modern Linguistics and Humanities. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/09321-2019-32-41.
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Malá, Markéta. « English and Czech children’s literature : A contrastive corpus-driven phraseological approach ». Dans Eighth Brno Conference on Linguistics Studies in English. Brno : Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9767-2020-8.
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The paper explores the recurrent linguistic patterns in English and Czech children’s narrative fiction and their textual functions. It combines contrastive phraseological research with corpus-driven methods, taking frequency lists and n-grams as its starting points. The analysis focuses on the domains of time, space and body language. The results reveal register-specific recurrent linguistic patterns which play a role in the constitution of the fictional world of children’s literature, specifying its temporal and spatial characteristics, and relating to the communication among the protagonists. The method used also points out typological differences between the patterns employed in the two languages, and the limitations of the n-gram based approach.
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Nikolić, Andrijana A. « MOTIVI FANTASTIKE U ROMANU „NA PUTU ZA DARDEL“ SLOBODANA ZORANA OBRADOVIĆA I U PRIPOVJEDNOJ PROZI „ZAPISI IZ HODNIKA VREMENA“ ALEKSANDRA OBRADOVIĆA ». Dans KNjIŽEVNOST ZA DECU U NAUCI I NASTAVI. University of Kragujevac, Faculty of Education in Jagodina, 2022. http://dx.doi.org/10.46793/kdnn21.113n.
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Slobodan and Aleksandar Obradović (father and son) from Bijelo Polje are authors whose fiction abounds in fantastic motifs ‒ characters’ actions, their ability to travel through time zones, their mythological features and the mission they are devoted to accomplish. Capable inventors, fliers, beings who transcendentally move from place to place require critical judgment ‒ whether contemporary children’s literature is truly in accordance with their age and whether and to what extent a child can identify with or distance from the characters. By combining symbols and fiction, both writers encourage readers to decipher the symbols and teach them the lesson of the story. The writers express their thoughts about important life issues through fictional characters, using narrative polyphony, skillfully avoiding identification with any character. Crossing the line between literary and non-literary is typical for both writers. In addition, parents’ role in child upbringing and their influence on the development of child’s imagination should be considered.
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Manuel Figueiredo, Carlos, et Sofia Machado Santos. « Virtual models of architectural spaces : methods for exploration, representation and interaction through narratives and visual grammars ». Dans 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001935.
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In this paper we aim to present a conceptual framework for virtual creation, exploration, and representation of architectural space. This framework will allow us to establish a method that will drive the viewer along a path, intended by the researcher, to experience, interact and get feedback of spaces in study, through linear or interactive narratives.Space virtual computational representation tools have evolved over the last decades and are now providing advanced new tools from gaming, AI and VR real-time complex fictional environments creation, depiction and interaction. From interior spaces to planetary systems, replicated or fictional, sets for all kinds of computer simulation models with immersive possibilities can be created and explored.In a linear visual narrative of a 3D animation the viewer is carried, without choice, by the flow of visual narrative storytelling, through several spaces, events, conclusions, expectations, premonitions, anticipations, empathy and characters and environments, fictional readings in dreamlike narratives, where reality and fantasy can be blended. In an interactive tale storytelling and script, the linearity would become in theoretically infinite lines of possible events and plots, with diverse endings, in which a narrative story line diverges in multiple plots.Having a set of formal parameterized elements within a grammatical lexicon that constitute and methodological approach to an architectural object in a study, it is intended to look at methods to experience, interact and get feedback of spaces in study, through visual multiple narratives, linear or interactive, being immersed or not. All these narrative approaches imply a script and visual grammars, storyline, and plot, where the player looks or travels through a fictional space, in a lived and experiential way.For conception and planning as for studying or research in the architectural field, this is an area of expertise to explore, as these new graphic computing tools can pursue new approaches, using several methods available to apply in each research, to provide analysis breakthroughs.
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Ribeiro Rabello, Rafaelle. « Between absence and presence : Augmented Reality as a self-fiction poetic ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.
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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.
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Hanák, Róbert. « Are Deliberative People More Consistent in Decision Making ? » Dans Applied Human Factors and Ergonomics Conference. AHFE International, 2019. http://dx.doi.org/10.54941/ahfe100187.
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The preference for intuition and deliberation scale (PID) as a cognitive style measure was used to investigate whether more deliberative participants (identified by self-report PID inventory) would also show higher motivation to properly and normatively solve a task designed to measure their inconsistency and discrimination to details (CWS Index). 161 (103 women) managers and administrative workers were asked to evaluate 21 fictional job candidates. The decision task was designed so that participants could work according to their preferences – everyone had enough time to analyse the logic behind the task. Significant differences were found among all four groups (deliberative, intuitive, both below median, both above median) in levels of inconsistency. Totally consistent respondents were significantly more likely to be from the deliberative and mixed (high in deliberation and in intuition) groups.
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Prior, Matthew A., Ian C. Stults, Matthew J. Daskilewicz, Scott J. Duncan, Brian J. German et Dimitri N. Mavris. « A Design Methodology Enabling the Efficient High-Fidelity Design of Combined Cycle Power Plants ». Dans ASME 2009 3rd International Conference on Energy Sustainability collocated with the Heat Transfer and InterPACK09 Conferences. ASMEDC, 2009. http://dx.doi.org/10.1115/es2009-90291.
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The demand for greater efficiency, lower emissions, and higher reliability in combined cycle power plants has driven industry to use higher-fidelity plant component models in conceptual design. Normally used later in preliminary component design, physics-based models can also be used in conceptual design as the building blocks of a plant-level modeling and simulation (M&S) environment. Although better designs can be discovered using such environments, the linking of multiple high-fidelity models can create intractably large design variable sets, long overall execution times, and model convergence limitations. As a result, an M&S environment comprising multiple linked high-fidelity models can be prohibitively large and/or slow to evaluate, discouraging design optimization and design space exploration. This paper describes a design space exploration methodology that addresses the aforementioned challenges. Specifically, the proposed methodology includes techniques for the reduction of total model run-time, reduction of design space dimensionality, effect visualization, and identification of Pareto-optimal power plant designs. An overview of the methodology’s main steps is given, leading to a description of the benefit and implementation of each step. Major steps in the process include design variable screening, efficient design space sampling, and surrogate modeling, all of which can be used as precursors to traditional optimization techniques. As an alternative to optimization, a Monte Carlo based method for design space exploration is explained conceptually. Selected steps from the methodology are applied to a fictional but representative example problem of combined cycle power plant design. The objective is to minimize cost of electricity (COE), subject to constraints on base load power and acquisition cost. This example problem is used to show relative run-time savings from using the methodology’s techniques compared to the alternative of performing optimization without them. The example additionally provides a context for explaining design space visualization techniques that are part of the methodology.
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Moncayo, Sergio, Sandra Szlapa, Ahmed AlJanahi et Sayed Abdelrady. « One of a Kind BHA Design for ERD Wells in Bahrain ». Dans International Petroleum Technology Conference. IPTC, 2022. http://dx.doi.org/10.2523/iptc-22658-ea.
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Abstract An innovative BHA was designed to fit slim extended reach wellbore profiles. Precise BHA design was essential to reach the bottom of the well with a scrapper and circulate to clean the hole efficiently for enabling fracking operations with Plug & Perf technology to be performed in extended reach horizontal wells in Bahrain. Plug & Perf operations for multistage fracking required to run plugs through a cased extended horizontal section with an internal diameter of 4" to isolate the different stages to be stimulated. The max OD of the plug was 3.625 in leaving a marginal clearance between the plug and the casing, making hole cleaning the primary risk to deal with. For hole cleaning it was important to design the slim BHA with a maximum OD of 3.125 in and ensure reaching bottom. Torque & drag simulations were run using Extended Reach Architect software specialized for drilling ERD wells. This innovative use of the program required creating a fictional section in the well schematic where the new BHA design was simulated. During the execution phase, the simulations proved their accuracy while pointing out the depths where the string weight is lost, and a change in pipe diameter and weight is crucial to continue running in hole. This unconventional BHA design met not only the technical requirements, but also the logistics challenges coming from the current working pipe inventory. The team looked for alternatives by designing several BHA scenarios, changing the position, amount, weight, and diameter of pipes to be used. Innovation and accurately applied well engineering created a BHA design process that unlocked the possibility to perform the completion operations of ERD horizontal wells. Ultimately 6 ERD wells were successfully prepared for fracking operations. The implementation of this BHA design workflow decreased the number of clean out runs from 5 attempts to 1 successful run in every well, therefore reducing the operational time by 12 days per well, in overall saving 75 days. Helping to bring oil production faster in Bahrain.
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Schiele, Alexandre. « THE NORMAL AND THE EXCEPTIONAL : A COMPARISON OF PU SONGLING’S AND MO YAN’S SURREAL WORLDS ». Dans 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.10.
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From a comparison of the surreal worlds of Pu Songling and Mo Yan in their respective auctorial context, this paper argues that although Pu Songling’s short stories integrate surreal elements, contrary to the accepted typology of genres, they fall into realistic and not speculative fiction because the worldview of Imperial China in which he lived not only accepted the supernatural as real, but as foundational to the traditional order. By comparison, Mo Yan’s supernatural stories partly fall within supernatural literature, because post-1949 China espoused a scientific worldview which banishes the supernatural. On a second level, however, both Pu Songling’s and Mo Yan’s surreal fictions are political satires of their times. Yet, even on this point they diverge. While Pu Songling articulates the social and political criticism of his present to surreal elements, Mo Yan casts the surreal as a stand-in for the exceptional situations of his recent past which are the object of his criticisms.
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Giunti, Carlo. « THE GSI TIME ANOMALY : FACTS AND FICTION ». Dans Proceedings of the Fourteenth Lomonosov Conference on Elementary Particle Physics. WORLD SCIENTIFIC, 2010. http://dx.doi.org/10.1142/9789814329682_0028.
Texte intégralRapports d'organisations sur le sujet "Fictional time"
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Kamminga, Jorrit, Cristina Durán et Miguel Ángel Giner Bou. Zahra : A policewoman in Afghanistan. Oxfam, décembre 2020. http://dx.doi.org/10.21201/2020.6959.
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As part of Oxfam’s Strategic Partnership project ‘Towards a Worldwide Influencing Network’, the graphic story Zahra: A policewoman in Afghanistan was developed by Jorrit Kamminga, Cristina Durán and Miguel Ángel Giner Bou. The project is funded by the Ministry of Foreign Affairs of the Netherlands. The graphic story is part of a long-standing Oxfam campaign that supports the inclusion and meaningful participation of women in the Afghan police. The story portrays the struggles of a young woman from a rural village who wants to become a police officer. While a fictional character, Zahra’s story represents the aspirations and dreams of many young Afghan women who are increasingly standing up for their rights and equal opportunities, but who are still facing structural societal and institutional barriers. For young women like Zahra, there are still few role models and male champions to support their cause. Yet, as Oxfam’s project has shown, their number is growing, which contributes to small shifts in behaviour and perceptions, gradually normalizing women’s presence in the police force. If a critical mass of women within the police force can be reached and their participation increasingly becomes meaningful, this can reduce the societal and institutional resistance over time. Oxfam hopes the fictional character of Zahra can contribute to that in terms of awareness raising and the promotion of women’s participation in the police force. The story is also available on the #IMatter website.
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STROYKOV, S., et I. NIKITINA. THE CURRENT STATE OF THE PROBLEM OF HYPERTEXT IN LINGUISTIC LITERATURE. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2077-1770-2022-14-2-3-50-73.
Texte intégralRésumé :
In this paper it’s the first time the authors have reviewed linguistic literature (2008-2022) devoted to the problem of literary and electronic hypertext. The purpose of the paper is to review linguistic literature and identify the current state of the problem of literary and electronic hypertext. Materials and methods. On the basis of this purpose we reviewed 42 scientific papers published in 2008-2022 and representing the results of linguistic research of literary and electronic hypertext. For our study we used an analytical and descriptive method, which is traditional for linguistics and allows us to solve the tasks set in our paper. Results. A review of linguistic papers has shown that hypertext is a relevant subject of linguistic research. Scientists propose various definitions of this concept; consider it as a “special information and communication environment”. Many studies are devoted to literary (fiction and non-fiction) hypertext, however, a much larger number of papers are devoted to various aspects of electronic hypertext, including electronic fiction hypertext and electronic hypertext of some genres (news genres, online advertising, social network and online diary community as well as websites). We consider that it is the electronic environment where hypertext is implemented in all its functions. Practical implications. The results of the study can be used as a theoretical basis for further theoretical and practical study of various aspects of literary and electronic hypertext.
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TARAKANOVA, V., A. ROMANENKO et T. TROITSKAYA. FACTORS AND RISKS OF ENVIRONMENTAL SAFETY OF THE CITIES OF THE MOSCOW REGION. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2077-1770-2022-14-2-2-19-29.
Texte intégralRésumé :
In this paper it’s the first time the authors have reviewed linguistic literature (2008-2022) devoted to the problem of literary and electronic hypertext. The purpose of the paper is to review linguistic literature and identify the current state of the problem of literary and electronic hypertext. Materials and methods. On the basis of this purpose we reviewed 42 scientific papers published in 2008-2022 and representing the results of linguistic research of literary and electronic hypertext. For our study we used an analytical and descriptive method, which is traditional for linguistics and allows us to solve the tasks set in our paper. Results. A review of linguistic papers has shown that hypertext is a relevant subject of linguistic research. Scientists propose various definitions of this concept; consider it as a “special information and communication environment”. Many studies are devoted to literary (fiction and non-fiction) hypertext, however, a much larger number of papers are devoted to various aspects of electronic hypertext, including electronic fiction hypertext and electronic hypertext of some genres (news genres, online advertising, social network and online diary community as well as websites). We consider that it is the electronic environment where hypertext is implemented in all its functions. Practical implications. The results of the study can be used as a theoretical basis for further theoretical and practical study of various aspects of literary and electronic hypertext.
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Tare, Medha, Susanne Nobles et Wendy Xiao. Partnerships that Work : Tapping Research to Address Learner Variability in Young Readers. Digital Promise, mars 2018. http://dx.doi.org/10.51388/20.500.12265/67.
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Over the past several decades, the student population in the United States has grown more diverse by factors including race, socioeconomic status, primary language spoken at home, and learning differences. At the same time, learning sciences research has advanced our understanding of learner variability and the importance of grounding educational practice and policy in the individual, rather than the fiction of an average student. To address this gap, LVP distills existing research on cognitive, social and emotional, content area, and background Learner Factors that affect learning in various domains, such as reading and math. In conjunction with the development process, LPS researchers worked with ReadWorks to design studies to assess the impact of the newly implemented features on learner outcomes.
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien et Damon Herd. A New Palingenesis. University of Dundee, novembre 2022. http://dx.doi.org/10.20933/100001273.
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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.