Bibliografias temáticas / Appearance (philosophy) – fiction

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Literatura científica selecionada sobre o tema "Appearance (philosophy) – fiction"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2025

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Artigos de revistas sobre o assunto "Appearance (philosophy) – fiction"

Parent, Arnaud. "Science in Eighteenth-Century French Literary Fiction: A Step to Modern Science Fiction and a New Definition of the Human Being?" Acta Baltica Historiae et Philosophiae Scientiarum 10, no. 1 (2022): 78–103. http://dx.doi.org/10.11590/abhps.2022.1.05.

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In eighteenth-century France, scientific progress and its spreading met a growing interest among public, an enthusiasm that was to be reflected in literature. Fictional works including scientific knowledge in their narrative made their appearance, paving the ground for a genre promised to a growing success in the following centuries—science fiction. The article presents three eighteenth-century French literary works, each one centered on a different domain of science: Voltaire’s Micromégas (1752), Charles-François Tiphaigne’s Amilec, or the Seeds of Mankind (Amilec, ou la graine d’hommes, 1753

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Vinogradov, V. V. "Representation of World War One in Pre-Revolutionary Cinema in the Context of Russian Philosophy and Journalism of the Early Twentieth Century." Vestnik VGIK 16, no. 1(59) (2024): 26–40. http://dx.doi.org/10.69975/2074-0832-2024-59-1-26-40.

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The article examines the representation of World War One in Russian pre-revolutionary cinema. The author introduces a typology of war fiction films and analyzes its transformation from 1914 to 1916, focusing on the evolution of the enemy portrayal. To account for the appearance of certain screen images, the general historical and cultural context is described. Particular attention is paid to the works of Russian philosophers (N. Berdyaev, V. Rozanov, S. Bulgakov), who wrote about the world war, which would reshape European political and socio-cultural landscapes.

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Faraone, Mario. "Images and Reflections of the Spiritual Self in Christopher Isherwood’s Narratives." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 3 (2010): 303–22. http://dx.doi.org/10.1558/post.v4i3.303.

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Throughout his life, Christopher Isherwood explored his sense of himself through a range of different genres of writing: autobiography, letters and journals, and fiction. The polysemic image of the mirror plays a major role in the structuring of his novels and other writings. Through the figure of the mirror, the writer signals many nearly imperceptible yet significant changes over time. This article explores this image in a range of Isherwood’s writings, and argues that, through its deployment, the artist very often questions himself about the dichotomy between appearance and reality. The pre

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Massie, Pascal. "Masks and the Space of Play." Research in Phenomenology 48, no. 1 (2018): 119–46. http://dx.doi.org/10.1163/15691640-12341387.

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Abstract Masks are devices and symbols. In the first instance, they are artifacts that allow opposite poles to take each other’s place. They split the world into appearance and reality, manifest and repressed, sacred and profane. In this sense, they are dualistic. But by so doing they invert these terms. In this sense, they are dialectical. In the second instance, they exemplify doubt about people’s identities and the veracity of their words; they denote duplicity, inauthenticity, and hypocrisy. The conjunction of these two senses resides in the fact that masks are at the threshold between rea

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Amangaziyeva, Meruyert, Akhmaral Khairzhanova, Gulnara Mustagaliyeva, Kalamkas Kalybekova, and Raigul Bissenbiyeva. "Structural characterization of chiasmatic constructs in Russian and French." XLinguae 15, no. 4 (2022): 113–28. http://dx.doi.org/10.18355/xl.2022.15.04.11.

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This article represents the author's experience in the comparative study of one of the figures of expressive syntax - chiasmatic constructions, functioning in fiction texts. The object of study in this study are chiasmas extracted from texts of fiction in Russian and French, the subject – linguopragmatic characteristics of chiasmatic constructions. Chiasmatic construction, or the figure of crossing, is one of the most complex and multifaceted rhetorical figures. Its appearance is the result of the interaction and fusion of several syntactic structures; this includes expressive constructions of

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Belaya, Irina V., and Sergey V. Dmitriev. "Following Xuanzang: about “The Journey to the West” of a Chinese Woman or Feminism in China by E.A. Sinetskaya." Voprosy Filosofii, no. 10 (2021): 208–14. http://dx.doi.org/10.21146/0042-8744-2021-10-208-214.

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The article is devoted to the problem of studying the history of feminism in China – from the activities of Christian missionaries to Chinese revolutionaries. The prerequisites and stages of the formation of the women's movement for their rights are considered on the example of the book “The Journey to the West” of a Chinese Woman or Feminism in China by Elvira A. Sinetskaya. This book actually presents the first for Russian science study of development of Chinese movement for women rights, as well as constitutes a try to describe its characteristic feature and to place it in the context of wo

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Brito, Maria Dos Remédios de. "A VERDADE SEM REPRESENTAÇÃO." Revista Observatório 4, no. 1 (2018): 42. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p42.

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Há na cena filosófica uma exclusão da aparência, pois a verdade é um conceito fundamental para a filosofia. No cenário contemporâneo tal conceito é posto em questionamento como valor filosófico. É Nietzsche quem faz uma reversão do valor da verdade como essência, como representação universal, com ele a verdade tem ligações com a vida e suas avaliações. O texto elabora algumas notas sobre essa questão, destacando o conceito de verdade e pontuando motivações que levam o temor ao ficcional.  PALAVRAS-CHAVE: Verdade; Nietzsche; Ficcional.   ABSTRACT There is, in

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Khramov, Alexander. "Did God create fossils? Notes on the history of an idea." St. Tikhons' University Review 104 (December 29, 2022): 29–45. http://dx.doi.org/10.15382/sturi2022104.29-45.

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The subject of the paper is prochronism, e.g. the teaching which says that the world was created with the appearance of old age. It is shown that the sources of prochronism could be traced to the medieval doctrine of double truth and philosophy of Descartes, who suggested that cosmological theories on the origin of the Universe are purely conditional, while in fact the world was instantly created complete and mature. The idea of apparent, but non-existent past gained much credence during the first half of the 19th century, when paleontological and geological discoveries raised a question on ho

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Shuvalova, Mariia. "THE SHORT STORY GENRE IN THE ENGLISH-LANGUAGE WORKS OF WESTERN LITERARY SCHOLARS OF THE 20TH —21ST CENTURIES." Слово і Час, no. 5 (October 17, 2021): 101–17. http://dx.doi.org/10.33608/0236-1477.2021.05.101-117.

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The paper is focused on the perception of the short story genre in the western literary theory of the 20th —21st centuries. At the end of the 19th and the beginning of the 20th century, the term 'short story' was a neologism, and its appearance indicated the rethinking of established literary forms. This process led to the development of new literary theories. The works of Brander Matthews (“The Philosophy of the Short Story”, 1901) and Frank O’Connor (“The Lonely Voice”, 1962), prominent writers and literary scholars of the 20th century, established academic short story studies in the English

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SARAKAEVA, ASIA A. "Strategies and Strategists in Chinese Historical TV Series." Art and Science of Television 18, no. 3 (2022): 147–76. http://dx.doi.org/10.30628/1994-9529-2022-18.3-147-176.

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In his article, I examine the image of a political strategist, popular in Chinese historical cinema, the origin of which can be traced to historical chronicles and fiction. Analysis of their cinematographic representation allows to single out the characteristic features of this image, distinguishing it from the functionally close, yet not identical image of a noble minister. Further, I suggest that the literary and cinematic image of Zhuge Liang, the famous politician and strategist of the Three Kingdoms, serves as an archetype of a political and military advisor in general, and substantiate t

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Livros sobre o assunto "Appearance (philosophy) – fiction"

Culbard, Ian. Oscar Wilde's The picture of Dorian Gray: A graphic novel. Sterling Pub., 2008.

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Culbard, Ian. Oscar Wilde's The picture of Dorian Gray: A graphic novel. Self Made Hero, 2008.

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Amado, Nervo. El ángel caído y otros cuentos. Editores Mexicanos Unidos, 2005.

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Wilde, Oscar. The picture of Dorian Gray and selected stories. Signet Classic, 1995.

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Wilde, Oscar. The picture of Dorian Gray: Authoritative texts, backgrounds, reviews and reactions, criticism. 2nd ed. W. W. Norton & Co., 2007.

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Wilde, Oscar. The Picture of Dorian Gray. Penguin Books, 2003.

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Wilde, Oscar. The picture of Dorian Gray. Vintage, 2007.

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Wilde, Oscar. The picture of Dorian Gray. Modern Library, 1992.

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Wilde, Oscar. The picture of Dorian Gray. Ignatius Press, 2008.

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Wilde, Oscar. The picture of Dorian Gray. ABDO Pub., 2002.

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Capítulos de livros sobre o assunto "Appearance (philosophy) – fiction"

Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.

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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and

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Borris, Kenneth. "Pastoral." In The Oxford Handbook of Philip Sidney. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780198859451.013.23.

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Abstract Most of Sidney’s major fictions draw much from the genealogies, themes, conventions, and functions of early modern literary pastoral, yet reconfigure this form and its possibilities in profoundly resourceful ways. Sidney’s pastoral creations reassess love, moral philosophy, poetics, politics, civic responsibility, the attainment of happiness, and accordance with nature, as well as the norms of class, gender, and sex. As was typical of sixteenth-century humanist pastoralism, appearances of rather naïve rusticity thus come to express relatively cultured and erudite agendas, often in way

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Jones, Charlotte. "Arnold Bennett." In Realism, Form, and Representation in the Edwardian Novel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857921.003.0004.

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Virginia Woolf’s accusation that ‘Life escapes’ from the aesthetic horizons of Bennett’s fiction has long haunted his critical reception. Chapter 3 therefore turns to the function of description within realism, arguing that Bennett does not conceptually prioritize either the particulars, as Woolf argued, or the aggregated scene, as in Barthes’s ‘reality effect’, where the specificities of detail are secondary to its ideological function. The solid superficies for which Bennett has become infamous never constitute individual atoms of meaning, for he insists on both the particularity of a given

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Davies, Stephen. "Artistic expression." In Routledge Encyclopedia of Philosophy. Routledge, 2021. http://dx.doi.org/10.4324/9780415249126-m020-2.

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Article Summary Many kinds of psychological state can be expressed in or by works of art. But it is the artistic expression of emotion that has figured most prominently in philosophical discussions of art. Emotion is expressed in pictorial, literary, and other representational works of art by the characters who are depicted or in other ways presented in the works. We often identify the emotions of such characters in much the same way as we ordinarily identify the emotions of others, but we might also have special knowledge of a character’s emotional state, through direct access to their though

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