Siga este link para ver outros tipos de publicações sobre o tema: Fictional time.
Artigos de revistas sobre o tema "Fictional time"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Fictional time".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Valsiner, Jaan. "Between fiction and reality: Transforming the semiotic object". Sign Systems Studies 37, n.º 1/2 (15 de dezembro de 2009): 99–113. http://dx.doi.org/10.12697/sss.2009.37.1-2.05.
Texto completo da fonteResumo:
(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.
2
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, n.º 2 (3 de setembro de 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
Texto completo da fonteResumo:
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.
3
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, n.º 3 (20 de setembro de 2021): 247–64. http://dx.doi.org/10.24193/subbphilo.2021.3.16.
Texto completo da fonteResumo:
"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 "
4
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, n.º 2 (15 de maio de 2017): 163–75. http://dx.doi.org/10.24093/awejtls/vol1no2.13.
Texto completo da fonte
5
Villegas López, Sonia. "Truth and Wonder in Richard Head’s Geographical Fictions". Sederi, n.º 30 (2020): 117–37. http://dx.doi.org/10.34136/sederi.2020.6.
Texto completo da fonteResumo:
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.
6
WU, Meng. "Fanning Out Possibilities: Dung Kai-cheung and the Multiplicities of Time". Modern Chinese Literature and Culture 34, n.º 2 (dezembro de 2022): 420–44. http://dx.doi.org/10.3366/mclc.2022.0020.
Texto completo da fonteResumo:
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.
7
Panto, Francesco, Tamaki Saito, Nobuaki Morita e Yasukazu Ogai. "The Correlation between Enjoying Fictional Narratives and Empathy in Japanese Hikikomori". F1000Research 10 (9 de agosto de 2021): 776. http://dx.doi.org/10.12688/f1000research.55398.1.
Texto completo da fonteResumo:
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.
8
Panto, Francesco, Tamaki Saito, Nobuaki Morita e Yasukazu Ogai. "The Correlation between Enjoying Fictional Narratives and Empathy in Japanese Hikikomori". F1000Research 10 (21 de janeiro de 2022): 776. http://dx.doi.org/10.12688/f1000research.55398.2.
Texto completo da fonteResumo:
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.
9
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, n.º 2 (25 de setembro de 2020): 147–72. http://dx.doi.org/10.1515/jlt-2020-2003.
Texto completo da fonteResumo:
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.
10
Park, J. P. "Art-Historical Fiction or Fictional Art History?" Archives of Asian Art 72, n.º 2 (1 de outubro de 2022): 181–219. http://dx.doi.org/10.1215/00666637-9953432.
Texto completo da fonteResumo:
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.
11
Grishakova, Marina. "V. Nabokov's "Bend Sinister": A social message or an experiment with time?" Sign Systems Studies 28 (31 de dezembro de 2000): 242–63. http://dx.doi.org/10.12697/sss.2000.28.13.
Texto completo da fonteResumo:
The paper examines V. Nabokov's "strange" novel ''Bend Sinister". The fictional space of the novel is regarded as a process of interaction of different languages or different versions of reality. The philosopher Krug's story unrolls in the imaginary totalitarian state whose ideology combines the elements of fascism, communism and the language of mass psychology. At this level the text is identical with a "social message". The protagonist has to choose between a "private autonomy" and a "bad solidarity". The paper offers the new facts and documents referring to the key symbols of the novel. The language of ''reality'' is deconstructed in the protagonist's idiosyncratical language, the language of his thoughts, recollections and dreams. Scientific metaphors are crucial in thedeconstruction and help to reveal metafictional nature of the text. The analogies with painting, relativist physics, logical paradoxes (Russell's and Gödel's theories) pemits to investigate the status of the fictional space, its development in time and the fiction of the Author.
12
Villette, Agnès. "Viral Fictions: Navigating Time in Search of Memorial Markers for the Radio-Toxic Landscape of La Hague". Acta Academiae Artium Vilnensis, n.º 100 (1 de junho de 2020): 238–73. http://dx.doi.org/10.37522/aaav.100.2021.63.
Texto completo da fonteResumo:
Nuclear events have inscribed the 20th century into a new chemical temporality, that generally escapes our scrutiny due to radioactivity’s invisibility. Radioactive particles keep falling back to earth since nuclear tests peaked during the Cold War, they form an iterative invisible presence that is coated in political invisibility. Through films and fictions, the paper traces haunted images that keep coming back. Two distinct geographies are weaved together, that of West Coast American deserts, where numerous tests were conducted, and that of the nuclear peninsula of La Hague, in France. The recurring metaphors of dust and mist, not only characterise the two landscapes, but illustrate how radioactive particles literally journey and affect natural environments and activate the trope of contamination. Viral Fictions address the issue of creating a nuclear marker for La Hague’s burial site. Underlying the fragility of material cultures and the aporia of projecting knowledge through deep time, the article creates a possible im- material fictional nuclear marker for La Hague. Merging a set of references from local folk oral legends with the ability of fiction to transmit forms of knowledge and imaginary archetypes, Viral Fictions uses AI algorithmic software to generate speculative forms of fictions and visuals.
13
YALÇIN, Çağrı, e Elif ÖZDOĞLAR. "ARCHITECTURAL ANALYSIS OF THE DUNE MOVIES". SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, n.º 36 (15 de março de 2023): 221–36. http://dx.doi.org/10.31567/ssd.870.
Texto completo da fonteResumo:
When the works of science fiction cinema from the past to the present are examined, space designs that are often designed inspired by architectural movements and designed in accordance with the targeted time period of production are seen. If it is not possible to produce all or some part of these space designs technologically in today's conditions, it is defined as fictional space design. In line with the technological developments and innovations experienced since the first emergence of cinema, fictional space designs continue the process of evolution. It can be seen that one of the biggest factors that has accelerated the evolutionary processes of science fiction and fictional space since the first examples is its interaction with art movements. When science fiction is mentioned, the first thing that comes to mind is the future, advances in technology, a future society developed from existing paradigms. Sci-Fi is usually depicted in a way that makes a statement about current issues related to the future, society, the environment, politics, economics and religion, or questions them with the problems posed by the progress of science in various fields. The art and architectural movement inspired by a cinema work can be seen in all product and space designs within the scope of the film. By showing diversity most of the time, it incorporates style and design approaches from different architectural movements and offers an eclectic aesthetic integrity to the audience. For example, in the works of science fiction cinema, within the fiction of the same planet, living in the same time zone or different from each other, which belong to the same race or species, socio-cultural and Economic, the political administration of the societies differ from each other according to geographical and spatial designs-a lot of and it can be seen in production. One of the most important examples is the Dune productions. In this research, architectural analyses of Dune films in terms of fictional space will be performed.
14
Troscianko, Emily. "Kafkaesque worlds in real time". Language and Literature: International Journal of Stylistics 19, n.º 2 (27 de abril de 2010): 151–71. http://dx.doi.org/10.1177/0963947010362913.
Texto completo da fonteResumo:
We read in a linear fashion, page by page, and we seem also to experience the world around us thus, moment by moment. But research on visual perception shows that perceptual experience is not pictorially representational: it does not consist in a linear, cumulative, totalizing process of building up a stream of internal picture-like representations. Current enactive, or sensorimotor, theories describe vision and imagination as operating through interactive potentiality. Kafka’s texts, which evoke perception as non-pictorial, provide scope for investigating the close links between vision and imagination in the context of the reading of fiction. Kafka taps into the fundamental perceptual processes by which we experience external and imagined worlds, by evoking fictional worlds through the characters’ perceptual enaction of them. The temporality of Kafka’s narratives draws us in by making concessions to how we habitually create ‘proper’, linear narratives out of experience, as reflected in traditional Realist narratives. However, Kafka also unsettles these processes of narrativization, showing their inadequacies and superfluities. Kafka’s works engage the reader’s imagination so powerfully because they correspond to the truth of perceptual experience, rather than merely to the fictions we conventionally make of it. Yet these texts also unsettle because we are unused to thinking of the real world as being just how these truly realistic, Kafkaesque worlds are: inadmissible of a complete, linear narrative, because always emerging when looked for, just in time.
15
Ng, Kenny K. K. "Theory and Practice of the Long Novel". Prism 17, n.º 2 (1 de outubro de 2020): 326–52. http://dx.doi.org/10.1215/25783491-8690412.
Texto completo da fonteResumo:
AbstractThis article examines the promises and predicaments of May Fourth writers in their experimental writing of the “long novel” (changpian xiaoshuo 長篇小說) as a Chinese brand of the modern epic. May Fourth intellectuals showed a conscious effort to institute a new brand of fictional genre to enlighten the reading public. Yet their “education of the novel” was far from complete, as New Literature writers found fictional expressions primarily in the form of the short story, with strong undertones of individualism, subjective lyricism, and elitism. By focusing on Mao Dun's 茅盾 (1896–1981) Ziye 子夜 (Midnight; 1933), the article examines his call for the establishment of the long novel and his strenuous efforts to “take over” the modern novel as an ideological form to narrate a teleological progression of history. How do Mao Dun's fictional narratives illuminate the representational problems between fiction, locality, and modernity? For Mao Dun and his May Fourth contemporaries, modernity at large was expressed in a teleological mode of time and progress, both in the rhetoric of modernity and in fiction writing. The article reflects on Mao Dun's creative and ideological impasse by teasing out the narrative loopholes of traditional voices and popular fictional registers in the modern epic.
16
Mordecai, Pamela C. "Negotiating Real Space and Real Time in Red Jacket: A Novel". Cultural and Pedagogical Inquiry 12, n.º 1 (1 de fevereiro de 2021): 281–95. http://dx.doi.org/10.18733/cpi29554.
Texto completo da fonteResumo:
Analysis of her 2015 novel, “Red Jacket” by author Pamela Mordecai showing how the tools of space and time were used to provide realism to the story. This was done by describing real events that happened over the space of the story including weather events, political events as well as geographical descriptions to give an idea of fictional locations. Red Jacket is neither fabulist tale nor historical fiction. It is a made-up story, set at a time marked by events, some real and some imaginary, and set in places, some real and some imaginary.
17
Dancygier, Barbara. "Proximal and distal deictics and the construal of narrative time". Cognitive Linguistics 30, n.º 2 (27 de maio de 2019): 399–415. http://dx.doi.org/10.1515/cog-2018-0044.
Texto completo da fonteResumo:
AbstractThis paper proposes an approach to narrative deixis which offers a coherent analysis of the respective roles of proximal and distal deictic expressions (demonstratives as well as temporal and locative adverbs). The paper starts by arguing that fictional narratives require an approach to deixis which modifies a number of broadly held assumptions, especially as regards the interaction between tense and other deictic forms. It then considers the widely discussed instance of the temporal adverb now in the context of Past Tense. The second part of the paper gives special focus to demonstratives in narrative fiction, showing their role in temporal construals. It argues that both temporal and demonstrative expressions are primarily used to serve narrative viewpoint construction (which includes but is not limited to temporal viewpoint). Examples from several novels are then used to show how the proximal and distal choices of demonstratives, temporal adverbs and locative adverbs structure narrative viewpoint, including narrative representation of character experience. The paper concludes by proposing that in the context of fictional narratives the proximal/distal contrast is more relevant to meaning emergence than individual aspects of deixis, and that the construal of time can be achieved through the whole spectrum of deictic forms, not just tense and temporal adverbs such as now and then.
18
Sen, Erhan, e Sedat Karagul. "A Study of Secondary School Students’ Perceptions of Fictional Characters". International Journal of Educational Methodology 7, n.º 3 (15 de agosto de 2021): 433–46. http://dx.doi.org/10.12973/ijem.7.3.433.
Texto completo da fonteResumo:
<p style="text-align: justify;">Fictional characters give literary works a sense of reality. The actions of fictional characters play a crucial role in children's personality development. Young readers who lack critical reading skills are more likely to incorporate fictional characters into their lives because they have a hard time telling reality from fiction. Therefore, we should determine how children perceive fictional characters and teach them that they are imaginary figures. In this way, we can help them approach those characters' actions from an external and critical perspective. This study adopted a qualitative research design (case study) to investigate secondary school students' perceptions of fictional characters. The sample consisted of 45 secondary school students (28 female and 17 male). Data were collected through interviews and document review techniques. Data were analyzed using content analysis. Results showed that participants were more likely to be interested in and identify with characters with appealing personality traits. They had four types of approaches to fictional characters: (1) Wanting to change the storyline depending on what the fictional character goes through, (2) being influenced by them, (3) seeing them as role models, or (4) ignoring them. They wanted to change the storyline, especially when the villain got what he wanted or when the hero or the victim was unhappy, suggesting that they mostly took the protagonist's side (the good guy). While most participants attributed an ontological meaning to anthropomorphic characters, the symbolic meaning became of secondary importance. They were more interested in and identified more with characters with good living conditions and no death experiences.</p>
19
Boxall, Peter. "Late: Fictional Time in the Twenty-First Century". Contemporary Literature 53, n.º 4 (2012): 681–712. http://dx.doi.org/10.1353/cli.2012.0038.
Texto completo da fonte
20
Klebes, Martin. "If Worlds Were Stories". Konturen 2, n.º 1 (11 de outubro de 2010): 124. http://dx.doi.org/10.5399/uo/konturen.2.1.1346.
Texto completo da fonteResumo:
The metaphysics of possible worlds proposed by the analytic philosopher David K. Lewis offers an account of fictional discourse according to which possible worlds described in fiction are just as real as the actual world. In an inspired reversal of the analysis of literary fictions by such philosophical means, the French poet Jacques Roubaud makes direct reference to Lewis’ controversial ontological picture in two cycles of elegies composed between 1986 and 1990. Roubaud’s poems take up the idea of possible worlds as real entities, and at the same time they challenge the notion that philosophy could offer an account of fiction in which the puzzling collision of the possible with the impossible that fundamentally characterizes the phenomenon of fictionality would be seamlessly unravelled. For Roubaud the lyrical genre of the elegy and its thematic concern with love and death stands as a prime indicator of the quandary that results from our inability to solve paradoxes of modality such as those raised by Lewis in strictly theoretical terms.
21
El Hajj, Murielle. "Analyse des réseaux de personnages dans les textes de Leslie Kaplan : du postmodernisme à l’inconscient". French Cultural Studies 32, n.º 2 (8 de abril de 2021): 91–107. http://dx.doi.org/10.1177/09571558211002449.
Texto completo da fonteResumo:
The texts of Leslie Kaplan question the irreducible opposition between the real and the non-real. Her characters and their intentional absence confuse the repository and fictional worlds, not only to point out the thin margin between reality and fiction, but to underline the impossible delimitation between the real and the fictional, or even between the text and the world. This article studies the characters of Kaplan and aims to demonstrate their identity crisis through the study of their literary onomastic and the use of the neutral pronoun ‘it’ and allegoric expressions. In addition, the objective of this article is to shed light on the Kaplanian characters as Kunderian models, while stressing the particularity of their physionomy, which consists to present ‘fuzzy’ characters that are present and absent at the same time, engaging the reader in the fictional process as a try to complete the missing details. This article concludes that the Kaplanian characters are not only the prototypes of the postmodern being, but they are also introverted, psychopaths and a demonstration of different facets of the unconscious.
22
Arbain, Armini. "PEMIKIRAN HAMKA DALAM NOVEL-NOVELNYA: SEBUAH KAJIAN SOSIOLOGIS". Puitika 13, n.º 2 (28 de novembro de 2017): 75. http://dx.doi.org/10.25077/puitika.13.2.75--88.2017.
Texto completo da fonteResumo:
In this article is discussed about the thought of Hamka contained in his novels. Hamka a man who has a multitalenta as a writer, thinker, writer, historian, and mufasir. That is, a Hamka not only as a writer but also as a thinker, writer, mufasir (interpreter of the Qur'an) and historian at the same time. The unification of the five qualities as above would be complementary to each other. Thus, when Hamka concocted a novel, her qualities as a thinker. writers, mufasir and historians will accumulate into his fictional work so that in the work of his novels there are a number of pithy thoughts. A number of thoughts contained in his fictional works can not be separated from the social realities of Hamka's life. Keywords: Thought, Hamka, works of fiction, and social reality
23
Feagin, Susan L. "Imagining Emotions and Appreciating Fiction". Canadian Journal of Philosophy 18, n.º 3 (setembro de 1988): 485–500. http://dx.doi.org/10.1080/00455091.1988.10717187.
Texto completo da fonteResumo:
The capacity of a work of fictional literature to elicit (some) emotional responses is part of what is valuable about it, and having (relevant) emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which occur in ‘real life’? Which emotions are appropriate to the work, and why: what justifies having one emotion rather than another? And why should we think emotionally responding to fiction is desirable, something which should be respected and encouraged, rather than looked at as a little weird or a waste of time?
24
Patterson, Patricia. "The public pursuit of closure: losses, fictions, and endings". International Journal of Organization Theory & Behavior 21, n.º 3 (10 de setembro de 2018): 171–91. http://dx.doi.org/10.1108/ijotb-05-2018-0055.
Texto completo da fonteResumo:
Purpose This paper raises the possibility that closure is a myth, both in the sense of a narrative guiding a quest and in the sense of a social fiction. The paper aims to discuss this issue. Design/methodology/approach The paper examines parts played by public administration practice in quests with subtexts of death, love, and loss, and suggests that overlapping administrative and narrative fictions have their comforts and uses for grieving persons, for organizations, and for the social order. Findings The paper confesses ambivalence about the actual existence of closure in historical rather than fictional time. Originality/value Using the metaphor of “closing the books,” the paper situates particular public reckonings with human loss in the context of justice-seeking and other public sector companions of “closure,” but resists the narrative closure of the authoritative answer and the happy ending.
25
Domanskii, Yurii V. "HOW MANY YEARS TO MARS (ABOUT A TIME REFERENCE IN STANISLAW LEM'S "TALES OF THE PILOT PIRX" AND ABOUT THE MEANINGS OF THE TRUTHFULNESS OF THE FANTASTIC)". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 9 (2020): 169–78. http://dx.doi.org/10.28995/2686-7249-2020-9-169-178.
Texto completo da fonteResumo:
The article considers the reference to a real historical event in the text of a fantastic work – Stanislav Lem’s short story “Ananke” from the series “Stories about the pilot Pirx”. Based on such indication, the article attempts to understand the role of truth in fiction, the correlation degree for the “truthful” and “fantastic” in literature. As a result, it turns out that connecting the fact of reality to the world of fictional fiction in the science fiction allows one to see certain meanings of the author’s utterance, meanings that are just formed in the synthesis of the “fantastic” and “true”. And it is the science fiction that turns out to be the most appropriate type of literature for that kind of the meaning creation.
26
Chen, Qi. "Balance history and fiction in narrative: Approaching Walter Scott’s classical historical novels". Frontiers of Narrative Studies 8, n.º 1 (1 de julho de 2022): 101–32. http://dx.doi.org/10.1515/fns-2022-2016.
Texto completo da fonteResumo:
Abstract Water Scott sets up the literary genre with his outstanding and genuine composition of twenty-seven historical novels. With unique and tactical narrative strategies, Scott successfully balances the real historical world and the fictional world in the stories. Scrutinizing from four aspects, namely plotting, narrative time, narrator and focalization, and characterization, the present paper will reveal how the history is told in a fictional world without losing the historicity and keeping the vividness at the same time. Taking the faithfulness to history as the major principle, Scott fabricates a fascinating fictional world embedded with his understanding and emotions of the past.
27
Khan, Muhammad Sajid. "ARTISTIC AND CONCEPTUAL ANALYSIS OF THE FICTION WORK OF ANGARAY". Journal of Social Sciences and Humanities 58, n.º 1 (30 de junho de 2019): 191–97. http://dx.doi.org/10.46568/jssh.v58i1.138.
Texto completo da fonteResumo:
Reading habits among young generation is going to declining and culture of reading books is modified to modern methods of communication like browsing social sites and internet, playing on cell phones and watching T.V. This era modernization has taken away the youth from reading habits. It is important that the young generation learns about the rich Urdu literature including Urdu fiction in which several writers have significantly contributed. The emergence of Urdu literature facilitated the expansion of Urdu language. Fiction writers try to indicate important weaknesses of the society, cultural traditions, and norms, so as to find out the solutions to these issues. There were so many fictional works in Urdu literature having done during the progressive and independent movement. “ANGARAY” is a collection of fictional short stories authored by four young writers who had a progressive approach and tried in their own way to bring forth several social issues through their work at the time British India. This paper attempts to present a brief history of this collection and the consequences emerging out of its publication at that time. The study is reviewed and analyzed the criticism on selected short stories of subsequent publication. The study found that the readers would find the ideas and views of the four writers in the present time may provide them some relief from the opposition they faced on publication of their work.
28
Belsey, Catherine. "Narrative magic: Stories and the ways of desire". Language and Literature: International Journal of Stylistics 23, n.º 1 (fevereiro de 2014): 77–88. http://dx.doi.org/10.1177/0963947013510645.
Texto completo da fonteResumo:
Fictions that include an account of how stories are received show narrative as enlisting the desire of the reader or hearer. While fiction demonstrates what the magic of the signifier can do to allay desire when language is set free from reality, in the end narratives withhold satisfaction of the desire they engender, since the worlds they create must eventually be relinquished. To that degree, narrative fiction brings to light the condition of the speaking being as Lacanian psychoanalysis conceives it, at once empowered and deprived by access to language, and in quest of a presence language cannot deliver. In so far as they are ungrounded, stories are able to exceed cultural orthodoxies, conjuring into being desired possibilities, aspirations, and corollary fears. Supplementary in that sense and dangerous, in consequence, to the orthodoxies they supplement, fictional narratives can therefore bring to light the inadequacy of customary assumptions. Located in time, stories offer a knowledge – of cultural difference, as well as of the laws of desire that underlie it.
29
Urian, Adriana Diana. "FREE INDIRECT DISCOURSE AND POSSIBLE WORLDS IN IAN MCEWAN’S THE CHILD IN TIME". JOURNAL OF LINGUISTIC AND INTERCULTURAL EDUCATION 12, n.º 3 (27 de dezembro de 2019): 123–32. http://dx.doi.org/10.29302/jolie.2019.12.3.8.
Texto completo da fonteResumo:
The paper discusses the nature of free indirect discourse and the manner in which it appears within postmodern fiction, more precisely in Ian McEwan’s novel The Child in Time, through the modality of possible world semantics. First it explains how free indirect discourse should be understood in this context, outlining the theoretical introduction and justification of this particular approach. The subsequent discussion focuses on speech acts and how they can be understood theoretically and in a fictional universe. It then showcases how free indirect discourse works in Ian McEwan’s The Child in Time, which offers an excellent case study for this type of analysis, given the fact that the novel is a third person narrative, an indirect account of events, and a reported story, and thus a perfect sample of free indirect discourse in fiction. Finally, by blending these perspectives within the narrative universe and observing how they render a structural matrix of fiction upon which worlds of possibility can be modally distinguished, the paper will prove that the analysis of free indirect discourse completes the picture of narrative syntax within possible world determinism.
30
Tan, Eduard Sioe-Hao, e Valentijn Visch. "Co-Imagination of Fictional Worlds in Film Viewing". Review of General Psychology 22, n.º 2 (junho de 2018): 230–44. http://dx.doi.org/10.1037/gpr0000153.
Texto completo da fonteResumo:
The typical experience of narrative film is characterized by a remarkable intensity as to absorption and emotion. Current explanations attribute the experience to the realistic perceptual impact of the film. This theoretical article sets out to explain the experience as the result first of the film-viewer's acts of imagination of fictional worlds. More specifically, it seems suitable to conceptualize the film experience as arising from pretense play. Pretense play can afford room for free imagination leading to intense emotion, as well as restrictions to the imagination “quarantining” ( Leslie, 1987 ) pretended fictional worlds from the real world, thus safeguarding the enjoyability and adaptiveness of the experience. Applying the concept of joint pretense for the first time to film, we follow Walton (1990) in his account of fiction as an institutionalized form of pretense play enabling intense emotional experiences in the cinema, including unpleasant ones to be appreciated by film-viewers. Thus, the model of co-imagination has as components (a) the generation of fictional film worlds—the acts of pretense in the narrower sense; (b) the participation in; and (c) the appreciation of these. We argue that the account of the experience can be improved if it is conceived as the outcome of joint pretense, in which film-viewers in their imagination activity team up with filmmakers—experts by eminence in prompting the viewers’ imagination. Finally, in our model of co-imagination in popular film joint pretense acts are layered ( Clark, 1996 ) as to the contents of the fictional worlds, with the lowest layer representing the collaboration for imagination between filmmaker and film-viewer in the actual world and the higher ones representing fictional worlds of increasing depth of imagination. Because of asymmetric access relations among layers, returns to the actual world in advanced pretense are difficult, which helps quarantining and the sense of absorption.
31
Alward, Peter. "Description, Disagreement, and Fictional Names". Canadian Journal of Philosophy 41, n.º 3 (setembro de 2011): 423–48. http://dx.doi.org/10.1353/cjp.2011.0028.
Texto completo da fonteResumo:
In this paper, a theory of the contents of fictional names — names of fictional people, places, etc. — will be developed. The fundamental datum that must be addressed by such a theory is that fictional names are, in an important sense, empty: the entities to which they putatively refer do not exist. Nevertheless, they make substantial contributions to the truth conditions of sentences in which they occur. Not only do such sentences have truth conditions, sentences differing only in the fictional names they contain differ in their truth conditions. It is, after all, commonplace to note such things as, for example, thatBilbo Baggins is a hobbitis true, andSherlock Holmes is a hobbitis false, while acknowledging at the same time that neither Baggins nor Holmes exists. The central problem, therefore, is that of reconciling the emptiness of fictional names with their substantial contributions.
32
Morling, Beth, e Jeong Min Lee. "Undergraduates at a Research University Think of Faculty as Teachers and That Teaching is Prestigious". Teaching of Psychology 47, n.º 1 (21 de novembro de 2019): 50–57. http://dx.doi.org/10.1177/0098628319888089.
Texto completo da fonteResumo:
What do university students understand about faculty work? Undergraduate (mostly first-year) students ( N = 317) at a research university gave definitions of tenure, estimated how much time faculty spend teaching, and rated fictional faculty members. Most students could define tenure but could not describe how it is earned or its role in academic freedom. Students overestimated the time faculty spend on teaching and underestimated time spent on research. Finally, students who assumed that fictional faculty taught more courses also assumed they had higher status. By comparison, faculty respondents ( N = 645) who read the same fictional descriptions assumed higher teaching loads went with lower status markers. As they acculturate to life at a research university, first-year students could benefit from learning about faculty research roles and the value of academic freedom.
33
Miller, Jon Charles. "Hume's Impression of Succession (Time)". Dialogue 47, n.º 3-4 (2008): 603–17. http://dx.doi.org/10.1017/s0012217300002869.
Texto completo da fonteResumo:
ABSTRACTIn this article I argue that Hume's empiricism allows for time to exist as a real distinct impression of succession, not, as many claim, merely as a nominal abstract idea. In the first part of this article I show how for Hume it is succession and not duration that constitutes time, and, further, that only duration is fictional. In the second part, I show that according to the way Hume describes the functions of the memory and imagination, it is possible to explain how we are able to perceive a distinct impression of succession.
34
Gregor, Kerstin, e Steffen Neuß. "Why the Epistemic Value of Fictional Literature Does Not Depend Crucially on Its Fictionality". Grazer Philosophische Studien 96, n.º 3 (12 de setembro de 2019): 463–75. http://dx.doi.org/10.1163/18756735-09603014.
Texto completo da fonteResumo:
Mitchell Greenʼs conception of the thesis of Literary Cognitivism states that literary fiction can be a source of knowledge that depends crucially on its being fictional. By a modal argument the authors show that the criterion of fictionality cannot be crucial to the epistemic value of literary fiction. Rather, it lays in a certain kind of distance, e.g. a temporal, cultural, or interpersonal one. This will be motivated by drawing parallels to Gadamerʼs hermeneutics, especially his conception of fusion of horizons. In doing so, we agree with Green’s characterisation of knowledge that can be gained from engaging with literary fiction, but present a different approach to the source of this knowledge. At the same time, this approach enables us to extend the epistemic value of literary fiction both quantitatively and qualitatively.
35
Reid, Eamon. "The Dialogic Expansion of Garcia’s We: Chronotopes, Ethics, and Politics in The Expanse Series". Open Philosophy 5, n.º 1 (20 de dezembro de 2021): 168–91. http://dx.doi.org/10.1515/opphil-2020-0157.
Texto completo da fonteResumo:
Abstract Popular culture could be understood as a political battleground where conflicting meanings are inscribed into the “ordinary objects” that constitute that public sphere. This is also true for science fiction television series. This article critically examines how political matters and ethical agencies are represented within The Expanse, a series that takes place within a speculative twenty-fourth century milky way. Firstly, I will situate The Expanse within its generic “system of reference.” Then, I will illustrate how political matters are represented as conjoined with the ethical. While the ethical refers to actions of persons, politics refers to fictional conceptions of what Tristan Garcia’s terms we-ourselves, understood as conflicting and overlapping conceptions of “we.” The conjunction between the political and the ethical in The Expanse is spatiotemporal: the characters, the events they are entangled in, and the spaces that connect discrete events develop through fictional and literal time. I argue that the science fictional representations of “we-ourselves,” and the specific spatiotemporal representational capacities of the television series format, can be understood through the application of Mikhail Bakhtin’s concepts of the chronotope and the dialogic. That is, The Expanse’s we-representations are chronotopic and the refractive rhetoric of television is dialogic.
36
Kushwaha, Arvind. "THE CONSEQUENCE OF MOVIE THEATRE CLOSURES IN THE MIDST OF THE PANDEMIC". International Journal of Social Sciences & Economic Environment 6, n.º 1 (30 de junho de 2021): 15–21. http://dx.doi.org/10.53882/ijssee.2021.0601003.
Texto completo da fonteResumo:
Purpose: Subscribing to OTT (Over The Top) platforms and reading fictional or non-fictional books were two of the entertainment options examined in this study. Design/Research Methodology/approach: A total of 351 college graduate students participated in the study, which was performed in Mumbai. We employed regression, ANOVA, independent t test, and mean test. Findings: According to the findings, movie theatres posed as a stumbling block in the way of more OTT platform subscriptions. However, it did not encourage college graduates to read more fiction and nonfiction. Research Implications: OTT services have yet to reach folks who do not attend movies in theatres. OTT platforms may use offline advertising methods such as promotion events in malls or on motorways during this time. Furthermore, OTT platforms have yet to offer ethnically cultural programmes that may appeal to a college graduate of this type. Scope for future work / Research limitations: Only graduate students and a specified age range are included in the study. It is held in a city setting. Among the many options for amusement, the study chose only two. In the future, the study could be expanded by introducing more entertainment options. A post-pandemic investigation could yield a different conclusion. Originality/value: According to a survey of the literature, no research have looked at whether youths have stopped going to the movies. As a result, this research will assist determine whether youths are more likely to migrate to OTT platforms and forego movie theatre trips completely. Key Words: Fictional-non-fictional books, theatre, OTT Platform Paper type: Research paper
37
Hazan, A. R., e S. A. Glantz. "Current trends in tobacco use on prime-time fictional television." American Journal of Public Health 85, n.º 1 (janeiro de 1995): 116–17. http://dx.doi.org/10.2105/ajph.85.1.116.
Texto completo da fonte
38
ASHLEY, JENNIFER. "Prime-time politics: News, parody, and fictional credibility in Chile". American Ethnologist 41, n.º 4 (novembro de 2014): 757–70. http://dx.doi.org/10.1111/amet.12110.
Texto completo da fonte
39
Terry, Daniel, e Blake Peck. "Television as a Career Motivator and Education Tool: A Final-Year Nursing Student Cohort Study". European Journal of Investigation in Health, Psychology and Education 10, n.º 1 (24 de dezembro de 2019): 346–57. http://dx.doi.org/10.3390/ejihpe10010026.
Texto completo da fonteResumo:
Fictional medical programs are often used for more than just their recreational enjoyment; they can also influence career decision making. Very little research has examined the pedagogical value of fictional medical programs in terms of their motivational value in the choice of a nursing career. As such, the aim of this study was to examine what motivated nursing students to choose nursing careers, if fictional medical programs were motivators, and if they are used by students as a learning tool. The cross-sectional study collected data using a questionnaire and occurred between April and June 2018. The findings were generated from students’ short answers and extended responses within the questionnaire. Data were analysed using descriptive and inferential statistics, while qualitative data were analysed thematically. A total of 291 students participated (82.6% response rate), with motivations for entering nursing being similar to other international studies; however, as motivators, fictional medical television programs were rated higher than job security. Overall, students engage with medical television programs along a television–learning continuum, ranging from limited watching time, recognising inaccuracies, understanding dialogue, through to using fictional medical television programs as tools for learning. However, this is dependent on time, interest, current level of understanding, and a program’s perceived value.
40
Fedotova, Oksana. "Special Strategies of Forming Fictional Narrative Metadiscourse". Scientific Research and Development. Modern Communication Studies 8, n.º 6 (25 de dezembro de 2019): 74–78. http://dx.doi.org/10.12737/2587-9103-2019-74-78.
Texto completo da fonteResumo:
The paper deals with special strategies of forming fictional narrative metadiscourse. The strategy of “the effect of a camera” is characteristic of some novels of the middle XX century. According to this strategy, the action quickly shifts from one situational frame to the other. Every new chapter in such narratives begins in a new place, at a different time and with a new character. Sometimes different actions take place within one chapter. The strategy “the imitation of a play” like “the effect of a camera” is connected with the visualization and with the filming of fiction. The author’s metadiscourse is represented by leaving the reader face-to-face with the characters. The reader sees and hears the dialogue between the characters with minute details, such as pauses, stutters and hesitations.
41
Nicolini, Matteo. "Law, the Humanities and Political Incertitude in a Time of Climate Change". Legalities 1, n.º 1 (março de 2021): 91–115. http://dx.doi.org/10.3366/legal.2021.0008.
Texto completo da fonteResumo:
This article addresses how climate change triggers relevant transformations in the realm of the law and affects our politico-legal paradigms. To this end, it delivers cross-disciplinary research by focusing on a non-fictional literary genre, i.e. climate-change pop-science, which has arisen very recently. The article also explores the concept of ‘strategic formalism’, i.e. a strategic legal device unable to govern societal concerns. On the one hand, it shapes our approach to climate change and migration; on the other, it adapts ecological issues to the ‘traditional’ legal framework. Against this background, the article argues that non-fictional texts also reflect the ideas of the most active forces within society, and fuel dynamism when tackling the ecological crisis. In a time of climate change, these forces stir strategic formalism, and make the law act as a bridge linking our troubled reality to an inclusive future.
42
Федотова e Oksana Fedotova. "Gender Aspect of Fictional Communication between the Writer and the Reader". Modern Communication Studies 2, n.º 5 (16 de outubro de 2013): 48–53. http://dx.doi.org/10.12737/1251.
Texto completo da fonteResumo:
The paper shows that English language narrative discourse is multidimensional
and heterogeneous. The author explicitly addresses the reader
concerning things that are not directly connected with the fictional reality
of the story. The aim of the paper is to analyze gender aspect of fictional
communication between the writer and the reader. It’s a fact that the writer
may reveal his presence in the narrative irrespective of the time the piece
of narrative was written. The main markers are time shift, shift of narrative
perspective and the use of maxims. When the author of a narrative text
touches upon peculiarities of women’s nature he (she) usually emphasizes
their negative sides, such as rivalry, flirtation and so on. When dealing with
peculiarities of men’s character the author usually shows positive features
such as friendship between man and man, loyalty and many others. Studying
the role of the author in the narrative text with the correct analysis of the
author’s views, ideas and attitudes may help to get a deeper insight into
the way the narrative is structured and model the way in which narrative is
formed in the process of creating a work of fiction.
43
Catană, Elisabeta Simona. "The Palimpsestic Time and Identity in Graham Swift’s Ever After". Romanian Journal of English Studies 14, n.º 1 (27 de novembro de 2017): 1–7. http://dx.doi.org/10.1515/rjes-2017-0001.
Texto completo da fonteResumo:
Abstract The essay analyses Graham Swift’s Ever After and shows that the concepts of time and identity are fictional constructs which stand for a palimpsestic world presented as an eternal stage of past and present stories. Time and identity are revealed to us through symbols which stand for a palimpsestic world. They are reinvented and rewritten according to the narrator’s vision.
44
Farahbakhsh, Alireza, e Soulmaz Kakaee. "A DYSTOPIAN READING OF THE PRESENT TIME IN DAVID MITCHELL'S NUMBER 9 DREAM". International Journal of Research -GRANTHAALAYAH 6, n.º 12 (31 de dezembro de 2018): 12–22. http://dx.doi.org/10.29121/granthaalayah.v6.i12.2018.1070.
Texto completo da fonteResumo:
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.
45
Bogoderova, A. A. "Temporary marriage as Russian literary pattern in the 19th – early 20th century". Sibirskiy filologicheskiy zhurnal, n.º 3 (2020): 92–106. http://dx.doi.org/10.17223/18137083/72/7.
Texto completo da fonteResumo:
The paper deals with the subject of temporary marriage between Russian sailors and Japanese women in fictional and non-fictional literature. The literary pattern of temporary marriage includes time limitation of the marriage, the language or/and cultural barrier and the man’s leaving at the end. The time limitation sometimes makes one or both spouses consider this marriage as legal, but “not true.” There are two main variants of the pattern in Russian travel notes of the 19th − early 20th century. The first is the positive one (A. Krasnov, D. Schreider, and N. Bartoshewsky). Both husband and wife are kind-hearted people, their family life is pure and real, although they do not entirely understand each other’s language. The second is the negative one (F. Knorring, D. Armfelt, G. de Vollan, and Vinogradov). Husband and wife are both pragmatic, rational, and cold, with the whole tradition turning into a sort of prostitution and insincere comedy. The plot variants, with one of the spouses being pragmatic, mercantile and cruel, and another loving, faithful, and suffering, are not common. Yuzhakov’s travel notes include such a rare case. The asymmetrical variant was more popular in Western fiction (Madame Butterfly). Russian fiction prefers the positive variant of the pattern. In short stories by D. Persky and M. Volkonsky, the authors transform the motives from Madame Chrysanthème by P. Loti and Madame Butterfly by J. L. Long by showing the Russians as noble people and achieving a happy end wherever possible.
46
Brenner, Rachel Feldhay. "Jerzy Andrzejewski’s Holy Week: Testing Religious Ethics in Times of Atrocity". Holocaust and Genocide Studies 33, n.º 2 (2019): 225–43. http://dx.doi.org/10.1093/hgs/dcz025.
Texto completo da fonteResumo:
Abstract Jerzy Andrzejewski wrote the novella Holy Week at the time of the Warsaw Ghetto Uprising. This real-time Polish fictional response immediately raised critical controversy. Whereas some critics saw it as an inadequate representation of the Holocaust, others considered the 1945 version a product of socialist realism. Here the author argues that Andrzejewski’s wartime fiction investigates the viability of his Catholic existentialist orientation during a time of terror. While his wartime essays and his correspondence with Czesław Miłosz reflected Andrzejewski’s struggle to maintain his faith in human brotherhood, his fiction traced the disintegration of Grace-given faith in the commonality and dignity of all human beings. The stories progress from a tragic ending of friendship to the failure of spiritual resistance and ultimately to the complete moral collapse of the Polish community. The unflinching depiction of the failure of Catholic Poles before their responsibility to extend neighborly love to their doomed Jewish neighbors communicates Andrzejewski’s insistence on the Catholic obligation to love one’s neighbor.
47
Andén, Lovisa. "Literary Testimonies and Fictional Experiences". Studia Phaenomenologica 21 (2021): 197–223. http://dx.doi.org/10.5840/studphaen20212110.
Texto completo da fonteResumo:
This article discusses the role of Gulag literature in connection to testimony, literature and historical documentation. Drawing on the thoughts of Jacques Derrida and Hannah Arendt, the article examines the difficulty of witnesses being believed in the absence of evidence. In particular, the article focuses on the vulnerability of the Gulag authors, due to the ongoing Soviet repression at the time of their writing. It examines the interplay between the repression and the literature that exposed it. The article contends that the fictionalization of Gulag literature enabled the authors to go further in challenging Soviet repression. Focusing on the fictional accounts written by Varlam Shalamov and Aleksandr Solzhenitsyn, it argues that the fictionalized Gulag literature makes the experience of the camp universe possible to imagine for those outside, allowing readers to believe in an experience that otherwise seems incredible.
48
Davis, Rocío G. "Fictional Transits and Ruth Ozeki’s A Tale for the Time Being". Biography 38, n.º 1 (2015): 87–103. http://dx.doi.org/10.1353/bio.2015.0007.
Texto completo da fonte
49
Lycan, William G. "METAPHYSICS AND THE PARONYMY OF NAMES". American Philosophical Quarterly 55, n.º 4 (1 de outubro de 2018): 405–19. http://dx.doi.org/10.2307/45128634.
Texto completo da fonteResumo:
Abstract Paronymy—ambiguity that is not sheer ambiguity—is underdiscussed by philosophers of language. And hardly anyone has noticed that proper names are paronymous; different occurrences of a single name have slightly and subtly different referents. This paper invokes that fact to illuminate some issues in metaphysics: a puzzle about fictional characters; Jennifer Saul’s phenomenon of referential opacity in the absence of opacity-inducing operators; the relation between persons and bodies; death; personal identity through time; and Peter Ludlow’s argument for the zany claim that the distinction between fiction and actuality is merely contextual.
50
Elrashid Ali, Mohammed Adam. "Cycle “Travel from Russia” of A. Bitov as an artistic whole (structure and poetics)". RUDN Journal of Studies in Literature and Journalism 24, n.º 1 (15 de dezembro de 2019): 65–72. http://dx.doi.org/10.22363/2312-9220-2019-24-1-65-72.
Texto completo da fonteResumo:
The article attempts to consider the book by A. Bitov “Travel from Russia” as a fictional purpose and the “journey” feature as a genre of fiction. At the same time, the features of similarities and differences, the “creative evolution” in the writer’s stories, which reflect the author’s reflection on the spaces of the former Soviet Empire and its social connections, are considered. Constant study of the cultures of other nations helps the writer to create an overall artistic picture. As a result, the journey becomes for A. Bitov the process of existence (ontological principle).