Zeitschriftenartikel zum Thema „Metaphysics – Fiction“
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1
Reicher, Maria Elisabeth. „Fiction and Metaphysics“. Grazer Philosophische Studien 57 (1999): 325–44. http://dx.doi.org/10.5840/gps19995716.
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Varzi, Achille C., und Amie L. Thomasson. „Fiction and Metaphysics“. Philosophy and Phenomenological Research 63, Nr. 3 (November 2001): 723. http://dx.doi.org/10.2307/3071170.
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Zemach, E. M. „Fiction and Metaphysics“. Philosophical Review 112, Nr. 3 (01.07.2003): 427–31. http://dx.doi.org/10.1215/00318108-112-3-427.
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Lycan, William G. „METAPHYSICS AND THE PARONYMY OF NAMES“. American Philosophical Quarterly 55, Nr. 4 (01.10.2018): 405–19. http://dx.doi.org/10.2307/45128634.
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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.
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Michelson, Jared. „Covenantal history and participatory metaphysics: formulating a Reformed response to the charge of legal fiction“. Scottish Journal of Theology 71, Nr. 4 (November 2018): 391–410. http://dx.doi.org/10.1017/s0036930618000595.
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AbstractTo combat the charges raised by Radical Orthodoxy and others, which allege that Protestant soteriologies amount to a legal fiction, Bruce McCormack and Michael Horton suggest that Reformed theology embrace a covenantal ontology, which aims to overcome legal fiction objections without sacrificing Reformational insights or making recourse to medieval participatory metaphysics. For both theologians, covenantal history and participatory metaphysics are treated as rival paradigms. I suggest that their proposals display serious weaknesses and propose an alternative approach, inspired by the retrieval of Reformed scholastic insights, which treats covenant and participatory metaphysics as complementary motifs rather than rival paradigms, and is thereby able to overcome the legal fiction objection while maintaining Protestant distinctives.
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Klebes, Martin. „If Worlds Were Stories“. Konturen 2, Nr. 1 (11.10.2010): 124. http://dx.doi.org/10.5399/uo/konturen.2.1.1346.
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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.
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Drouillard, Jean-Raoul Austin de. „Les Météores ou le Mythe Gémellaire revisité“. Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 43, Nr. 1 (07.04.2008): 124–35. http://dx.doi.org/10.1075/rro.43.1.10aus.
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The twins’ myth, whose origins go back to times immemorial, has always been a popular motif for fiction. It generally reflects the idea of “duality”, alienation and the search for Self and for the Other, which always end in an impasse. Self and for the Other, which always end in an impasse. With his novel Les Météores, portraying the twins Paul and Jean, Michel Tournier breaks away from this idea of “duality” and substitutes it with the idea of a “couple” through a mythic, metaphysical and symbolic approach whose outcome is sublimation. Initiation in a work of fiction by means of myths and symbols leads to something whose ethical dimension is realized by joining together difference and fraternity and by holding to the difference. It endeavours to carry out the transmutation of metaphysics in the work of fiction and the change from profane to sacred, from myth to the imaginary and to poetry.
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Haggerty, George E., und Dieter Meindl. „American Fiction and the Metaphysics of the Grotesque“. American Literature 70, Nr. 1 (März 1998): 215. http://dx.doi.org/10.2307/2902491.
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Ling, Alex, Barbara Cassin und Michel Narcy. „Pre-Socratics and Post-Moderns“. Journal of Continental Philosophy 1, Nr. 2 (2020): 217–31. http://dx.doi.org/10.5840/jcp202121515.
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In this text Cassin and Narcy begin their reassessment of the mode of thought that is sophistry, which has historically functioned as the (negative) “other” of classical philosophy. To this end, the authors first present a close reading of Book Gamma of Aristotle’s Metaphysics, understood as a concerted “strategy against sophism” that, in establishing a logical basis for metaphysics, seeks to relegate the former to the sidelines once and for all. What proves ineliminable in this operation, however, and which “resurfaces beyond metaphysics,” is discourse itself. Cassin and Narcy then set about exploring the contemporary resurgences of sophistry, first through the discourse of (novelistic) fiction, then, more rigorously, in the work of Jacques Lacan, whose own thought poses radical challenges to the relation of language to meaning
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MOARCĂS, Georgeta. „Dracula Metaphysics. Exploring the Vampire Motif in Contemporary Women’s Fiction“. Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (Januar 2022): 188–96. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.12.
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Three women writers, Elisabeth Kostova, Doina Ruști, and Ruxandra Ivăncescu chose the vampire motif as the core of their historiographical metafiction. The principle of verisimilitude that dominates their prose writing in different percentages, transforms the narrative strategy into an initiation journey for interpreting various traces left behind by a mysterious character. They are blending into their prose writing historic archival facts, popular knowledge embedded in folktales and ballads, as well as important artifacts. As requested by the literary convention, their vampire becomes a time traveler, interested in maintaining power and offering protection to a few ones, a more intellectual and at times a good-natured character, stripped of his sensuality.
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Taylor, John L. „Probing the limits of reality: the metaphysics in science fiction“. Physics Education 38, Nr. 1 (20.12.2002): 20–26. http://dx.doi.org/10.1088/0031-9120/38/1/303.
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Penfield, Christopher. „Foucault’s Virtual Force Ontology“. Journal of Speculative Philosophy 37, Nr. 3 (Juni 2023): 447–57. http://dx.doi.org/10.5325/jspecphil.37.3.0447.
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ABSTRACT Gilles Deleuze’s monograph on Michel Foucault has often been construed as a “metaphysical fiction,” to use Frédéric Gros’s sympathetic phrase. This article takes a different approach, arguing that Foucault’s microphysics of power and Deleuze’s metaphysics of the virtual in fact share a common ontology of forces. In addition to enriching understanding of the two thinkers’ philosophical relation, the article argues that this virtual force ontology clarifies the continuity between Foucault’s earlier and later formulations of power, from microphysics to governmentality. Reading Foucault in this way not only challenges the dominant view in Foucault studies but also suggests the continued relevance of his work for grasping the contemporary exercise of power. By acting on the conditions of possible action, power performs an anticipatory function, intervening, as Foucault puts it, “at the point when the virtual is becoming real.” This is precisely how techniques like algorithmic policing function today.
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Vnutskikh, Alexandr, und Natalia Beresneva. „Interaction of philosophy and fiction as the problem of metaphysics of art“. Bulletin of PNRPU. Culture. History. Philosophy. Law, Nr. 4 (2017): 41–47. http://dx.doi.org/10.15593/perm.kipf/2017.4.04.
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Ihina, Zoia. „PHYSICS AND METAPHYSICS OF FICTION REFLECTED IN FILM: A CASE OF DECRYPTION“. Scientific Journal of Polonia University 46, Nr. 3 (12.11.2021): 101–10. http://dx.doi.org/10.23856/4614.
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The article deals with religious, materialistic, and mixed interpretations of the thing and the personality as generic entities in the story «Oh, whistle, and I'll come to you, my lad» by M. R. James and its screen versions. The differences found in the versions concern petty and significant deviations from the original story, which influence the initial message. The method used to achieve the results represented in the article combines the ideas of Philosophical Hermeneutics and those of the medieval exegetical method of allegorese applied to deal with obscure passages in sacred texts. The original story treated within the Protestant ideological paradigm gives way to materialistic views that are subject to refutation, reconsideration, and combination with philosophical issues in the screen versions – transponents. The thing as an inanimate object is endowed with personal qualities of a living being; on the contrary, an individual is viewed as a thing with no mind.
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Sammer, Renata. „Rosa e a vida das plantas: a metafísica da mistura no Grande Sertão: Veredas“. O Eixo e a Roda: Revista de Literatura Brasileira 27, Nr. 3 (21.12.2018): 103–34. http://dx.doi.org/10.17851/2358-9787.27.3.103-134.
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Resumo: O propósito deste artigo é investigar a filosofia da forma na escrita rosiana a partir das referências ao mundo natural encontradas no Grande sertão: veredas. Desse modo, busca-se não apenas iluminar a característica invenção rosiana, mas também descortinar uma metafísica, ou melhor, uma compreensão da metafísica que, em parte, afina-se com a contemporânea “virada ontológica”, que hoje instiga os estudos antropológicos, filosóficos e literários. Como identificado na ficção rosiana, a formulação de metafísicas distintas visa desconstruir a tradicional metafísica da representação de modo mais eficaz do que a crítica “pós-moderna” a ela dirigida. De fato, a variedade das espécies viventes que marca a escrita de Rosa termina por aproximar comparativamente metafísicas, perspectivas que se reúnem ao redor de um núcleo poético comum, “vital e irrepresentável” (ROWLAND, 2011, p. 18). Logo, este artigo privilegia a vida das plantas a fim de ressaltar a forma movente ou, ainda, o informe, que Rosa cultiva como ser da ficção. Como hipótese de trabalho, notamos que a variedade das formas das flores é aproximada do amor, assim compondo uma morfologia, e que a vingança, que conduz à guerra que entrecorta o mato, é o modo como essa cultura das formas moventes constrói sentidos e dá origem a novas formas. Como conclusão, veremos que a metafísica das plantas, tal como trabalhada no Grande sertão, ilumina a proposta filosófica de Rosa e coloca sua obra sob uma nova luz.Palavras-chave: metafísica da mistura; poesia; ontologia; Guimarães Rosa; filosofia da natureza.Abstract: The purpose of the present article is to investigate the philosophy of form in Rosian writing contained in the references to the natural world found in Grande Sertão: Veredas. Thus, we seek not only to illuminate the characteristic Rosian invention, but also to unveil a metaphysics, or rather an understanding of metaphysics which, in part, is tuned to the contemporary “ontological turn,” that presently instigates anthropological, philosophical, and literary studies. As identified in Rosian fiction, the formulation of different metaphysics aims to deconstruct the traditional metaphysics of representation in a more effective way than the “postmodern” critique addressed to it. In fact, the variety of living species that characterizes Rosa’s writings ends up comparatively approaching different metaphysics, perspectives that gather around a common, “vital and unrepresentable” (ROWLAND, 2011, p. 18) core. Thus, the emphasis given to the life of plants in this article seeks to emphasize the moving form or, likewise, what is formless, that Rosa cultivates as the nature of fiction. As a working hypothesis, we note that the variety in the form of flowers is approximated to love, thus composing a morphology, and that revenge, which drives the war that cuts through the bushes, is the way in which this culture of moving forms shapes new meanings and originates new forms. As a conclusion, we will see that the metaphysics of plants, as suggested in Grande Sertão, illuminates Rosa’s philosophical proposal and places his work under a new light.Keywords: metaphysics of mixture; poetry; ontology; Guimarães Rosa; philosophy of nature.
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Malykh, V. S. „TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)“. Russian Journal of Multilingualism and Education 12 (25.12.2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Malykh, V. S. „TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)“. Russian Journal of Multilingualism and Education 12 (25.12.2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Burr, Jordan. „Entropy’s Enemies: Postmodern Fission and Transhuman Fusion in the Post-War Era“. Humanities 9, Nr. 1 (05.03.2020): 23. http://dx.doi.org/10.3390/h9010023.
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In the early to mid-twentieth century, thermodynamic entropy—the inevitable diffusion of usable energy in the Universe—became a ubiquitous metaphor for the dissolution of Western values and cultural energy. Many Golden Age science fiction writers portrayed twentieth century technological progress as anti-entropic, a sign of Universal progress and unity which might postpone or negate both cultural and thermodynamic forms of entropy. Following the evolutionary metaphysics of Georg Hegel and Pierre Teilhard de Chardin, Golden Age science fiction writers like Arthur C. Clarke and Isaac Asimov imagined the creation of powerful collective beings whose unitary existence signified the defeat of entropy. In contrast, later literary postmodernists like Thomas Pynchon and Pamela Zoline often accepted and even exalted in the chaotic, liberating potential of entropy. In postmodern fiction, the disorder of entropy was often compared favorably to the stifling hegemony of cultural universalism. More broadly, these two responses might be understood to represent two societal stages of grief-- denial and acceptance—to the new trauma introduced to the world by the parallel concepts of cultural entropy and a Universal “heat death.”
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Lіakh, Tetiana. „Metaphysics of Search in Short Stories by Fedir Potushniak“. Академічний журнал "Слово і Час", Nr. 1 (20.01.2019): 52–59. http://dx.doi.org/10.33608/0236-1477.2019.01.52-59.
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Fedir Potushniak’s works were closely connected to historical and cultural tendencies of literary process of the late 19th – early 20th centuries and therefore reflected Modernism in its European and particular Ukrainian patterns, especially in its transcendental aspect concerning the metaphysical nature of human being. Thus the literary works by Fedir Potushniak require a study that takes into account philosophical ideas of his epoch.
Fedir Potushniak created his own philosophical conception considering human existence in connection with its spiritual aspect. The writer’s attempt of uncovering the transcendental sense of things is a peculiar feature of both his lyrics and prose. The paper interprets Potushniak’s short stories in the light of his philosophical understanding of metaphysics. Philosophical and aesthetic approach to the analysis of text involves using hermeneutical and aesthetic research methods.
Images, symbols, time and space variations and other literary details in the works by Fedir Potushniak have been examined with regard to the metaphysical nature of human being and the motif of search reflecting the way of the characters to perceiving their own life and art. A special accent has been made on the issue of human being in the writer’s short stories. The aim of search for magic things such as buried treasure, fire, stone, flower, leads the characters to happiness, prompting them to realize their own spiritual roots beyond time and space. Looking for their dream the characters of Potushniak’s stories pass the inner way of spiritual formation. Interpretation of short stories by Fedir Potushniak with regard to their philosophical background contributes to better understanding of the writer’s creative phenomenon. The paper aims to reveal new meanings in Potushniak’s fiction and outlines the aspects of interpreting it within interdisciplinary research.
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Kemp, Hendrika Vande. „Psycho-Spiritual Dreams in the Nineteenth Century, Part II: Metaphysics and Immortality“. Journal of Psychology and Theology 22, Nr. 2 (Juni 1994): 109–19. http://dx.doi.org/10.1177/009164719402200204.
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The author focuses on metaphysical issues as explored in the nineteenth century periodical dream literature. The relationship between dreams of death and myths of immorality is examined first, followed by illustrations of the use of death dreams in the expositions of both realist and idealist philosophies. Specific philosophies buttressed by these dream phenomena (as argued by the nineteenth century authors) are (a) the wandering soul, (b) spiritualism and Swedenborgianism (with the subcategories of dreams and fiction and fantastic dreams, (c) Naturphilosophie, (d) atomist theory, (e) ancestral memories, (f) naive realism, and (g) idealism. Further integration of dream phenomena in Christian psychotherapies and theology is recommended.
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Mysovskikh, Lev Olegovich. „The Writer and Existentialism: Fiction as a means of expressing existential ideas“. Филология: научные исследования, Nr. 4 (April 2022): 29–41. http://dx.doi.org/10.7256/2454-0749.2022.4.37743.
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The article examines the existential paradigm in fiction through the prism of the literary theory of the French philosopher and writer Jean-Paul Sartre. The author explores the relationship between the writer and the reader in their social context. It is argued that the task of a literary critic is mainly to study the writer's technique. The task of a philosophical critic can be defined as the study of the metaphysics of a writer. Writers need the freedom of the reader for their work to exist authentically. Without this, they will cease to exist as authors, and their works will be in obscurity. Literature is an ideal means for both the writer and the reader to realize their own freedom and each other's freedom.  The author of the article comes to the conclusion that Sartre's ideas are still relevant today. As the concepts of nationality and belonging are being revised and changed, the process of globalization is underway, Sartre's theories allow critics to contextualize writers beyond such obvious boundaries. Today it seems interesting to find out whether Sartre's ideas about existentialism and literature can be applied to writers and their work in such a way that the "critic" can analyze both the metaphysics of the novelist and his artistic technique, and, moreover, assess his role in society and beyond. In the light of Sartre's theories, literature is the most appropriate way by which a person can realize and change society. The theories of literature and existentialism of Jean Paul Sartre can be applied to identify and analyze existential concepts in a wide variety of works of fiction, including retrospectively, which is demonstrated in this article by the example of Russian writers – M. Y. Lermontov and F. M. Dostoevsky.
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Liu, Lydia H. „Life as Form: How Biomimesis Encountered Buddhism in Lu Xun“. Journal of Asian Studies 68, Nr. 1 (27.01.2009): 21–54. http://dx.doi.org/10.1017/s0021911809000047.
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The fraught encounters between biological sciences and religions such as Buddhism have raised philosophical issues for many. This essay will focus on one of them: Can form ground the truth of life? The author suggests that, along with the introduction of evolutionary biology from Europe, literary realism in China has emerged as a technology of biomimesis, among other such technologies, to grapple with the problem of “life as form.” Focusing on Lu Xun's early interest in Ernst Haeckel and science fiction, especially his translation of “Technique for Creating Humans” and his narrative fiction “Prayers for Blessing,” which drew extensively on a Buddhist avadāna, the essay seeks to throw some new light on the familiar as well as unfamiliar sources relating to Lu Xun's life and works and to develop a new understanding of how the debates on science and metaphysics have developed in modern China.
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Effingham, Nikk. „The Close Possibility of Time Travel“. Philosophies 8, Nr. 6 (12.12.2023): 118. http://dx.doi.org/10.3390/philosophies8060118.
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This article discusses the possibility of some outlandish tropes from time travel fiction, such as people reversing in age as they time travel or the universe being destroyed because a time traveler kills their ancestor. First, I discuss what type of possibility we might have in mind, detailing ‘close possibility’ as one such candidate. Secondly, I argue that—with only little exception—these more outlandish tropes fail to be closely possible. Thirdly, I discuss whether these outlandish tropes may nevertheless be more broadly possible (e.g., metaphysically or logically possible), arguing that whether they are or not depends upon your favored metaphysics of the laws of nature.
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Shephard, W. Andrew. „A Century of Weird Fiction, 1832–1937: Disgust, Metaphysics, and the Aesthetics of Cosmic Horror“. Studies in the Fantastic 9, Nr. 1 (2020): 171–75. http://dx.doi.org/10.1353/sif.2020.0010.
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Tucker, Aviezer. „Scientific Historiography Revisited: An Essay on the Metaphysics and Epistemology of History“. Dialogue 37, Nr. 2 (1998): 235–70. http://dx.doi.org/10.1017/s0012217300006958.
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RésuméLa pragmatique et la sémantique de l'historiographie révèlent une fragmentation croissante qui s'étendpar-delà les écoles jusqu' aux historiens individuels. Alors que les scientifiques normalisent les donnéespour qu'elles s'ajustent aux théories, les historiens interprétent lews théories, de manières incompatibles entre elles, pour qu'elles s'ajustent aux différents cas historiques. Les difficultés qui en découlent dans la communication historiographique remettent en cause les philosophies herméneutiques de l'historiographie et redonnent un nouvel intérêt à la question d'une historiographie scientifique. Mais les réponses existantes sont philosophiquement obsolètes. Une façon de reformuler le problème est de partir de la complexite du chaos et de l'unicité de l'histoire. Seule la science peut évaluer si les propriétés d'un domaine donné en interdisent une approche scientifique. Or la science s'étend par réductions méthodologiques explicatives, en ramenant des propriétés d'événements complexes, chaotiques et uniques, qui sont familières, mais d'un niveau plus él–ve, à des propriétés ou interrelations non familières et d'un niveau moins éléve. La culture disciplinaire de l'historiographie, cependant, empêche le développement par essais et erreurs de telles tentatives de réductions scientifiques, qui seules permettraient d'évaluer lespossibilités d'une historiographie scientifique, laquelle, dans la situation présente, relève de la science-fiction.
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Morris, Raphael. „Interpretive Context, Counterpart Theory and Fictional Realism without Contradictions“. Disputatio 11, Nr. 54 (01.12.2019): 231–53. http://dx.doi.org/10.2478/disp-2019-0018.
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Abstract Models for truth in fiction must be able to account for differing versions and interpretations of a given fiction in such a way that prevents contradictions from arising. I propose an analysis of truth in fiction designed to accommodate this. I examine both the interpretation of claims about truth in fiction (the ‘Interpretation Problem’) and the metaphysical nature of fictional worlds and entities (the ‘Metaphysical Problem’). My reply to the Interpretation Problem is a semantic contextualism influenced by Cameron (2012), while my reply to the Metaphysical Problem involves an extension and generalisation of the counterpart-theoretic analysis put forth by Lewis (1978). The proposed analysis considers interpretive context as a counterpart relation corresponding to a set of worlds, W, and states that a sentence φ is true in interpretive context W iff φ is true at every world (w∈W). I consider the implications of this analysis for singular terms in fiction, concluding that their extensions are the members of sets of counterparts. In the case of pre-existing singular terms in fiction, familiar properties of the corresponding actual-world entities are salient in restricting the counterpart relation. I also explore interpretations of sentences concerning multiple fictions and those concerning both fictional and actual entities. This account tolerates a plurality of interpretive approaches, avoiding contradictions.
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Achilles, Jochen. „Environmental Liminalities: Negotiating Metaphysics and Materialism in Nathaniel Hawthorne’s, Sherwood Anderson’s, and Flannery O'Connor’s Short Fiction“. ISLE: Interdisciplinary Studies in Literature and Environment 24, Nr. 3 (2017): 482–95. http://dx.doi.org/10.1093/isle/isx037.
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Boucher, Geoff M. „Death Cults and Dystopian Scenarios: Neo-Nazi Religion and Literature in the USA Today“. Religions 12, Nr. 12 (02.12.2021): 1067. http://dx.doi.org/10.3390/rel12121067.
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In this article, I investigate the literary representation of the religious convictions and political strategy of neo-Nazi ideologues who are influential in rightwing authoritarian movements in the USA today. The reason that I do this is because in contemporary fascism, the novel has replaced the political manifesto, the military manual and proselytizing testimony, since fiction can evade censorship and avoid prosecution. I read William Luther Pierce’s Turner Diaries and Hunter together with his text on speculative metaphysics and religious belief, Cosmotheism. Then, I turn to Harold Covington’s Northwestern Quintet with The Brigade, reading this with Christian Identity and his own conception of Nazi religious tolerance. Finally, I look at OT Gunnarsson’s Hear the Cradle Song, reading this together with discussions of racism in Californian Odinism. I propose that what this literature shows is that the doctrinal differences between the three main strands of neo-Nazi religion—Cosmotheism, Christian Identity and Odinism—are less significant than their common ideological functions. These are twofold: (1) the sacralization of violence and (2) the sanctification of elites. The dystopian fictions of fascist literature present civil war scenarios whose white nationalist and genocidal outcome is the result of what are, strictly speaking, supremacist death cults.
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Skiba, Lukas. „Fictionalism, the Safety Result and counterpossibles“. Analysis 79, Nr. 4 (25.06.2019): 647–58. http://dx.doi.org/10.1093/analys/anz018.
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Abstract Fictionalists maintain that possible worlds, numbers or composite objects exist only according to theories which are useful but false. Hale, Divers and Woodward have provided arguments which threaten to show that fictionalists must be prepared to regard the theories in question as contingently, rather than necessarily, false. If warranted, this conclusion would significantly limit the appeal of the fictionalist strategy rendering it unavailable to anyone antecedently convinced that mathematics and metaphysics concern non-contingent matters. I try to show that their arguments can be resisted by developing and defending a strategy suggested by Rosen, Nolan and Dorr, according to which the fiction-operator is to be analysed in terms of a counterfactual that admits of non-trival truth-values even when the antecedent is impossible.
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Saler, Michael. „A Century of Weird Fiction 1832-1937: Disgust, Metaphysics and the Aesthetics of Cosmic Horror, by Jonathan Newell“. Victorian Studies 64, Nr. 4 (Februar 2023): 722–24. http://dx.doi.org/10.2979/victorianstudies.64.4.38.
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Serikov, Andrei E. „Ritual Behavior as One of the Foundations of Mathematics in Fiction and Reality“. Semiotic studies 4, Nr. 2 (07.07.2024): 35–42. http://dx.doi.org/10.18287/2782-2966-2024-4-2-35-42.
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The Machineries of Empire cycle by American science fiction writer Yoon Ha Lee consists of more than 30 works, including three novels translated into Russian. The metaphysics of the universe in this cycle is something like this: the laws of nature and, accordingly, the operation of certain technologies (including military ones) depend on the mathematical properties of the calendar being practiced, and the properties of the calendar (i. e. mathematics) are supported by the practice of rituals, including ritual torture. Lee's fiction paradoxically combines the usually counterposed ideas that mathematics can be a social construct and that the physical world can be merely a realization of transcendental mathematics. In Machineries of Empire, mathematics is constructed, maintained by ritual-based consensus, and as a result becomes the basis of reality. How can this relate to our life, our science and philosophy? If we take seriously the ideas of the cognitive scientists that all real mathematics as we know it, unlike Plato's mathematics, is based on human ability and experience, we must also seriously ask what role ritual plays in it. This article emphasizes the following idea: the very identification of numbers, geometric figures and mathematical operations must arise through repeated ritual repetition so that those who practice mathematical rituals can easily, as a self-evident and obvious aspect of the ritual, identify properties of objects that are significant from a mathematical point of view and distinguish them from non-essential ones.
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Peterson, Whit Frazier. „Oops Upside Yr Head: Black Speculative Fiction, Authenticityand the Political Metaphysics of Stick Fighting in Olufemi Terry's "Stickfighting Days"“. Callaloo 41, Nr. 3 (2018): 145–56. http://dx.doi.org/10.1353/cal.2018.0063.
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Wyllie, Barbara. „Rodgers , Michael Sweeney , Susan Elizabeth Nabokov and the Question of Morality: Aesthetics, Metaphysics, and the Ethics of Fiction (review)“. Slavonic and East European Review 97, Nr. 2 (April 2019): 349–51. http://dx.doi.org/10.1353/see.2019.0075.
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S. Vakhshtayn, Victor. „“Law & Order” at the “Roadside Picnic”. Book Review: Meillassoux K. (2020) Metaphysics and Extro-Science Fiction. Perm: Giele Press“. Sociology of Power 33, Nr. 4 (2021): 241–50. http://dx.doi.org/10.22394/2074-0492-2021-4-241-250.
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Pfitzer, Gregory M. „The Only Good Alien is a Dead Alien: Science Fiction and the Metaphysics of Indian-Hating on the High Frontier“. Journal of American Culture 18, Nr. 1 (März 1995): 51–67. http://dx.doi.org/10.1111/j.1542-734x.1995.1801_51.x.
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Mokoena, Lerato Likopo. „The Ontological Status of Yahweh and the Existence of the Thing we call God“. Filosofia Theoretica: Journal of African Philosophy, Culture and Religions 11, Nr. 4 (30.01.2023): 141–50. http://dx.doi.org/10.4314/ft.v11i4.9s.
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The essence of deities has captured our imaginations for as long as we can remember. Does a God exist, or is the divine entity just a figment of our dreams, a projection? Is God what Aribiah Attoe calls a “regressively eternal and material entity” or what Gericke calls “a character of fiction with no counterpart outside the worlds of text and imagination”? This paper aims to wrestle with those questions from a theological perspective and to look at the ontological status of Yahweh and how that worldview lends itself to African Traditional Religions in conversation with Attoe's method of inquiry from the perspective of African Metaphysics. This paper aims to be a part of the larger project undertaken by the author, showing that philosophy can and should be an auxiliary discipline in Old Testament Studies as it has been seen, both fields have ways of similar arguing and coming to the same conclusions. This paper is intended to be an interlocutory exercise or experiment and does not seek to validate any hypothesis about either view.
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Darenskiy, V. Yu. „SYMBOLISM OF THE DOUBLE AS A SOURCE OF PERSONALITY METAPHYSICS IN F.M. DOSTOEVSKY’s CREATIVITY“. Bulletin of Udmurt University. Series History and Philology 30, Nr. 6 (11.12.2020): 1061–71. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1061-1071.
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The article analyzes the symbolism of the Double as a source of personality theology by F.M. Dostoevsky. The novel “The Double” is considered as a paradigmatic text in which the principles of construction of key images in the late novels of F.M. Dostoevsky were formed. The paper uses the ideas of A.A. Ukhtomsky and E.Ya. Golosovker, who proposed a philosophical interpretation of the phenomenon of “duality”. The novel “The Double” is considered as a source of personality theology of F.M. Dostoevsky, since it was the first time that the figurative model of the struggle between man’s personality and mask-face, which most directly reveals the duality of his nature as the created image of God, was developed. The hero’s search for his inner “place” (topos of authenticity) and inner support in the confrontation between the “mask” and then the Double as its ultimate expression is the main theme of the story. The duality of the “nature” of man, who is both the image and likeness of God, and carries the Original sin, is a traditional theological theme and the theme of Christian anthropology. However, by means of fiction it was not developed by anyone in such depth and completeness as F.M. Dostoevsky. “Duality” acts as a special mode of negative self-disclosure of the personality by means of its elimination of its external false identities. The struggle against the Double is the struggle of the true nature of man with his damage by Original sin. Corrupt nature is in the form of masks of Doubles, and genuine - he is fighting them, searching in his soul for the highest type. The masks are overcome only by their positive survival in the inner experience of man. The text of the novel “The Double” is at first interpreted as a “genre of dreams” and as a special “initiation” text aimed at the internal transformation of the reader’s personality.
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Ledo, Jorge. „Some Remarks on Renaissance Mythophilia. The Medical Poetics of Wonder: Girolamo Fracastoro and His Thought World (Appendix Galeotto Marzio, De doctrina promiscua [ante 1490, princeps 1548])“. Análisis. Revista de investigación filosófica 4, Nr. 2 (05.01.2018): 163–214. http://dx.doi.org/10.26754/ojs_arif/a.rif.201722472.
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The following pages make a case for the important role played by Aristotle’s Metaphysics α 2 982b11–21 in Renaissance poetics and especially in that of Girolamo Fracastoro. As this passage, and Aristotle’s Metaphysics in general, have traditionally been denied a major role in the poetics of the Renaissance, I have been obliged to develop my argument in three sections. [1.] The first focuses on Thomas Aquinas’s roundbreaking reading of the quotation in psychological and epistemological terms, and on how he and his contemporaries were able to harmonize it both with the corpus Aristotelicum and with the development of a place for poetry in the system of the arts. [2.] The second section illustrates how the first humanists used Aristotle’s authority to invert the meaning of the passage, transforming it into an argument in defense of the primacy of poetry over the rest of the arts. This appropriation had two undesiderable effects: either depriving the passage of its theoretical implications or, worse, assimilating Aristotle’s words into a Platonizing vision of poetry. Only with the recovery of the Greek text of Aristotle’s Poetics in the late fifteenth century did the passage escape its new status as a commonplace in humanist defense of poetry, and was briefly again considered as a point of departure for the analysis of concepts such as fabula (fiction) and admiratio (wonder), based on philosophical, poetic, and medical premises. [3] The last section introduces Galeotto Marzio’s and Giovanni Pontano’s pioneering works on these two concepts—fabula and admiratio—, as an introduction to the subsequent synthesis done by Girolamo Fracastoro, who, from the positions held by Marzio and Pontano as well as Aquinas’s original intuition, was able to harmonize natural philosophy and poetry by means of their psychological implications. This is what I have called here the ‘medical poetics of wonder’ or, more simply, mythotherapy.
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Thomas, J. L. H. „Against the Fantasts“. Philosophy 66, Nr. 257 (Juli 1991): 349–67. http://dx.doi.org/10.1017/s0031819100064949.
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Amongst Kant's lesser known early writings is a short treatise with the curious title Dreams of a Spirit-Seer Explained by Dreams of Metaphysics, in which, with considerable acumen and brilliance, and not a little irony, Kant exposes the empty pretensions of his contemporary, the Swedish visionary and Biblical exegete, Emanuel Swedenborg, to have access to a spirit world, denied other mortals. Despite his efforts, it must be feared, however, that Kant did not, alas, succeed in laying the spirit of Swedenborg himself to rest once and for all, for there has arisen in our own day, and within philosophy itself, a movement of thought, if such it can be called, which, like that of Swedenborg, is founded upon an unbridled and unhealthy exercise of the imagination, and apparently believes that philosophical problems can be discussed and resolved by the elaboration of fantastical, and at times repulsive, examples; if we require a name for this contemporary pretence at philosophy, we could take as our model the Italian word for science fiction, fantascienza, and call it ‘fantaphilosophy’: it is my aim to show that this fantaphilosophy is a phantom philosophy.
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Reicher, Maria Elisabeth. „Amie L. THOMAS SON, Fiction and Metaphysics. Cambridge: Cambridge University Press 1999, pp. 187. ISBN: 0-521-64080-6. £35.00 (US$49.95).“ Grazer Philosophische studien 57, Nr. 1 (12.08.1999): 325–44. http://dx.doi.org/10.1163/18756735-90000715.
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Morton, Timothy. „The Rise of Supernatural Fiction 1762-1800. E.J. Clery.Reading Gothic Fiction: a Bakhtinian Approach. Jacqueline Howard.Gothic Bodies: the Politics of Pain in Romantic Fiction. Steven Bruhm.The Gothic Sublime. Vijay Mishra.The Supernatural Sublime: the Metaphysics of Terror in Anglo-American Romanticism. Jack F. Voller.“ Wordsworth Circle 27, Nr. 4 (September 1996): 224–26. http://dx.doi.org/10.1086/twc24043067.
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Singh, Dr Jayshree, und Dr Chhavi Goswami. „Relocating Heteronormativity and Questioning Feminism: A Study in the Fiction of Chitra Banerjee Divakaruni“. SMART MOVES JOURNAL IJELLH 7, Nr. 2 (28.02.2019): 23. http://dx.doi.org/10.24113/ijellh.v7i2.7075.
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A Critical Study of the Selected Novels of Chitra Banerjee Divakaruni deals significantly with the post-feminist literature written by women novelists belonging to the Indian origin. She has delineated upon the thinking women of the Indian diaspora, whose mental faculty compels them to introspect their so long stereotypical status quo in the prevailing customs, traditions, myths, patriarchy, motherhood and marital life, that they have inherited or imbibed genetically to the alien lands far from their imaginary homelands. Due to literacy, technology, science, employment, migration, and the equal opportunities, economic independence, their sense of metaphysics has set equilibrium with their non-conventional discomfort zones and they have attempted to cross customized thresholds of comfort zones. They have advanced further from the set paradigms of women’s image which have been popularly prevalent from the historical perspective. the selected writings of the Indian – American diaspora woman author indicates that the dimensions of contextualizing in-betweenness, hybridity of thought in women’s personality and psyche have although been issues of conflicts and contradictions both in private and public space; however, they are more thoughtful to revamp and retrace their old-patterned trajectories for breaking the track of ice-ceiling. They have challenged fragile zones of both expectations and realities. Women characters in the novels of Chitra Banerjee Divakaruni (Contemporary Indian-American Diaspora Woman Novelist) have been projected with the capacities of self-emancipation in their own negative and positive perspective; they represent the modus operandi of self-sufficient, self-independent and self-exploratory to emancipate their lives, although, in their quest of being free, they deviate. They acknowledge the fact of mutual understanding and acceptance of differences which are the metaphorical ways of resistance. They attempt to oscillate their self-disintegration and self-denigration. The selected novels discuss the double standards of society/community in terms of the expected standards and reality standards and that’s what makes sense in the author’s creative-writing scholarship that analytically, dexterously, meaningfully and emotionally brings out a contemporary critique on the choices, changes and commonalities confronted by women, against women, and for women. The author explores uncommon reoccurrences of gender existential needs, responsibilities and roles in order to demystify the stereotypical, sociological and psychological myths with regard to women’s thoughts and actions.
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Reynolds, Nicholas, und Jeffrey S. Librett. „Introduction: What is a Thing“. Konturen 8 (08.10.2015): 1. http://dx.doi.org/10.5399/uo/konturen.8.0.3691.
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As the modern world has seemed an increasingly material one, and so increasingly thingly, the very reality of things has often--and from many different perspectives--seemed to elude us. Questions about what things are, and how they mean, questions about how things are to be circumscribed (for example) in epistemological, ethical, aesthetic, and political terms, have arguably become--across the course of modernity (and beyond)--both increasingly pressing and increasingly vexed. -- In this extremely broad context, the contributions to the current Special Issue examine specific approaches to things from the later nineteenth century to today within the literary, philosophical, and psychoanalytic discourses. The foci range from the descriptive representationalism of nineteenth century German poetic realism to the monumentalization of everyday objects in postcolonial fiction; from the poetics of the Dinggedicht in Rilkean modernism to the Anglo-American imagist doctrine of "no ideas but in things" and the disruptions of this doctrine in contemporary German and American poetry; from Husserl's call "to the things themselves" to the Derridian displacements of the Heideggerian "thing" and on to the most recent developments in "object-oriented metaphysics"; from the Freudian notion of the unconscious as comprising "representations-of-things" to the Lacanian rereading of the lost object as das Ding.
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Sofyan, Ilhamdi Hafiz. „“There Is No Good War”: The Firebombing of Dresden and Kurt Vonnegut’s View Towards World War II in Slaughterhouse-Five“. Vivid Journal of Language and Literature 6, Nr. 2 (23.07.2019): 60. http://dx.doi.org/10.25077/vj.6.2.60-67.2017.
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This study discusses Kurt Vonnegut's view of war reflected in his novel Slaughterhouse-Five and also his efforts in conveying his views through his novel. This novel is based on the experience of Kurt Vonnegut during World War II when he was imprisoned in a German city called Dresden and witnessed the destruction of the city on February 13, 1945 in an Allied bombing operation. In the novel, Vonnegut rewrote his experience in the form of a fiction. In discussing this literary work, I used the expressive theory by M. H. Abrams which was supported by a historical and biographical approach. In analyzing this literary work, I took quotes from the novel Slaughterhouse-Five as the main data as well as other data as secondary data, such as the biography of the author, interviews with the author taken from various sources, as well as writings on author that is relevant to the discussion in this study. The result show that Kurt Vonnegut see war as something that was completely meaningless and only caused destruction and death for innocent residents. Kurt Vonnegut uses narrative techniques such as black humor, irony, and metaphysics at Slaughterhouse-Five so that his views on war can be conveyed to his readers.
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Scheu, Ashley King. „The Viability of the Philosophical Novel: The Case of Simone de Beauvoir's She Came to Stay“. Hypatia 27, Nr. 4 (2012): 791–809. http://dx.doi.org/10.1111/j.1527-2001.2011.01199.x.
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This article begins by asking if the project to write a philosophical novel is not inherently flawed; it would seem that the novelist must either write an ambiguous text, which would not create a strong enough argument to count as philosophy, or she must write a text with a clear argument, which would not be ambiguous enough to count as good fiction. The only other option available would be to exemplify a preexisting abstract philosophical system in the concrete literary world. To move beyond such an impasse, this article turns to the work of Simone de Beauvoir. Beauvoir's unique aesthetic theory in “Literature and Metaphysics” envisions philosophy as an integral part of the literary text and sees the novel not as an argument but as something called a “philosophical appeal” (Beauvoir 2004b). In her first novel, She Came to Stay, such a concept of the philosophical novel allows Beauvoir to make an original contribution to the philosophical tradition—one in which Beauvoir rethinks the problem of solipsism—while still creating a stunning literary work (Beauvoir 1954). A study of the theory and the novel together thus provides a solid understanding of what philosophers stand to gain from the philosophical novel.
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Lapina, Evgeniia V., und Julio Villarroel Prado. „The Genre of Female Metaphysical Detective Novel: Tradition and Modernity“. Вестник Пермского университета. Российская и зарубежная филология 15, Nr. 3 (2023): 105–14. http://dx.doi.org/10.17072/2073-6681-2023-3-105-114.
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This article investigates female metaphysical detective novel as a specific literary genre of crime fiction. The theoretical framework of the study includes several cross-fertilizing approaches such as the structuralist approach to the genre theory, the theory of postmodern anti-detective novel, and the feminist reading of the detective novel evolution. The nexus where these mutually correlated theoretical approaches overlap is the concept of female metaphysical detective novel.This subgenre of detective fiction intertwines several important elements of the postmodern aesthetics, i.e., self-reflexivity, intertextuality, and subver-siveness with emphasis on political, gender, and class issues. The specific character of female-authored de-tective stories is studied diachronically and synchronically. The evolution of the genre of female metaphysi-cal detective novel from the Golden Age until now is considered through the lens of metaphysical or hetero-topian settings that are featured in detective fiction writtenby women. First, it is shown that the construction of space in several Golden Age narratives provides grounds to consider them the precursors of contemporary female metaphysical novel. The conclusion is made that even before feminism was universally recognized as a literary theory, women had been trying to break out of the ‘locked room’ canon designated for them mainly by traditional literary criticism. Next, several new tendencies are pinpointed that have appeared in female-authored detective fiction onlyrecently. Finally, the set of generic features is identified that are characteristic of female metaphysical detective novel as a distinct genre of crime fiction. Most prominently, the novels epitomizing the genre foreground the evolution of the heroine’s identity depicted as a complex network of gendered spaces.
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MONK, CRAIG. „Dieter Meindl, American Fiction and the Metaphysics of the Grotesque (London: University of Missouri Press, 1996, £31.95). Pp. 234. ISBN 0 8262 1079 1.“ Journal of American Studies 32, Nr. 3 (Dezember 1998): 513–64. http://dx.doi.org/10.1017/s0021875898236036.
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Tyers, Rhys William. „Historiographic Metafiction and the Metaphysical Detective in Roberto Bolaño’s Amulet“. MANUSYA: Journal of Humanities 24, Nr. 2 (06.12.2021): 270–87. http://dx.doi.org/10.1163/26659077-24020005.
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Abstract Roberto Bolaño’s Amulet explores the writing of history as an attempt to construct a narrative from a multitude of unreliable and conflicting sources. As a result, any attempt at historiography is also plagued by the problems of representation found in literature. More particularly, not unlike detective fiction, history is concerned with identifying the inspirations and actions of its players and with revealing the truth about an episode or series of episodes, using historical information, all of which may or may not be reliable. By examining the relationship between the historical and the fictional in Amulet this paper will discuss Bolaño’s use of the tropes of metaphysical detective fiction and how they help foreground the difficulties posed by historical facts by reinventing them in fiction. This will, in turn, highlight the intersection between detective fiction and historiographic metafiction and how by combining these two genres writers can reimagine historical contexts and find new meanings and significance.
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Tomczok, Paweł. „Ucieleśnione sytuacje komunikacyjne w prozie Brunona Schulza“. Schulz/Forum, Nr. 13 (28.10.2019): 47–62. http://dx.doi.org/10.26881/sf.2019.13.04.
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The topic of the paper is the problem of the embodiment of communication in Bruno Schulz’s fiction. According to a number of critics, such as Wojciech Wyskiel, Krzysztof Kłosiński, Włodzimierz Bolecki, and Andrzej Sulikowski, in Schulz’s short stories communication by dialog is hardly present. The author proposes a different approach to the problem, based on a key role of the corporeal conditions of communication. Reading Schulz, one must identify the point of view from which individual texts are written, usually unspecified by some named character (most often the “Father”), but depending on the body which performs various actions or perceives the world in a definite way. Thus, to understand Schulz’s fiction it does not make sense to focus on dialogs, but instead the reader should recognize and analyze a bodily perspective, both sensual and affective, i.e. its strata that are particularly well rooted in the basic cognitive abilities. Next to those sensual and affective perspectives, the narration is also determined by higher cognitive skills, such as memory and the ability to pass value judgments. Still, they do not contribute to one coherent perspective, but rather reveal that the narrational subject of the story has been “patched” or made of various perspectives – the child’s body sees and feels, while the subject that remembers and speaks is definitely an adult. This refers in particular to the “Father” figure, behind which the writer concealed in many passages the experience and behavior of the child. A context for such an interpretation can be found in the works of Jean Piaget from the 1920s, analyzing the child’s animism and polemical against the Cartesian concept of the subject, as well as today’s proposals referring to Graham Harman’s speculative realism and childhood studies. However, the Schulzean model of the child’s metaphysics has little to do with utopia – it is rather an insight in some kind of universal suffering of the matter, as in the case of the panopticon figures which turn out to be embodied cases of misunderstanding. The child’s retreat from the communication with adults also implies many problems. That troubled communication seems to be a condition of deep reception.
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Meier, Timo. „Against an Identity Criterion for Fictional Ersatz Realism“. KRITERION – Journal of Philosophy 32, Nr. 3 (01.09.2018): 89–108. http://dx.doi.org/10.1515/krt-2018-320307.
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Abstract Fictional ersatz realism is the metaphysical stance that abstract fictional entities exist and are dependent on fiction and literary practices. Everett [4] tackled the position of ersatz realism by claiming that the ersatz realist cannot provide an identity criterion for fictional entities that does not imply a contradiction. Al- though Woodward [20] proposed a defense to Everett's argument, I will argue that ersatz realism is no tenable position, as it still cannot provide an adequate identity criterion. To establish this result, I will provide a base frame for identity criteria available to the ersatz realist. Afterwords, I will show that to any identity criterion the ersatz realist may propose there is a story such that a fictional entity corresponding to this story is not self-identical, imposing a contradiction to the metaphysical account of ersatz realism.