Academic literature on the topic 'Appearance (philosophy) – fiction'
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Journal articles on the topic "Appearance (philosophy) – fiction"
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Parent, Arnaud. "Science in Eighteenth-Century French Literary Fiction: A Step to Modern Science Fiction and a New Definition of the Human Being?" Acta Baltica Historiae et Philosophiae Scientiarum 10, no. 1 (May 24, 2022): 78–103. http://dx.doi.org/10.11590/abhps.2022.1.05.
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In eighteenth-century France, scientific progress and its spreading met a growing interest among public, an enthusiasm that was to be reflected in literature. Fictional works including scientific knowledge in their narrative made their appearance, paving the ground for a genre promised to a growing success in the following centuries—science fiction. The article presents three eighteenth-century French literary works, each one centered on a different domain of science: Voltaire’s Micromégas (1752), Charles-François Tiphaigne’s Amilec, or the Seeds of Mankind (Amilec, ou la graine d’hommes, 1753) and François-Félix Nogaret’s The Mirror of Current Events, or Beauty to the Highest Bidder (Le miroir des événements actuels, ou la belle au plus offrant, 1790). The first one, an iconic Enlightenment work that promotes critical thinking, relies on discoveries made in astronomy and optics. Tiphaigne de la Roche is far from sharing the fame of Voltaire, but his odd Amilec is noteworthy as it is possibly the very first science-fiction work in which biology is central. Written in the unique atmosphere of the French revolution, Nogaret’s work The Mirror of Current Events depicts androids-like interacting with humans. Our purpose is to show that these works were a precursor (proto science fiction) of the science fiction genre in literature, to describe how and what science or technology was depicted in them, and how they influenced the view of Man (humans) in eighteenth-century France.
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Faraone, Mario. "Images and Reflections of the Spiritual Self in Christopher Isherwood’s Narratives." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 3 (December 10, 2010): 303–22. http://dx.doi.org/10.1558/post.v4i3.303.
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Throughout his life, Christopher Isherwood explored his sense of himself through a range of different genres of writing: autobiography, letters and journals, and fiction. The polysemic image of the mirror plays a major role in the structuring of his novels and other writings. Through the figure of the mirror, the writer signals many nearly imperceptible yet significant changes over time. This article explores this image in a range of Isherwood’s writings, and argues that, through its deployment, the artist very often questions himself about the dichotomy between appearance and reality. The presence of the mirror in the early writings assumes modalities which are distinct from those belonging to the conversion period to Vedanta, the Hindu-oriented philosophy and religion.
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Massie, Pascal. "Masks and the Space of Play." Research in Phenomenology 48, no. 1 (February 19, 2018): 119–46. http://dx.doi.org/10.1163/15691640-12341387.
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Abstract Masks are devices and symbols. In the first instance, they are artifacts that allow opposite poles to take each other’s place. They split the world into appearance and reality, manifest and repressed, sacred and profane. In this sense, they are dualistic. But by so doing they invert these terms. In this sense, they are dialectical. In the second instance, they exemplify doubt about people’s identities and the veracity of their words; they denote duplicity, inauthenticity, and hypocrisy. The conjunction of these two senses resides in the fact that masks are at the threshold between reality and fiction. Such a threshold makes possible the emergence of a space of play which asserts that the world does not express a determinate and final order but is infinitely open to the emergence of new, yet transient, forms of self-organization and open new spatiotemporal worlds.
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Amangaziyeva, Meruyert, Akhmaral Khairzhanova, Gulnara Mustagaliyeva, Kalamkas Kalybekova, and Raigul Bissenbiyeva. "Structural characterization of chiasmatic constructs in Russian and French." XLinguae 15, no. 4 (October 2022): 113–28. http://dx.doi.org/10.18355/xl.2022.15.04.11.
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This article represents the author's experience in the comparative study of one of the figures of expressive syntax - chiasmatic constructions, functioning in fiction texts. The object of study in this study are chiasmas extracted from texts of fiction in Russian and French, the subject – linguopragmatic characteristics of chiasmatic constructions. Chiasmatic construction, or the figure of crossing, is one of the most complex and multifaceted rhetorical figures. Its appearance is the result of the interaction and fusion of several syntactic structures; this includes expressive constructions of syntactic parallelism, repetition, antithesis or contraposition, and inversion. The name itself comes from the peculiarities of the structure of the chiasmus, in which the second part is an inverse repetition of the first, such an intersection of parts generates a figure similar to the letter "x" - hence the ancient Greek name of the structure. Such constructions are individual, occurring mostly in winged sayings, phraseological units, fiction prose and most often in poetry. The conclusions and provisions developed in these studies, due to their theoretical value and significance, allow us to see the specificity of this figure of expressive syntax. At the same time, the analysis of the corresponding literature and the requirements for scientific research put forward by the time itself and the changes taking place in the society, which are naturally reflected in the language and in its functional stratification, testify to the necessity of the research directed to the complex illumination of problems of the syntax of a fiction text in the comparative aspect.
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Belaya, Irina V., and Sergey V. Dmitriev. "Following Xuanzang: about “The Journey to the West” of a Chinese Woman or Feminism in China by E.A. Sinetskaya." Voprosy Filosofii, no. 10 (2021): 208–14. http://dx.doi.org/10.21146/0042-8744-2021-10-208-214.
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The article is devoted to the problem of studying the history of feminism in China – from the activities of Christian missionaries to Chinese revolutionaries. The prerequisites and stages of the formation of the women's movement for their rights are considered on the example of the book “The Journey to the West” of a Chinese Woman or Feminism in China by Elvira A. Sinetskaya. This book actually presents the first for Russian science study of development of Chinese movement for women rights, as well as constitutes a try to describe its characteristic feature and to place it in the context of world feminism. The author begins from definition such core terms as “feminism”, “gender”, etc., and then considers the history of feminism beginning in China and possible causes of its appearance. She analyses an attitude to women in traditional Chinese society through the lens of family relationship, society and religion, which is viewed from historical perspective. The study is based on variety of sources, including fiction literature. E.A. Sinetskaya connects the first attempts of Chinese women to obtain equality of rights with spread of Cristianity, but in this paper another point of view on this problem is presented. Then Taoism gave equal rights and possibilities for its progeny regardless of sex and social status. In this religion one can find pantheon of female goddesses, etc. The issues of family and marriage, the right to education, the right to independent earnings and problems with the exercise of their rights by women are being raised in the article, it highlights the connection between the Chinese women’s movement and the problem of human freedom
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Brito, Maria Dos Remédios de. "A VERDADE SEM REPRESENTAÇÃO." Revista Observatório 4, no. 1 (January 1, 2018): 42. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p42.
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Há na cena filosófica uma exclusão da aparência, pois a verdade é um conceito fundamental para a filosofia. No cenário contemporâneo tal conceito é posto em questionamento como valor filosófico. É Nietzsche quem faz uma reversão do valor da verdade como essência, como representação universal, com ele a verdade tem ligações com a vida e suas avaliações. O texto elabora algumas notas sobre essa questão, destacando o conceito de verdade e pontuando motivações que levam o temor ao ficcional.
PALAVRAS-CHAVE: Verdade; Nietzsche; Ficcional.
ABSTRACT
There is, in the philosophical scenario, an exclusion of the appearance, because the truth is a fundamental concept in philosophy. In the contemporary world, the approach of such concept as philosophical value is questioned. Nietzsche is the one who reverses the value of the truth as an essence, as a universal representation, the truth for him is linked to life and its evaluations. The text elaborates some notes about this question, highlighting the concept of truth and pointing out motives that take fear to fiction.
KEYWORDS: Truth; Nietzsche; Fiction.
RESUMEN
Existe la escena filosófica una exclusión de la apariencia, porque la verdad es un concepto fundamental para la filosofía. En el entorno contemporáneo tal concepto se pone en cuestión como un valor filosófico. Es Nietzsche que es una reversión del valor de la verdad como esencia y como una representación universal, con la que en realidad tiene lazos con la vida y sus evaluaciones. El texto desarrolla algunas notas sobre este tema, destacando el concepto de verdad y puntuando las motivaciones que conducen al temor de ficción.
PALABRAS CLAVE: Verdad; Nietzsche; Ficticio.
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Khramov, Alexander. "Did God create fossils? Notes on the history of an idea." St. Tikhons' University Review 104 (December 29, 2022): 29–45. http://dx.doi.org/10.15382/sturi2022104.29-45.
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The subject of the paper is prochronism, e.g. the teaching which says that the world was created with the appearance of old age. It is shown that the sources of prochronism could be traced to the medieval doctrine of double truth and philosophy of Descartes, who suggested that cosmological theories on the origin of the Universe are purely conditional, while in fact the world was instantly created complete and mature. The idea of apparent, but non-existent past gained much credence during the first half of the 19th century, when paleontological and geological discoveries raised a question on how to square the age of the Earth and the life on it with the six days of Genesis. The hypothesis of prochronism was most fully developed in «Omphalos: an attempt to untie the geological knot» (1857), the book by the English naturalist P. Gosse. During the Darwinian time the interest in this doctrine was shown not only by Christian thinkers, but also by secular philosophers and science fiction writers. Elements of prochronism were also present in the writings of Scriptural geologists in the 19th century and their successors, the young earth creationists in the 20th century. The main objections against prochronism are critically considered. According to the most popular of them, if God had made the world appear older that it is, He thus would have deceived people. But from the point of view of prochronism, the creation of traces of never existed past was necessitated by the logic of causality, which required God to actualize all the consequences of historical epochs skipped by Him. The link between prochronism and the problem of pre-human sufferings is outlined. The conclusion is made that this doctrine, despite being counter-intuitive and rather notorious, is intellectually consistent and immune to the criticism.
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Shuvalova, Mariia. "THE SHORT STORY GENRE IN THE ENGLISH-LANGUAGE WORKS OF WESTERN LITERARY SCHOLARS OF THE 20TH —21ST CENTURIES." Слово і Час, no. 5 (October 17, 2021): 101–17. http://dx.doi.org/10.33608/0236-1477.2021.05.101-117.
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The paper is focused on the perception of the short story genre in the western literary theory of the 20th —21st centuries. At the end of the 19th and the beginning of the 20th century, the term 'short story' was a neologism, and its appearance indicated the rethinking of established literary forms. This process led to the development of new literary theories. The works of Brander Matthews (“The Philosophy of the Short Story”, 1901) and Frank O’Connor (“The Lonely Voice”, 1962), prominent writers and literary scholars of the 20th century, established academic short story studies in the English-speaking countries. Charles E. May, Susan Lohafer, Mary Rohrberger, Austin Wright, Ian Reid, Clare Hanson, Florence Goyet, Hanna Meretoja, whose major publications are also within the scope of the paper, provided further investigation of numerous issues of the short story genre and other types of short fiction. The works of the mentioned scholars are widely known and serve as a basis for academic courses and as an introduction to the short story theory. Nevertheless, they are rarely considered as one of the possible theoretical perspectives in the relevant Ukrainian research works on a short story, and it gives a reason for a closer look at them. Due to rising attention to the short literary forms, involving different theoretical frames might be beneficial to the development of the discourse. The paper describes the key issues of modern discussions concerning the distinctive features of the short story, its scope, definitions, establishment as an independent genre, and meaning in axiological and ontological contexts. The issue is explored by comparing different theoretical experiences with the use of comparative and discursive analysis.
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SARAKAEVA, ASIA A. "Strategies and Strategists in Chinese Historical TV Series." Art and Science of Television 18, no. 3 (2022): 147–76. http://dx.doi.org/10.30628/1994-9529-2022-18.3-147-176.
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In his article, I examine the image of a political strategist, popular in Chinese historical cinema, the origin of which can be traced to historical chronicles and fiction. Analysis of their cinematographic representation allows to single out the characteristic features of this image, distinguishing it from the functionally close, yet not identical image of a noble minister. Further, I suggest that the literary and cinematic image of Zhuge Liang, the famous politician and strategist of the Three Kingdoms, serves as an archetype of a political and military advisor in general, and substantiate this hypothesis. Based on the analysis of sovereign-advisor relations, I make an assumption that the very image of an advisor, with their characteristic appearance, personality, and their relationship with their overlord, takes its origins in the self-presentation of shi— a social class of the Warring States period. The leading values in this class were intelligence, loyalty to the lord, and freedom. I suggest and support a hypothesis that there is a genetic connection between the image of an advisor and the teaching of Legalism. Counterbalancing and complement to this image in a costume series is the role of a noble minister, which has its ideological basis in the Confucian philosophy. Apart from that, I name some of the strategies of seizing and retaining power, as well as domestic and foreign policy strategies, frequently seen in TV shows. The analysis of political and administrative methods in many Chinese historical series indicates that foreign policy, as presented in these shows, allows for more manipulations, but also more variability. The internal political opposition, by contrast, is almost completely delegitimized, its goals are a priori recognized as immoral and self-serving, and, consequently, the only way left for the sovereign and their advisor is to directly suppress their internal opponents. The results of this study lead to a number of conclusions about the political culture of China as manifested in this type of TV products, and about the strategemic thinking underlying this culture.
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Sultanbekova, Sagima, Magdina Anafinova, Almash Seidikenova, Aigul Bizhkenova, and Zhibek Tleshova. "Dominant forms of neologisms in linguistics: functional and pragmatic analysis." XLinguae 15, no. 4 (October 2022): 49–57. http://dx.doi.org/10.18355/xl.2022.15.04.05.
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Linguistics, at different times of its existence, has constantly raised the question of how and by what means a person designates the world around him, which, being, in essence, a dynamic and developing substance, always brings new phenomena that require designation by new words. However, the language already has a certain lexical system which imposes restrictions on the creative process of creating new words. As an object of study, we have selected the neologisms of the English and French languages, with a temporal arc from the beginning of the year 2010 to the present day. The objective of this research is to analyze the pragmatics of the functioning of neologisms in fiction and newspaper texts by comparing two distantly related languages: English and French. During the study, to achieve this objective, the following tasks were carried out: - determine the main groups of neologisms noted in the original literary texts and translated into French and English; - discover the purpose of the use of neologisms of various groups in original literary texts in comparative languages from the point of view of pragmalinguistics; - identify the role of the translator in the pragmatic chain of recipient-recipient when using various types of neoplasms to create stylistic effects in literary texts in French and English; - establish points of similarity and differences in the pragmatics of the functioning of the new vocabulary in the original texts of the French and English newspapers. The scientific novelty of this research lies in the systematization of theoretical approaches to the main provisions of neology and neography on the problems of the functioning of neologisms in the text and the discovery of similarities and differences in the use of new words in texts of different functional styles on the example of the comparison of two languages of different families (English and French) from the point of view of pragmalinguistics. The theoretical significance lies in the further development of a pragmalinguistic approach to the study of the lexical composition of a language in a comparative aspect using elements of functional analysis. At the same time, the reasons for the appearance of various types of neoplasms in the text are theoretically justified. The practical value of this work lies in the possibility of applying the results of the study at conferences on comparative linguistics, comparative lexicology of the French and English languages, the style of the French language, the style of the English language as well as in translation theory and translation practice courses at university.
Books on the topic "Appearance (philosophy) – fiction"
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Culbard, Ian. Oscar Wilde's The picture of Dorian Gray: A graphic novel. New York: Sterling Pub., 2008.
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Culbard, Ian. Oscar Wilde's The picture of Dorian Gray: A graphic novel. London: Self Made Hero, 2008.
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Amado, Nervo. El ángel caído y otros cuentos. [Mexico City]: Editores Mexicanos Unidos, 2005.
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Wilde, Oscar. The picture of Dorian Gray and selected stories. New York: Signet Classic, 1995.
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Wilde, Oscar. The picture of Dorian Gray: Authoritative texts, backgrounds, reviews and reactions, criticism. 2nd ed. New York, NY: W. W. Norton & Co., 2007.
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Wilde, Oscar. The Picture of Dorian Gray. London: Penguin Books, 2003.
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Wilde, Oscar. The picture of Dorian Gray. London: Vintage, 2007.
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Wilde, Oscar. The picture of Dorian Gray. New York: Modern Library, 1992.
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Wilde, Oscar. The picture of Dorian Gray. San Francisco: Ignatius Press, 2008.
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Wilde, Oscar. The picture of Dorian Gray. Edina, Minn: ABDO Pub., 2002.
Find full textBook chapters on the topic "Appearance (philosophy) – fiction"
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Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology, 205–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.
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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.
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Jones, Charlotte. "Arnold Bennett." In Realism, Form, and Representation in the Edwardian Novel, 126–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857921.003.0004.
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Virginia Woolf’s accusation that ‘Life escapes’ from the aesthetic horizons of Bennett’s fiction has long haunted his critical reception. Chapter 3 therefore turns to the function of description within realism, arguing that Bennett does not conceptually prioritize either the particulars, as Woolf argued, or the aggregated scene, as in Barthes’s ‘reality effect’, where the specificities of detail are secondary to its ideological function. The solid superficies for which Bennett has become infamous never constitute individual atoms of meaning, for he insists on both the particularity of a given scene and its transient coherence as a totality. This stereoptic effect mobilizes a searching scepticism as to reality’s appearances, which makes Bennett aim at what is at once both a more abstract and a more concrete notion of truth, one whose material manifestations carry with it the mark of its relation to a whole range of universal truths of which it is part. In this, Bennett acknowledges a debt to the ‘synthetic philosophy’ of Herbert Spencer. By examining more closely the influence of Spencer’s metaphysics on Bennett’s realist aesthetics, and focusing on Bennett’s novels together with his numerous critical writings, this chapter gives long-overdue attention to an often neglected figure in modern British literature.
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Davies, Stephen. "Artistic expression." In Routledge Encyclopedia of Philosophy. London: Routledge, 2021. http://dx.doi.org/10.4324/9780415249126-m020-2.
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Article Summary Many kinds of psychological state can be expressed in or by works of art. But it is the artistic expression of emotion that has figured most prominently in philosophical discussions of art. Emotion is expressed in pictorial, literary, and other representational works of art by the characters who are depicted or in other ways presented in the works. We often identify the emotions of such characters in much the same way as we ordinarily identify the emotions of others, but we might also have special knowledge of a character’s emotional state, through direct access to their thoughts, for instance. A central case of the expression of emotion by works of art is the expression of emotion by a purely musical work. What is the source of the emotion expressed by a piece of music? While art engages its audience, often calling forth an emotional response, its expressiveness does not consist in this power. It is not because an art work tends to make us feel sad, for instance, that we call it sad; rather, we react as we do because sadness is present in it. And while artists usually contrive the expressiveness of their art works, sometimes expressing their own emotions in doing so, their success in the former activity does not depend on their doing the latter. Moreover, the expressiveness achieved has an immediacy and transparency, like that of genuine tears, apparently at odds with this sophisticated, controlled form of self-expression. It is because art presents emotion with simple directness that it can be a vehicle for self-expression, not vice versa. But if emotions are the experiences of sentient beings, to whom do those expressed in art belong if not to the artist or audience? Perhaps they are those of a fictional persona. We may imagine personae who undergo the emotions expressed in art, but it is not plain that we must do so to become aware of that expressiveness, for it is arguable that art works present appearances of emotions, as do masks, willow trees, and the like, rather than outward signs of occurrent feelings. Expressiveness is valuable because it helps us to understand emotions in general while contributing to the formation of an aesthetically satisfying whole.