Journal articles on the topic 'Objects in fiction'
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Fitzpatrick, Noel. "The question of Fiction – nonexistent objects, a possible world response from Paul Ricoeur." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 137–53. http://dx.doi.org/10.1515/kjps-2016-0020.
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Abstract The question of fiction is omnipresent within the work of Paul Ricoeur throughout his prolific career. However, Ricoeur raises the questions of fiction in relation to other issues such the symbol, metaphor and narrative. This article sets out to foreground a traditional problem of fiction and logic, which is termed the existence of non-existent objects, in relation to the Paul Ricoeur’s work on narrative. Ricoeur’s understanding of fiction takes place within his overall philosophical anthropology where the fictions and histories make up the very nature of identity both personal and collective. The existence of non-existent objects demonstrates a dichotomy between fiction and history, non-existent objects can exist as fictional objects. The very possibility of the existence of fictional objects entails ontological status considerations. What ontological status do fictional objects have? Ricoeur develops a concept of narrative configuration which is akin to the Kantian productive imagination and configuration frames the question historical narrative and fictional narrative. It is demonstrated that the ontological status of fictional objects can be best understood in a model of possible worlds.
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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction." Journal of Literary Theory 12, no. 2 (September 3, 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Isto, Raino. "How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale." Open Philosophy 2, no. 1 (October 30, 2019): 552–65. http://dx.doi.org/10.1515/opphil-2019-0039.
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AbstractThis article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written in the 1970s, Big Dumb Objects (often called BDOs) have been understood in terms of science fiction’s enduring interest in the technological sublime and the transcendental. While object-oriented ontology has often turned to science fiction and weird fiction for inspiration in rethinking the possibilities inherent in things and their relations, it has not considered the implications of BDOs for a theory of the object more broadly. The goal of this article is to consider how extreme size and representations of scale in science fiction can help expand an understanding of the object along lines that are similar to those pursued by object-oriented ontology, especially Timothy Morton’s notion of hyperobjects.
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Simonsson, Märit. "The Most Powerful Material in Westeros: Fiction Exhibitions and the Authenticity of Fiction Objects." Museum and Society 20, no. 2 (November 1, 2022): 250–63. http://dx.doi.org/10.29311/mas.v20i2.4072.
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This article examines authenticity in relation to exhibitions about films and television series and the objects they contain, defined here as fiction exhibitions and fiction objects. The study is based on an analysis of Game of Thrones: The Touring Exhibition. Material and constructed authenticity are examined and used in the analysis. It is concluded that the exhibition relates to both categories of authenticity, as it contains authentic material from the production of the series and constructs authenticity by emphasizing the fiction objects’ value. The value of objects is also discussed in relation to the representation of different fictional cultures in the exhibition. Comparing exhibitions and objects of fiction with exhibitions and objects of cultural history, the paper concludes that their authentic qualities are similar, confirming that fiction exhibitions and objects are no less authentic than exhibitions and objects in established museums.
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Travanini, Cristina. "Centaurs, Pegasus, Sherlock Holmes: Against the Prejudice in Favour of the Real." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 56–72. http://dx.doi.org/10.1515/kjps-2016-0017.
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Abstract Meinong’s thought has been rediscovered in recent times by analytic philosophy: his object theory has significant consequences in formal ontology, and especially his account of impossible objects has proved itself to be decisive in a wide range of fields, from logic up to ontology of fiction. Rejecting the traditional ‘prejudice in favour of the real’, Meinong investigates what there is not: a peculiar non-existing object is precisely the fictional object, which exemplifies a number of properties (like Sherlock Holmes, who lives in Baker Street and is an outstanding detective) without existing in the same way as flesh-and-blood detectives do. Fictional objects are in some sense incomplete objects, whose core of constituent properties is not completely determined. Now, what does it imply to hold that a fictional object may also occur in true statements? We shall deal with the objections raised by Russell and Quine against Meinong’s view, pointing out limits and advantages of both perspectives.
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Valsiner, Jaan. "Between fiction and reality: Transforming the semiotic object." Sign Systems Studies 37, no. 1/2 (December 15, 2009): 99–113. http://dx.doi.org/10.12697/sss.2009.37.1-2.05.
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(Commentary on Umberto Eco’s article On the ontology of fictional characters: A semiotic approach in the present issue.)The contrast between real and fictional characters in our thinking needs further elaboration. In this commentary on Eco’s look at the ontology of the semiotic object, I suggest that human semiotic construction entails constant modulation of the relationship between the states of the real and fictional characters in irreversible time. Literary characters are examples of crystallized fictions which function as semiotic anchors in the fluid construction — by the readers — of their understandings of the world. Literary characters are thus fictions that are real in their functions — while the actual reality of meaningmaking consists of ever new fictions of fluid (transitory) nature. Eco’s ontological look at the contrast of the semiotic object with perceptual objects (Gegenstände) in Alexius Meinong’s theorizing needs to be complemented by the semiotic subject. Cultural mythologies of human societies set the stage for such invention and maintenance of such dynamic unity of fictionally real and realistically fictional characters.
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Rusu, Mihai. "Worlds, Objects, and Theories of Fiction." Studia Universitatis Babeș-Bolyai Philosophia 65, no. 1 (February 20, 2020): 39–52. http://dx.doi.org/10.24193/subbphil.2020.1.03.
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Goodman, J. "Creatures of fiction, objects of myth." Analysis 74, no. 1 (December 12, 2013): 35–40. http://dx.doi.org/10.1093/analys/ant090.
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Gittel, Benjamin. "In the Mood for Paradox? Das Verhältnis von Fiktion, Stimmung und Welterschließung aus mentalistischer und phänomenologischer Perspektive." Journal of Literary Theory 12, no. 2 (September 3, 2018): 300–320. http://dx.doi.org/10.1515/jlt-2018-0017.
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Abstract It is widely acknowledged that responses to fiction can be divided into two categories: emotions or moods. Research on the paradox of fiction, however, solely focused on emotional responses to fiction. This paper analyses the different potentials of the mood concept with regard to the paradox of fiction: its potential to avoid the paradox on the one hand and its potential to rise a new paradox of fiction, a paradox of fiction for moods, on the other. To this end, the paper distinguishes two different meanings of the everyday concept of mood and two different paradigms in the research on moods. The mood concept can designate not only affective states of an individual (moods1), but elusive, nuanced atmospheres of objects, places or situations (moods2). The mentalistic paradigm, widespread in psychology and analytic philosophy, generally assumes that moods are mental states with a certain quality of feeling (and physical symptoms). Moods2 are regarded by such approaches, if they discuss them, as a secondary phenomenon based on subjective perception. In contrast, the phenomenological paradigm focuses on moods2 and, if it accommodates moods1 as well, often postulates a characteristic connection between the two: moods1 reveal extra-individual atmospheres (moods2) that are assumed to exist in some ontologically robust sense. Therefore, moods1 can be said to have a world-disclosing function within the phenomenological paradigm. Researchers in the mentalistic paradigm deal, among other issues, with the difference of emotions and moods1. One way in which moods1 differ from emotions is that they lack an intentional object and it is for that reason that the concept of mood1, at first glance, seems to offer a solution to the paradox of fiction. The paradox of fiction presumes that we have emotions with regard to fictional objects. If it were possible to redescribe the alleged emotions as more subtle mood1 responses without clear intentional objects, this would undermine a central premise of the paradox and dissolve it. However, such a redescription seems not equally plausible for all cases discussed in the debate (e. g. the green slime case). Therefore, moods1 can only be one element of a more subtle ›phenomenology‹ of affective reactions towards fiction and the »paradox avoiding potential« of the mood concept is limited. The paradox creating potential of the mood concept emerges if one takes into account the outlined complex semantics of the concept »mood« and the postulated world-disclosing function of moods1. It seems possible to construct a new paradox, the paradox of fiction for moods: (a) Only real entities or representations of real entities can evoke moods1 with world-disclosing function (because this mood1 evocation is actually immersion in an atmosphere). (b) Many entities in fictions are not real. (c) Nevertheless, fictions can evoke moods1 with world-disclosing functions (e. g. with regard to places, situations) in the recipient. The paper argues that the outlined paradox can be dissolved by pointing out that the expression »moods1 with world-disclosing function« in sentence (a) means something different than in (c). While the expression in (a) relates to the idea of grasping an atmosphere (mood2) that somehow is »in the world«, it means acquiring a non-propositional form of knowledge, namely knowledge of what-it-is-like to be in a certain situation, in (c). The idea that it is possible to acquire knowledge of what-it-is-like by means of fiction has often been postulated in the research literature, but rarely been spelled out in greater detail. The paper argues that such an acquisition can occur, among other possibilities, on the basis of mood1 evocation, but that the conditions for the acquisition of knowledge of what-it-is-like by means of fiction are more demanding than under usual circumstances: A recipient of fiction can reasonably be said to acquire knowledge of what-it-is-like to be in a certain situation if the fictional representation evokes a mood1 which is characteristic of a situation S and the recipient understands this mood1 as an affective reaction to a situation of the type S. Please note that moods2 play no explanatory role in the second interpretation of »world-disclosing function«. Since assumption (a) and assumption (c) concern different world-disclosing functions or, in other words, different mechanisms of world-disclosure, there is no paradox. Although moods1 evoked by fictional representations (with some limitations pointed out in section 4) do not possess a world-disclosing function in the sense the phenomenological tradition postulated, it is possible to ascribe these moods1 a world-disclosing function, even within a non-phenomenological framework: They allow the recipient the acquisition of a knowledge of what-it-is-like to be in a certain situation or in a certain place. Ultimately, for the paradox of fiction for moods seems to hold what could be said about the classical paradox of fiction as well: Even if the paradox ultimately dissolves, its analysis can be instructive for related research fields like the debate on knowledge from fiction which takes moods rarely into account until now.
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Alves, Pedro M. S. "Phenomenology of Phantasy and Fiction: Some Remarks Towards a Unified Account." Phainomenon 29, no. 1 (December 1, 2019): 39–55. http://dx.doi.org/10.2478/phainomenon-2019-0003.
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Abstract I offer an outline of an integrated phenomenological analysis of free fantasy and of fictional worlds. My main concern amounts to stress the scissions entailed in free fantasy and in the consciousness of fictional objects: a scission of the I, and a scission of the experience. Firstly, I offer a somewhat new characterization of the presence of the objects of free fantasy, which disconnects any possible relationship of those objects with a real perception as the leading form of an originally giving consciousness. My leading example is daydream. Secondly, I take the Husserlian analysis of neutralization as a conceptual tool to explain the consciousness of fictional worlds, against a new tendency for interpreting these worlds in light of the concept of “possible world”. The two approaches converge to a twofold characterization of the mode of being of fictions and of the modality of presence of the objects of fantasy.
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Stewart, Victoria. "Objects, Things and Clues in Early Twentieth-Century Fiction." Modernist Cultures 14, no. 2 (May 2019): 172–92. http://dx.doi.org/10.3366/mod.2019.0249.
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Despite their different aesthetics both modernism and detective fiction engage with, refashion and, at times, critique realism, and the description of objects is central to this. Tracing how certain types of object and relationships with objects feature in works by Virginia Woolf and Agatha Christie in the 1920s reveals that for each author, descriptions of interiors, and particularly the stuff that individuals accumulate in their homes, is central, and the presence of belongings vies with the absence of their owners. Considering the valences of furniture, scrap paper and curios shows how possessions continue to speak of the real even in writing that challenges realist modes of representation.
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Schneiderman, Leo. "Philip Roth: The Exploration of the Self and the Writing of Fiction." Imagination, Cognition and Personality 11, no. 4 (June 1992): 317–29. http://dx.doi.org/10.2190/lr14-nclg-khdq-gdg3.
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Using Philip Roth's writings as a basis, the present study examines the relationship between self-analysis and the writing of fiction. Insofar as Roth's novels depend heavily on introspective data, as well as the recreation of relationships and events taken from the author's direct experience, they provide valuable data concerning the links between autobiography and directed fantasy. The limitations of the confessional novel are discussed with reference to the fate of narrative and empathic characterization. Also examined are the effects of the writer's psychological conflicts on the treatment of fictional relationships and the resolution of fictional “problems”. The question of the generalizabilty and utility of the author's self-insights is raised, noting that Roth's protagonists achieve only partial insights due to defensiveness. The significance of Roth's treatment of romantic love is analyzed in the light of his difficulties in creating characters capable of idealizing love objects. These difficulties are seen in the broader context of Roth's satirical outlook, which tends toward the de-idealization of love object and of society in general. The manic qualities of Roth's satire are interpreted as depression-based, involving a sense of loss in relation to devalued love objects and their associated security system.
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Gvantseladze, Anna. "Comparisons in works of fiction of Turkish writers of the XX century." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 122–30. http://dx.doi.org/10.34079/2226-3055-2020-13-22-122-130.
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The paper deals with comparison constructions of the Turkish language on the base of works of fiction of Turkish writers of the 20th century. Reflecting figurative (simile) and non-figurative (correlation between qualitative and quantitative characteristics of two objects) collation of two or more objects comparisons in the Turkish language are examined from the lexico-semantic point of view and though their syntactic role in the sentence. Comparison remains a relevant and interesting topic of research despite the large number of works. It is a mean, a way of investigation and knowing of reality when unknown object is collated with the well-known one. Comparison may be represented as an act and a result at once. As the act of knowing reality comparison, represents such stages of exploration of the real world as identification of an object, its correlation with already known categories and groups of objects, definition of common features and juxtaposition of their intensity for further classification of the object explored. While resembling the result of act of cognition comparison demonstrates the degree of manifestation of a particular feature on a scale from complete identity to absolute difference. As an act of logical operation comparison consists of four elements, having different nominations in research works, they resemble object that is compared, object to which something is compared with, ground of comparison (some common feature for both objects) and result of comparison that describes identity, resemblance or distinctions between objects. Since logical operations of world’s investigation find reflection in language as a linguistic category comparison also has four elements in its structure. According to the lexico-semantic group of object and subject of comparison, Turkish comparisons may be divided on such groups as human-human, human-animal, nature-human. Comparisons are mostly used to express nature, human’s appearance or character, size of items, to make some estimation, to describe the way something is happening like or to resemble someone’s condition. Turkish works of fiction use both figurative comparison (simile) and non-figurative comparison. The syntactic role of comparison in a sentence depends on which member of the sentence the comparative part of the comparative construction belongs to. Mostly, comparisons act as attribute or adverbial modifier of manner, but also may act as predicate or grammatical object.
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Flint, Christopher. "Speaking Objects: The Circulation of Stories in Eighteenth-Century Prose Fiction." PMLA/Publications of the Modern Language Association of America 113, no. 2 (March 1998): 212–26. http://dx.doi.org/10.2307/463361.
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An enormously popular narrative device, speaking objects were used frequently in eighteenth-century British fiction to express authorial concerns about the circulation of books in the public sphere. Relating the speaking object to the author's status in a print culture, works featuring such narrators characteristically align authorship, commodification, and national acculturation. The objects celebrate their capacity to exploit both private and public systems of circulation, such as libraries, banks, booksellers' shops, highways, and taverns. Linking storytelling to commodities and capital, they convey an implicit theory of culture in which literary dissemination, economic exchange, and public use appear homologous. But as object narratives dramatize, such circulation estranges modern authors from their work. Far from mediating between private and public experience or synthesizing national and cosmopolitan values, these narratives record the indiscriminate consumption that characterizes the public sphere in a print culture.
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Jandric, Andrej. "Fictional entities as artifacts: some problems for Amie Thomasson’s theory." Theoria, Beograd 59, no. 2 (2016): 5–18. http://dx.doi.org/10.2298/theo1602005j.
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Amie Thomasson has developed a theory of fictional entities, according to which they exist as contingent abstract objects. In her view, fictional characters are cultural artifacts just as the works of fiction they feature in. They are doubly dependent objects: for their becoming they depend on creative intentional acts of their author, and for maintaining their existence they depend on preservation of a copy of any fictional work they appear in. Thomasson claims that her theory has the advantage of vindicating the common beliefs about fictional entities embodied in the study, evaluation and interpretation of literature. However, I argue that, under this theory of fictional entities, no account of reference of fictional singular terms ? neither the descriptive, nor the causal, nor Thomasson?s preferred hybrid account ? can accommodate all the aspects of our literary practices.
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Fukson, Leonid Yu. "Fiction cosmos as an object of interpretation." Sibirskiy filologicheskiy zhurnal, no. 4 (2021): 49–55. http://dx.doi.org/10.17223/18137083/77/4.
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The degree of comprehensibility of any art creation depends on its perception as a coherent whole. It is one of the axioms of hermeneutics. Nonetheless, the internal links of a fictional text can be divided into two different types by similarity and by contrast. This fact allows for an analogy that is due to the fiction world being somewhat similar to the real world, i.e., arranged quite in line with the doctrine of the ancient Greek philosopher Empedocles. This philosopher thought the complex unity of the cosmos to be organized by two opposite powers - Love (φιλία) and Feud (νέικος). A modern physicist would call them the forces of attraction and repulsion. The analogs of “love” attraction and “hostile” repulsion are a symbolic representation and a tension of opposite values in a fiction world. When drawing the above analogy, one should take into account the fact that the art world, unlike the real one, has a purely intentional character, that is, all its objects and the connections between them are mediated by the consciousness and value-based intention of the author, the protagonist, and the reader. These opposing powers of “Love” and “Feud” may also be called the integral and differential axes of the value-semantic structure coordinates of the fiction cosmos. It is in these coordinates that the aesthetic event and the comprehensive participation of the reader take place. The paper provides a number of analyses of various works and fragments of fiction to substantiate the above-formulated thesis.
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Aarseth, Espen. "Doors and Perception: Fiction vs. Simulation in Games." Jouer, no. 9 (August 10, 2011): 35–44. http://dx.doi.org/10.7202/1005528ar.
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In this paper, the author outlines a theory of the relationship of fictional, virtual and real elements in games. Not much critical attention has been paid to the concept of fiction when applied to games and game worlds, despite many books, articles and papers using the term, often in the title. Here, it is argued that game worlds and their objects are ontologically different from fictional worlds; they are empirically upheld by the game engine, rather than by our mind stimulated by verbal information. Game phenomena such as labyrinths, moreover, are evidence that games contain elements that are just as real as their equivalents outside the game, and far from equal to the fictional counterparts.
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Beisbart, Claus. "Virtual Realism: Really Realism or only Virtually so? A Comment on D. J. Chalmers’s Petrus Hispanus Lectures." Disputatio 11, no. 55 (December 1, 2019): 297–331. http://dx.doi.org/10.2478/disp-2019-0008.
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AbstractWhat is the status of a cat in a virtual reality environment? Is it a real object? Or part of a fiction? Virtual realism, as defended by D. J. Chalmers, takes it to be a virtual object that really exists, that has properties and is involved in real events. His preferred specification of virtual realism identifies the cat with a digital object. The project of this paper is to use a comparison between virtual reality environments and scientific computer simulations to critically engage with Chalmers’s position. I first argue that, if it is sound, his virtual realism should also be applied to objects that figure in scientific computer simulations, e.g. to simulated galaxies. This leads to a slippery slope because it implies an unreasonable proliferation of digital objects. A philosophical analysis of scientific computer simulations suggests an alternative picture: The cat and the galaxies are parts of fictional models for which the computer provides model descriptions. This result motivates a deeper analysis of the way in which Chalmers builds up his realism. I argue that he buys realism too cheap. For instance, he does not really specify what virtual objects are supposed to be. As a result, rhetoric aside, his virtual realism isn’t far from a sort of fictionalism.
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Padovani, Laurent. "Soumission, le roman de la conversion Houellebecq, le réel et la fiction." Intercâmbio: Revue d’Études Françaises=French Studies Journal, no. 14 (2021): 21–39. http://dx.doi.org/10.21747/0873-366x/int14a2.
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Houellebecq’s fiction isdiscussed, contested and critiqued, not only as a series of aesthetic objects but alsoin political, ideological or moral terms. This contribution is an invitation to thinkabout the centre of gravity inthe triangle of realism-fiction-authority in Submission, Michel Houellebecq’smost controversial novel. We advancethe hypothesis that Islam in Submissionhasa fictional function analogous to that of post-humanism in Atomised.That would be essentially a matter of surface, provocation to draw attention to an older deeper crisis. This crisis would be that of Western civilization, onethatFrance willnot escapefrom, characterizedby a process of generalized«untying», or even«disintegration» of « values»and the world that they formed.
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Schneiderman, Leo. "Cynthia Ozick: Diverse Functions of Transitional Objects in Fiction." Imagination, Cognition and Personality 15, no. 3 (March 1996): 207–21. http://dx.doi.org/10.2190/j806-mgyb-cyn1-v4ln.
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The purpose of this article is to examine the role of transitional love objects in the lives of fictional adults, as depicted in the works of Cynthia Ozick. Ozick's protagonists are characterized by their symbiotic attachment to parent figures with whom they are unable to establish empathic and trusting relationships. In lieu of finding nurturance Ozick's fictional characters go in search of idealized love objects in the form of fetishes or idols, i.e., objects seeming to possess magical trustworthiness. Ozick warns against the choice of such narcissistically-determined, idolatrous objects, and extends her caveat even to human love relationships, with the implication that they are likely to prove disappointing. All of Ozick's fictional love objects represent partially differentiated, fetishistic extensions of the lover's self. These objects include a modern-day golem, idols, demons, witches, a tree, a shawl, and even a literary manuscript. Ozick clarifies the distinction between healthy self-love and self-acceptance and total absorption in the fetish as a soothing, symbolic substitute for satisfying unfulfilled developmental needs.
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Pitari, Paolo. "In Defense of Literary Truth: A Response to Truth, Fiction, and Literature by Peter Lamarque and Stein Haugom Olsen to Inquire into No-Truth Theories of Literature, Pragmatism, and the Ontology of Fictional Objects." Literature 3, no. 1 (December 20, 2022): 1–18. http://dx.doi.org/10.3390/literature3010001.
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This article responds to the arguments put forth by Peter Lamarque and Stein Haugom Olsen in Truth, Fiction, and Literature: A Philosophical Perspective (1994). It argues that the said work is representative of the widespread tendency in literary theory today to discard the possibility of literary truth, and it provides counterarguments to the work’s main theses. Consequently, it criticizes the philosophy of pragmatism and its implications, and it offers a theory that defines fictional objects as existing and solves contradictions that commonly affect our debates on the ontology of fiction. The article does not provide a positive theory of literary truth, but it undermines its denials, which have become popular in recent decades.
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Pelletier, Jérôme. "Actualisme et fiction." Dialogue 39, no. 1 (2000): 77–100. http://dx.doi.org/10.1017/s0012217300006405.
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AbstractThe non-existence of fictional entities does not seem incompatible with their possible existence. The aim of this paper is to give an account of the intuitive truth of statements of possible existence involving fictional proper names in an actualist framework. After having made clear the opposition between a possibilist and an actualist approach of possible worlds, I distinguish between fictional individuals and fictional characters and between the fictional use of fictional proper names and their metafictional use. On that basis, statements of possible existence involving fictional proper names appear to say of fictional characters conceived as abstact objects that they might have been exemplified.
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Rahma Dwi Nopryana, Wahyudin,. "FILOSOFIS KEBENARAN FIKSI SEBAGAI PENGEMBANGAN INTELEGENSI BAGI KEHIDUPAN INDIVIDU MANUSIA." Jurnal Bimbingan Penyuluhan Islam 1, no. 2 (January 11, 2020): 269. http://dx.doi.org/10.32332/jbpi.v1i2.1723.
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The study of intelligence development, as a form of analyzing the intelligence of creativity in revealing objects and trying to find specific, unique things contained in fiction. Changes in the way of thinking intelligence in a fictional truth is a discourse to express a pattern and story line with an understanding. Understanding of intelligence by distinguishing, guessing, then explaining, which is in fiction. The problem of literary works called fiction is a work that tells something that did not really happen. There is a difference of opinion in a work of fiction because it is not in accordance with his views but, intellectually and academically, the truth is less acceptable. The theory used to uncover the phenomenon is based on theory, Utami Munandar that, by way of divergent thinking. Methodology by using critical analysis in an effort to unravel, philosophically discourse of the truth of fiction by using intelligence as a logical reasoning power to find out the harmony in fiction. The results of the study found that, philosophical truth fiction can change individuals able to imagine, understand the situation, experience, and understanding. The ability of individual intelligence will increase after reading fiction based on the ability of intellectual imagination possessed. The conception is based on the development of intelligent divergent ways of thinking that is spread which is also called creative imaginative thinking an ability to provide various answers based on the information provided, with an emphasis on diversity, number and suitability.
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Zipfel, Frank. "Emotion, Darstellung, Fiktion. Literaturtheoretische Überlegungen zum Verhältnis zwischen Fiktionsparadox und Mimesisparadox." Journal of Literary Theory 12, no. 2 (September 3, 2018): 321–44. http://dx.doi.org/10.1515/jlt-2018-0018.
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Abstract The discussions around the paradox of fiction that began 40 years ago have slowed down considerably during the last decade. The main reason for this decrease of interest can be seen in the fact that many theories have tried to show that the paradox can be solved or never existed. Nevertheless, there is hardly any major work on the theory of fiction that does not deal with the paradox in some way or other. Nowadays, however, the interest in the discussion has moved away from attempting to solve the paradox. Contemporary theory of fiction is rather interested in the question whether and how the long-lasting and extensive discussions around the paradox have led to a better understanding of the nature and variety of our emotional responses to fiction. This paper, however, sets out to investigate the discussions around the paradox from a different perspective. It undertakes to identify the blind spots in the discussions around the paradox, i. e. it aims at examining which aspects of our emotional response to fictional works did not come into view and, thus, have been neglected by the way in which the paradox has usually been dealt with. One of the most popular strategies for dealing with the paradox consists in comparing our emotional response towards fictional works with our emotional response towards objects that are before our eyes (or that we experience via other senses) and towards events that are actually going on around us. This strategy has led to unsatisfactory results because it highlights the representational content of art works and neglects the particular ways in which this content is depicted. It thereby fails to take into account one of the most crucial aspects of fictional works, i. e. the fact that they are representations. Few theorists have questioned this popular strategy. Among them are R. Moran, who claims that emotional reactions to objects in the actual here and now should not be considered as the paradigms of our emotional involvements when we deal with fictional texts, P. Goldie, who maintains that most of our emotional reactions regard non-actual states of affairs, and D. Matravers who distinguishes between emotional reactions in confrontation situations and those towards representations. And these doubts about the way the paradox is dealt with have hardly had any impact on the discussion. It can be shown, however, that due to the fundamental differences between emotional reactions regarding objects we are confronted with and objects we learn about via representations, some of the answers given to the questions that have been treated in the discussion around the paradox implicitly dealt with the representational aspect of fictional works but not specifically with their fictionality. Moreover, by analysing the theories by R. Moran, P. Goldie and D. Matravers it is argued that widely neglected, but helpful questions can be raised if we compare the emotional response to fictional representations with the emotional response to factual representations instead of comparing it to our emotions in real life situations. Especially Matravers’ theory has several advantages: it respects the representational aspects of our emotional response to texts and other art works, it provides us with an account that is based on semiotic features of these art works and the way we process them, and it can be productively linked to other relevant concepts like R. Gerrig’s willing construction of disbelief or H. Rott’s doxastic voluntarism. Moreover, by comparing Matravers’ theory of emotional response to (fictional) representations with the corresponding theory in G. Currie’s early works it is possible to raise further arguments in favour of the thesis that an explicit exploration of the representational aspects of fictional works is of vital importance for a discriminating theory regarding our emotional response to fiction. However, Matravers’ theory is not entirely satisfactory because it postulates that there are no differences between emotional responses towards fictional representations and those towards factual ones. It is argued that taking into account the representational aspects of factual and fictional works might be a promising way to look for such differences. Investigations into our various emotional responses to fictional works would then be led against the backdrop of our responses to factual representations. Moreover, insight might be gained if we compare fictional representations not only to truthful factual representations but also to deceitful ones. Such an approach that looks beyond the problems that have been debated in the discussions around the paradox of fiction would be able to fill the gaps regarding our response to fictional artworks caused by these discussions. This would lead us to learn to distinguish between the kinds of emotional responses that are specific for representations in general and those that are specific for fictional representations. Moreover, it would enable our investigations into the emotional responses to fictional works to take into account two aspects that have also often been neglected in the discussions around the paradox of fiction: the differences between the various semiotic systems on which works of the differing artforms are based and the specific representational features that are linked to the fictionality of every specific work.
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Vasiliadis, Angelo V., Nikolaos Koukoulias, and Konstantinos Katakalos. "From Three-Dimensional (3D)- to 6D-Printing Technology in Orthopedics: Science Fiction or Scientific Reality?" Journal of Functional Biomaterials 13, no. 3 (July 21, 2022): 101. http://dx.doi.org/10.3390/jfb13030101.
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Over the past three decades, additive manufacturing has changed from an innovative technology to an increasingly accessible tool in all aspects of different medical practices, including orthopedics. Although 3D-printing technology offers a relatively inexpensive, rapid and less risky route of manufacturing, it is still quite limited for the fabrication of more complex objects. Over the last few years, stable 3D-printed objects have been converted to smart objects or implants using novel 4D-printing systems. Four-dimensional printing is an advanced process that creates the final object by adding smart materials. Human bones are curved along their axes, a morphological characteristic that augments the mechanical strain caused by external forces. Instead of the three axes used in 4D printing, 5D-printing technology uses five axes, creating curved and more complex objects. Nowadays, 6D-printing technology marries the concepts of 4D- and 5D-printing technology to produce objects that change shape over time in response to external stimuli. In future research, it is obvious that printing technology will include a combination of multi-dimensional printing technology and smart materials. Multi-dimensional additive manufacturing technology will drive the printing dimension to higher levels of structural freedom and printing efficacy, offering promising properties for various orthopedic applications.
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Patraș, Roxana. "Hayduk novels in the nineteenth-century Romanian fiction: notes on a sub-genre." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 2019): 24–33. http://dx.doi.org/10.35824/sjrs.v2i1.18769.
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In the context of nineteenth and early twentieth-century Romanian literature, hajduk novels and hajduk short fiction (novella, short-story, tale) are called to bring back a lost “epicness,” to give back the hajduks their lost aura. But why did the Romanian readers need this remix? Was it for ideological reasons? Did the growing female readership influence the affluence of hajduk fiction? Could the hajduk novels have supplied the default of other important fiction sub-genres such as children or teenage literature? The present article supports the idea that, as a distinct fiction sub-genre, the hajduk novels convey a modern lifestyle, attached to new values such as the disengagement from material objects, the democratization of access to luxury goods and commodities, and the mobility of social classes. Clothing, leisure, eating/ drinking/ sleeping/ hygiene, work, military and forest/ nomad life, and ritual items that are mentioned in these novels can help us correlate the technical tendencies reflected in the making of objects to a particular ethnicity (Romanian).
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TONG, HAO, and REN-XIN XU. "MAGNETARS: FACT OR FICTION?" International Journal of Modern Physics E 20, supp02 (December 2011): 15–24. http://dx.doi.org/10.1142/s0218301311040530.
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Anomalous X-ray pulsars (AXPs) and soft gamma-ray repeaters (SGRs) are enigmatic pulsar-like objects. The energy budget is the fundamental problem in their studies. In the magnetar model, they are supposed to be powered by the extremely strong magnetic fields (≳ 1014 G ) of neutron stars. Observations for and against the magnetar model are both summarized. Considering the difficulties encountered by the magnetar model to comfortably understand more and more observations, one may doubt that AXPs and SGRs are really magnetars. If they are not magnetar candidates (including magnetar-based models), then they must be "quark star/fallback disk" systems.
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Fåhraeus, Anna W. E. "Fiction as a Means to Understanding the Dynamics of Empathy." Educare - vetenskapliga skrifter, no. 3 (October 4, 2020): 46–76. http://dx.doi.org/10.24834/educare.2020.3.2.
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The current study investigated whether the reflective reading of fiction can provide an experiential definition of empathy to supplement more traditional concept analyses. A secondary aim was to look at the rates of absorption (loss of time and space) relative to the rate of reported empathic engagement. Based on earlier studies on reading fiction as an engagement in a social simulation, it was predicted that because fiction is a controlled experience, reading and talking about fiction could provide a forum in which to examine actual experiences of empathy elicitation in relation to an evolving situation. A survey was conducted with 210 student participants over a three-year period. The results show that the empathetic response to narrative is affected in a variety of ways by the presence or absence of an initial sense of affinity and by cognitive input over time, that is, the changing perception of characters and the situations with which they are confronted. Adept readers are more likely to experience absorption, and those who experience absorption are more likely to be empathetically responsive to input and changes in a situation. Empathetic emotions and cognitive empathy can be experienced for multiple objects simultaneously in one situation and relate to past events and potential futures, but they also shift from object to object.
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Płotka, Witold. "A Controversy Over the Existence of Fictional Objects: Husserl and Ingarden on Imagination and Fiction." Journal of the British Society for Phenomenology 51, no. 1 (June 13, 2019): 33–54. http://dx.doi.org/10.1080/00071773.2019.1629553.
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Palmer, Christopher. "Big Dumb Objects in Science Fiction: Sublimity, Banality, and Modernity." Extrapolation 47, no. 1 (January 2006): 95–111. http://dx.doi.org/10.3828/extr.2006.47.1.10.
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Glenn, Diana. "Objects in Italian Life and Culture: Fiction, Migration, and Artificiality." Italian American Review 9, no. 1 (January 1, 2019): 141–43. http://dx.doi.org/10.5406/italamerrevi.9.1.0141.
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Mendelman, Lisa. "Enchanted Objects: Visual Art in Contemporary Fiction by Allan Hepburn." MFS Modern Fiction Studies 60, no. 2 (2014): 408–10. http://dx.doi.org/10.1353/mfs.2014.0026.
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Harris, N. G. E. "The Objects of the Vulgar." Dialogue 24, no. 2 (1985): 257–64. http://dx.doi.org/10.1017/s0012217300043080.
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In common with most, if not all, commentato?s on Hume's Treatise, Book 1, Part 4, §2, “Of scepticism with regard to the senses”, I consider his reasoning in places to be unsound and his claims to be inconsistent. In that section Hume is conce?ned with the question of how we come to believe in the existence of material objects having a continuous existence independently of ou? perceiving them. Since, in his more tough-minded moments, he takes it that the only perceptual data with which we can ever have acquaintance consists of fleeting impressions which are dependent on our having them, he f?nds himself led to the bleak and implausible conclusion that the existence of material objects is a fiction, and the belief something into which we are seduced by the imagination.
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Ammanabrolu, Prithviraj, Wesley Cheung, Dan Tu, William Broniec, and Mark Riedl. "Bringing Stories Alive: Generating Interactive Fiction Worlds." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 16, no. 1 (October 1, 2020): 3–9. http://dx.doi.org/10.1609/aiide.v16i1.7400.
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Interactive fictions—also called text-based games—are games in which a player interacts with a virtual world purely through textual natural language. In this work, we focus on procedurally generating interactive fiction worlds. Generating these worlds requires (a) referencing everyday and thematic commonsense priors in addition to (b) being semantically consistent, (c) interesting, (d) coherent throughout, all while (e) producing fluent natural language descriptions of places, people, and things. Using existing story plots from books as inspiration, we present a method that first extracts a partial knowledge graph encoding basic information regarding world structure such as locations and objects. This knowledge graph is then automatically completed utilizing thematic knowledge and used to guide a neural language generation model that fleshes out the rest of the world. We evaluate generated worlds with human-participant studies, comparing our technique against rule-based and human-made baselines
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Van Hulle, Dirk. "The Stuff of Fiction: Digital Editing, Multiple Drafts and the Extended Mind." Textual Cultures 8, no. 1 (March 5, 2014): 23–37. http://dx.doi.org/10.14434/tcv8i1.5048.
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Since genetic criticism regards modern manuscripts as a research object in and of itself, it objects to an editorial practice that treats manuscript studies as a mere tool towards the making of a scholarly edition. Still, an exchange of ideas between genetic criticism and scholarly editing can be mutually beneficial and may work in two directions. This essay therefore starts from digital scholarly editing, more specifically from recent developments in computer-assisted collation of multiple draft versions, to see how it can contribute to the study of modern manuscripts. The argument is that the combination of textual scholarship and genetic criticism can be an effective instrument for literary critics, enabling them to study the material aspect of the writing process as an inherent part of what cognitive philosophy calls “the extended mind”; and that this extensiveness does not only apply to the writer’s mind, but that an awareness of manuscripts as a crucial part of the “stuff of fiction” can also contribute to a better understanding of literary evocations of the fictional mind.
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Wasserman, Sarah. "Ralph Ellison, Chester Himes, and the Persistence of Urban Forms." PMLA/Publications of the Modern Language Association of America 135, no. 3 (May 2020): 530–45. http://dx.doi.org/10.1632/pmla.2020.135.3.530.
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This essay investigates the treatment of what I call infrastructural racism in fiction by Ralph Ellison and Chester Himes. Ellison's Invisible Man (1952) and Himes's Harlem Cycle novels (1957–69) chronicle vanishing urban objects and changing infrastructure to show that even as Harlem modernizes, the racist structures that undergird society do not. Ellison and Himes use ephemeral objects like signs, newspapers, and blueprints to encapsulate Harlem's transience and to suggest to readers that the neighborhood itself is a dynamic archive, continually changing yet resistant to overarching narratives of cultural loss or social progress. Himes and Ellison write about permanence and loss in mid-century Harlem in terms that disrupt the social realism associated with the novel of detection and the psychological realism associated with the novel of consciousness. Such a reading prompts a reconsideration of the critical categories–genre fiction and literary fiction–that have, until now, kept these two writers apart.
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Mahdavi Goloujeh, Atefeh, Jason Smith, and Brian Magerko. "Explainable CLIP-Guided 3D-Scene Generation in an AI Holodeck." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 18, no. 1 (October 11, 2022): 276–78. http://dx.doi.org/10.1609/aiide.v18i1.21973.
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This paper describes the AI Holodeck, a co-creative software prototype that creates virtual scenes from the user input text, inspired by the fictional Holodeck virtual reality device from the science fiction series Star Trek. This application collects common-sense knowledge from annotated datasets and reference images. It uses this knowledge to populate scenes with objects found in selected environments alongside those explicitly mentioned by the user. We present the system design of the AI Holodeck, and a proposed study to measure the effects of its visualizations on user perceptions of the system's creativity.
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James, Susan. "Responding Emotionally to Fiction: A Spinozist Approach." Royal Institute of Philosophy Supplement 85 (July 2019): 195–210. http://dx.doi.org/10.1017/s1358246118000759.
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AbstractWithin contemporary analytical philosophy there continues to be a lively debate about the emotions we feel for fictional characters. How, for example, can we feel sad about Anna Karenina, despite knowing that she doesn't exist? I propose that we can get a clearer view of this issue by turning to Spinoza, who urges us to take a different approach to feelings of this kind. The ability to keep our emotions in line with our beliefs, he argues, is a complex skill. Rather than asking why we depart from it in the case of fictions, we need to begin by considering how we get it in the first place. Spinoza also considers the value of this skill. In his account, fictions function rather like Donald Winnicott's transitional objects. They enable us to negotiate the boundary between the real and the imaginary in a way that contributes to our philosophical understanding. These Spinozist proposals, I contend, suggest that the questions dominating current debate need to be reformulated.
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Martínez-Otón, Laura, Cristina Rodríguez-Luque, and Mario Alcudia-Borreguero. "El reportaje de historias de vida como punto de partida de la radio dramatizada y el ´podcast´ de no ficción en el ecosistema digital. Estudio de caso. ´Sin mi identidad´ (Cadena COPE), ´Lo conocí en un Corpus´ (Podium Podcast) y ´Las tres muertes de mi padre´ (Cuonda)." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 135–62. http://dx.doi.org/10.33732/ixc/09/02elrepo.
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In current digital ecosystem, sound is gaining prominence through new formats such as podcasting, born in the era of mobility. Formats that can share elements, characteristics, dynamics of work and consumption with other traditional radio formats, such as reports, docudramas or the radio soap opera. This article aims to analyze whether the strength of human reach storytelling is a common starting point in analogic reports and in fictional and non-fiction podcasts, both on audio platforms and on conventional radio. For this, three podcast are proposed as case study: ‘Sin mi identidad’ (2018, COPE network), ‘Lo conocí en un Corpus’ (2017, Podium Podcast) and ‘Las tres muertes de mi padre’ (2017, Cuonda). The methodology is classified as descriptive and qualitative and includes semi-structured interviews with key subjects in the process of the three spaces considered as objects of study. In the analyzed cases it can be stated that, although reports and fiction and nonfiction podcasts are different products, they share similarities of production, documentation and recording. Also, all have as starting point a real story, even when podcasts are fiction. Key words: Docudrama; Podcast; Radio; Digital Radio; Radio Drama; Radio Reports.
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Bissell, Blake, Mo Morris, Emily Shaffer, Michael Tetzlaff, and Seth Berrier. "Vessel: A Cultural Heritage Game for Entertainment." Archiving Conference 2021, no. 1 (June 18, 2021): 1–6. http://dx.doi.org/10.2352/issn.2168-3204.2021.1.0.2.
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Museums are digitizing their collections of 3D objects. Video games provide the technology to interact with these objects, but the educational goals of a museum are often at odds with the creative forces in a traditional game for entertainment. Efforts to bridge this gap have either settled on serious games with diminished entertainment value or have relied on historical fictions that blur the line between reality and fantasy. The Vessel project is a 3D game designed around puzzle mechanics that remains a game for entertainment while realizing the benefits of incorporating digitized artifacts from a museum. We explore how the critical thinking present in solving puzzles can still encourage engagement of the story the artifacts have to tell without creating an historical fiction. Preliminary results show a preference for our in-game digital interaction over a traditional gallery and a desire to learn more about the artifacts after playing.
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Lavocat, Françoise. "Crossing the borders of fiction. Do non-existent objects have bodies?" Neohelicon 40, no. 2 (August 8, 2013): 431–48. http://dx.doi.org/10.1007/s11059-013-0202-0.
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Njotini, Mzukisi Niven. "Re-Positioning the Law of Theft in View Of Recent." Potchefstroom Electronic Law Journal/Potchefstroomse Elektroniese Regsblad 19 (December 13, 2016): 1. http://dx.doi.org/10.17159/1727-3781/2016/v19i0a1163.
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Information and communication technologies (ICTs) continue to influence the behaviour of society. Sometimes this influence is so unreal that it was only imagined in science fiction. Specifically, the rapid rise in the use of ICTs has resulted in the emergence of new kinds of object, namely data, that do not necessarily meet the traditional legal discription of property. Because these objects can be wrongfully appropriated online, an inquiry is then made regarding whether they are property that is capable of being stolen.
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Urusova, Nadezhda A. "LINGUACULTURAL CHARACTERISTICS OF PETERSBURG’S IMAGE IN THE BIOFICTIONAL NARRATION OF J. COETZEE "THE MASTER OF PETERSBURG"." Humanities And Social Studies In The Far East 19, no. 1 (2022): 125–34. http://dx.doi.org/10.31079/1992-2868-2022-19-1-125-134.
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The article explores linguacultural characteristics of Petersburg in J. Coetzee’s English-language novel "The Master of Petersburg", the postmodern biography of the outstanding Russian writer F. M. Dostoevsky. For creating verisimilitude of his biofictional narration, the author skillfully constructs the external linguacultural context with the help of linguistic markers of Russian cultural text localization. However, the English author does not seek to create an actual representation of Petersburg, fulfilling the city space with fictional urban objects. This intentional play with the semantic correlation between reality and fiction provokes bilingual readers, acquainted with the toponymy of the Russian city, to suffer from cognitive dissonance
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Albrecht, Vera. "Don't Lie to Me about Fictional Characters: Meinongian Incomplete Objects to the Rescue of Truth in Fiction." Philosophy and Literature 46, no. 1 (April 2022): 162–80. http://dx.doi.org/10.1353/phl.2022.0009.
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ARHIPTSEV, IVAN, ALEXANDER ALEKSANDROV, ALEXANDER MAKSIMENKO, and KIRILL OZEROV. "PORNOGRAPHIC DEEPFAKE: FICTION OR VIRTUAL REALITY?" Sociopolitical Sciences 11, no. 1 (February 28, 2021): 69–74. http://dx.doi.org/10.33693/2223-0093-2021-11-1-69-74.
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Nowadays, information technologies are developing every year with faster and faster and have almost become an integral part of our daily life. The development of the information technology, of course, carries such positive aspects as the improving of communication between people, the possibility of receiving a distance education, the use of information technology by the government agencies and business, and etc. At the same time, the information technologies like everything new and good can become an object for their use for criminal purposes. One of such a technology, which will be discussed in this article, is called a deepfake and, as its separate kind, a pornographic deepfake. The authors propose a solution to the problem of pornographic deepfakes at the level of the criminal legislation of the Russian Federation, since at present the Criminal code does not provide for responsibility for their creation and distribution. In particular, the authors formulate the proposals to the domestic legislator to make appropriate changes to Art. 137 and Art. 242 of the Criminal Code of the Russian Federation, where the notion of a pornographic deepfake would be revealed in a note of the latter. In initially, it is considered the legal aspect of the pornographic deepfake as a phenomenon of modern digitalization and informatization of the society and the use of new methods for creating a virtual reality of objects harmful to humans: photo, video, and audio information. The results of the research can be used in further researches on this topic as well as in improving the legislation and law enforcement activities not only in the Russian Federation, but also in other foreign countries.
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Tsvigun, Tatiana V., and Alexey N. Chernyakov. "Poetical reduplications in Alexander Vvedensky’s fiction." Slovo.ru: Baltic accent 12, no. 4 (2021): 51–64. http://dx.doi.org/10.5922/2225-5346-2021-4-3.
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The article is devoted to the study of the poetics of reduplication in Alexander Vvedensky's fiction texts. The aim of this research is to analyse the functional range of reduplications at different textual levels, from the lexical to the thematic. Reduplication is understood as one of the most important tools of Vvedensky's linguopoetic experiment, aimed at the 'revision' of the ability of language to signify and represent the world and its basic semiotic principles. For Vvedensky, the non-normative punctuation of contact lexical reduplications creates prerequisites for perceiving repeated word forms as occasional homonyms, distinguishes the signified behind the signifier, and also problematizes the nature of poetic communication. On the grammatical level, reduplication creates tension between repeated grammar patterns and their lexical realisations, which allows Vvedensky to demonstrate the potential extensibility of syntactic models and make grammatical semantics a compensatory mechanism that fills the semantic void of the poetic utterance. Vvedensky's thematization of reduplication as the "doubling of the world" is a mirror, which deforms and transforms reality. Mirror semiosis illustrates the loss of iconicity by reduplication and, as a consequence, the impossibility to represent the object by its reflection. The authors conclude that on the level of vocabulary and grammar, reduplication creates dynamism in the verbal space of the text, activates its interpretation and thus creates the situation of gnoseological doubt in the adequacy of language as a means of representing the world. In the thematic field, it deprives the world of its self-identity since objects constantly multiply, lose their distinctiveness or, on the contrary, find meaning where it does not exist.
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Ingemanson, Birgitta. "The Political Function of Domestic Objects in the Fiction of Aleksandra Kollontai." Slavic Review 48, no. 1 (1989): 71–82. http://dx.doi.org/10.2307/2498686.
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During the winter of 1922-1923 when she was just beginning her diplomatic career, Bolshevik activist Aleksandra Kollontai wrote two novels and several short stories that were immediately published in Russia and subsequently combined into two volumes under the titles Liubov’ pchel trudovykh and Zhenshchina na perelome. They were dismissed as mere autobiographical romances, indulging in unhealthy introspection and dangerously divorced from the “real” demands of society. At a time when Soviet Russia was facing enormous challenges connected with the reconstruction after the civil war and with the partial return to a market economy under the New Economic Policy (NEP), Kollontai's focus on domestic relationships and the status of women seemed narrow and excessively private.
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Sarabando, Andreia. "“The dreadful mass neighbourhood of objects” in the fiction of Janet Frame." Journal of Postcolonial Writing 51, no. 5 (September 3, 2015): 603–14. http://dx.doi.org/10.1080/17449855.2015.1072888.
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Moss, Gemma. "To Work or Play? Junior Age Non‐fiction as Objects of Design." Reading 35, no. 3 (November 2001): 106–10. http://dx.doi.org/10.1111/1467-9345.00171.
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Soedjijono, Soedjijono, and Edy Susilo. "A Prose Fiction Theory Of Javanese Literature Based on Folktales." ATAVISME 17, no. 1 (June 30, 2014): 41–54. http://dx.doi.org/10.24257/atavisme.v17i1.18.41-54.
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his study aims to build the theory of prose fiction of Javanese literature based on the study of folktale as a first step towards the development of the study of native literature. This study’s objects are ten pieces of folktale, consisting of 93 story’s episodes, which were published in Panjebar Semangat magazine between 2006-2010. This study uses structural‐phenomenological-hermeneutic approach, by applying phenomenological reduction, eidetic reduction, and transcendental reduction. The results of phenomenological reduction are nine elements of the work: author, a title of the story, special object, language, setting, character, emotional event, plot, and idea. The results of eidetic reduction are opposition rule, internal relation rule, and external relation rule. The results of transcendental reduction are the values of holiness, truth, and kindness. his study aims to build the theory of prose fiction of Javanese literature based on the study of folktale as a first step towards the development of the study of native literature. This study’s objects are ten pieces of folktale, consisting of 93 story’s episodes, which were published in Panjebar Semangat magazine between 2006-2010. This study uses structural‐phenomenological‐hermeneutic approach, by applying phenomenological reduction, eidetic reduction, and transcendental reduction. The results of phenomenological reduction are nine elements of the work: author, a title of a story, special object, language, setting, character, emotional event, plot, and idea. The results of eidetic reduction are opposition rule, internal relation rule, and external relation rule. The results of transcendental reduction are the values of holiness, truth, and kindness.
Abstrak:
Penelitian ini bertujuan untuk membangun teori prosa fiksi sastra Jawa berbasis pada kajian cerita rakyat sebagai langkah pertama menuju pengembangan studi sastra kepribumian. Penelitian ini menggunakan objek kajian sepuluh buah cerita rakyat, terdiri atas 93 episode cerita, yang dimuat di majalah Panjebar Semangat antara tahun 2006-2010. Penelitian ini menggunakan pendekatan analisis struktura‐fenomenologis-hermeneutik, dengan menerapkan reduksi fenomenologis, reduksi eidetis, dan reduksi transendental. Hasil dari reduksi fenomenologis adalah sembilan unsur karya: pengarang, judul cerita, objek khusus, bahasa, latar cerita, tokoh cerita, peristiwa emosional, alur cerita, dan gagasan. Hasil dari reduksi eidetis adalah kaidah oposisi, kaidah relasi internal, dan kaidah relasi eksternal. Hasil dari reduksi transendental adalah nilai kekudusan, nilai kebenaran, dan nilai kebaikan.
Kata-Kata Kunci: teori prosa fiksi sastra Jawa; cerita rakyat; pendekatan struktural-fenomeno logis-hermeneutik