Bibliografías temáticas / Comets – Fiction

Literatura académica sobre el tema "Comets – Fiction"

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Publicado: 25 de julio de 2024
Última modificación: 26 de julio de 2024

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Artículos de revistas sobre el tema "Comets – Fiction"

1

Wimalasena, Yashvi, Jeremy Windsor y Mark Edsell. "Using Ultrasound Lung Comets in the Diagnosis of High Altitude Pulmonary Edema: Fact or Fiction?" Wilderness & Environmental Medicine 24, n.º 2 (junio de 2013): 159–64. http://dx.doi.org/10.1016/j.wem.2012.10.005.

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Zolyan, Suren. "What Is Unreliable in Fiction and Where It Comes From". Epistemology & Philosophy of Science 59, n.º 2 (2022): 76–80. http://dx.doi.org/10.5840/eps202259224.

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Maier’s article recalls the idea of finding common ground between different points of view on the truth in fiction and the problem of reliability that it generates. However, the criteria by which it is possible to determine the characteristics of the reliability or unreliability in the artistic narrative are unclear. A naive-realistic approach leads to contradictions. We propose to proceed from the already established approaches to the problem of “truth in fiction”, and consider as determining for the modal pragmasemantics of narrative the concept of narrator bifurcated between the actual and fictional worlds.
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3

Аnchishina, E. A. "THE ROLE OF LEGAL FICTIONS IN MODERN LAW ENFORCEMENT PRACTICE". Bulletin of Udmurt University. Series Economics and Law 30, n.º 5 (12 de noviembre de 2020): 697–705. http://dx.doi.org/10.35634/2412-9593-2020-30-5-697-705.

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This article is devoted to defining the role of legal fictions in modern law enforcement practice. To do this, the author reveals the content of this category, paying attention to the absence of the need to consider fiction as something false and contrary to objective reality. Further, the author defines the meaning of legal fictions, conducting a detailed analysis of their main functions on the example of the civil legislation of the Russian Federation and the corresponding law enforcement practice. At the same time, its practical aspect is mainly studied. The main attention is paid to the protective function of legal fiction, the essence of which, as the author shows, is to restore violated rights and establish a balance of interests of the parties to the legal relationship, as well as to protect the rights of third parties. The features of this function are considered on the examples of the following fictions: fiction of the occurrence of a condition or non-occurrence of a condition; fiction of the presence of powers; fiction of non-conclusion of a contract. The author comes to the conclusion that fiction as a method of legal technique is used not only by the legislator, but also finds independent application in practice, which is reflected in the explanations of higher courts considered in this article.
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Weinert, Friedel. "Hypothetical, not Fictional Worlds". Kairos. Journal of Philosophy & Science 17, n.º 1 (1 de diciembre de 2016): 110–36. http://dx.doi.org/10.1515/kjps-2016-0019.

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Abstract This paper critically analyzes the fiction-view of scientific modeling, which exploits presumed analogies between literary fiction and model building in science. The basic idea is that in both fiction and scientific modeling fictional worlds are created. The paper argues that the fiction-view comes closest to certain scientific thought experiments, especially those involving demons in science and to literary movements like naturalism. But the paper concludes that the dissimilarities prevail over the similarities. The fiction-view fails to do justice to the plurality of model types used in science; it fails to realize that a function like idealization only makes sense in science because models, unlike works of fiction, can be de-idealized; it fails to distinguish sufficiently between the make-believe (fictional) worlds created in fiction and the hypothetical (as-if) worlds envisaged in models. Representation characterized in the fiction-view as a license to draw inferences does not sufficiently distinguish between inferences in fiction from inferences in scientific modeling. To highlight the contrast the paper proposes to explicate representation in terms of satisfaction of constraints.
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Castelli, Alberto y Jiang Huiyu 蒋惠聿. "THE VOICE OF FRENCH REALISM IN YU HUA’S AND SU TONG’S FICTION". Folia linguistica et litteraria XII, n.º 36 (septiembre de 2021): 103–20. http://dx.doi.org/10.31902/fll.36.2021.7.

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Chinese postmodern literature, or post-Mao fiction, comes with disillusionment among the intellectuals and cynicism among the fictional characters. According to this line of thinking, narrative enters a theoretical discourse that leaves aside the former ideological imprint and moves within the frame of realism. As in the experience of the nineteenth century French realism, Su Tong’s and Yu Hua’s fiction describe a process of Bildungsroman that is never accomplished. A crude Darwinian weltanschauung seems to be the key to understanding.
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6

Brauneis, Adrian. "Fiktive Tatsachen, ihre Relativität und deren Angabe". Scientia Poetica 24, n.º 1 (1 de noviembre de 2020): 133–72. http://dx.doi.org/10.1515/scipo-2020-005.

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AbstractThe present article is concerned with the term realism. It develops an argument to distinguish between two different types: epistemically reflexive and non-reflexive realism. Wherever a fiction prompts its readers to distinguish between speaker-utterances from utterances not tied to a fictive character realism of the epistemically non-reflexive variety is at hand. Such a fiction posits a reality not to be reduced to the conceptual scheme of its fictive inhabitants. Realism of the epistemically reflexive sort indicates the relativity of the very conceptual fabric by which utterances not tied to a fictive entity give access to a fictive reality. In such a game of make believe there is, ontologically speaking, no room for the conjecture of a reality providing its fictive inhabitants as well as its non-fictive interpreters with concepts to name things as they are in themselves. How this comes to pass is shown by making use of Roland Barthes’ famous term ›reality effect‹ and subsequently illustrated by using the example of Franz Innerhofer’s novel Schöne Tage (Beautiful Days, 1975). The main argument is framed by a discussion of 19th century literary realism, on the one hand, and some concluding remarks on the potential cognitive benefits of epistemically reflexive realism, on the other hand. Whereas epistemically non-reflexive realism is a part of the family resemblance of a large portion of 19th century narrative fiction, so-called poetic realism is, according to the present article, to be considered as epistemically reflexive realism. Finally, it is argued that whenever a fiction, so to speak, loosens the connection between a fictive reality and certain concepts by suggesting the conceptual relativity of its own prescriptions to imagine certain things as fictionally true readers might be all the more willing to transfer those very same concepts into their own world.
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7

De Roest, Karla. "Maak een vuist als je geen hand hebt. Inclusiviteit in (pre)historische jeugdromans". Paleo-aktueel, n.º 33 (16 de julio de 2024): 39–48. http://dx.doi.org/10.21827/pa.33.39-48.

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The one-handed hero: Inclusiveness in historical fiction for childrenHaving grown up with a sister in a wheelchair meant that I took this normalcy into the fictional world of the past. So when I crossed paths with Drem in Rosemary Sutcliff’s 1958 novel Warrior Scarlet, he was to me just a boy with one functional arm. It was not until much later that I realised he was one of the very few protagonists in historical fiction with a disability. A lack of inclusiveness is problematic, first, when it comes to readers identifying with the physical condition of the hero(ine) and, second, because, from an archaeological perspective, the proportion of healthy people in historical fiction seems improbably high, while the representation of people with a disability is often stereotyped. Maybe archaeologists should provide authors of historical fiction with a more informed description of the past.
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8

Haley, Madigan. "On Gathering: Or, The Birth of Global Fiction from the Spirit of Tragedy". Novel 53, n.º 1 (1 de mayo de 2020): 76–95. http://dx.doi.org/10.1215/00295132-8139339.

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Abstract This article examines how certain works of global fiction have conceived of their ethical and political agency through the form and act of gathering. Discussions of the global novel's relationship to collective life have often adapted the ideas of Benedict Anderson in order to suggest that contemporary fiction extends “imagined community” from the nation to the globe. Yet political theorists such as Wendy Brown have shown how global economic integration under neoliberalism comes at the price of national social disintegration. In search of a collective imaginary outside the terms of global integration and nationalist resurgence, this article looks to the 1930s (rather than 1990s) as an origin point for global fiction, finding in “British” works attuned to the disintegration of the liberal world-system a model of fiction's agency relevant for neoliberal times. Works by Mulk Raj Anand, Virginia Woolf, and, later, Zadie Smith respond to social and political disintegration by insisting upon fiction's capacity to gather together a disparate audience; and they suggest how gatherings afford an unbounded, eventual, and non-sovereign arrangement of collective life within the ruins of global modernity.
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9

YALÇIN, Çağrı y Elif ÖZDOĞLAR. "ARCHITECTURAL ANALYSIS OF THE DUNE MOVIES". SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, n.º 36 (15 de marzo de 2023): 221–36. http://dx.doi.org/10.31567/ssd.870.

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When the works of science fiction cinema from the past to the present are examined, space designs that are often designed inspired by architectural movements and designed in accordance with the targeted time period of production are seen. If it is not possible to produce all or some part of these space designs technologically in today's conditions, it is defined as fictional space design. In line with the technological developments and innovations experienced since the first emergence of cinema, fictional space designs continue the process of evolution. It can be seen that one of the biggest factors that has accelerated the evolutionary processes of science fiction and fictional space since the first examples is its interaction with art movements. When science fiction is mentioned, the first thing that comes to mind is the future, advances in technology, a future society developed from existing paradigms. Sci-Fi is usually depicted in a way that makes a statement about current issues related to the future, society, the environment, politics, economics and religion, or questions them with the problems posed by the progress of science in various fields. The art and architectural movement inspired by a cinema work can be seen in all product and space designs within the scope of the film. By showing diversity most of the time, it incorporates style and design approaches from different architectural movements and offers an eclectic aesthetic integrity to the audience. For example, in the works of science fiction cinema, within the fiction of the same planet, living in the same time zone or different from each other, which belong to the same race or species, socio-cultural and Economic, the political administration of the societies differ from each other according to geographical and spatial designs-a lot of and it can be seen in production. One of the most important examples is the Dune productions. In this research, architectural analyses of Dune films in terms of fictional space will be performed.
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10

Svoboda, Manuela y Petra Zagar-Sostaric. "How much Artistic Freedom is permitted when it comes to Language? - Analysis of a Crime Novel". European Journal of Social Science Education and Research 5, n.º 2 (1 de agosto de 2018): 50–60. http://dx.doi.org/10.2478/ejser-2018-0033.

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Abstract In this article a closer look will be taken at the issue of inaccurately using a foreign language, i.e. German in this particular case, in a crime novel or thriller. Of course, in fiction the author has complete artistic freedom to invent and present things as he/she intends and it doesn`t necessarily have to be realistic or legitimate. But what happens when it comes to an existing language being quoted in fiction? For this purpose David Thomas’ thriller “Blood Relative - How well do you know the one you love?” is analysed regarding parts in which German quotes are used. As the plot is located partly in England and partly in former East Germany (GDR) and the protagonist’s wife is of German origin, direct speech, titles and names are used in German. Subsequently, they are translated into English by the author in order to be understood by the English reader. However, there are many grammar, spelling and semantic mistakes in these German expressions and common small talk quotes. This begs the question, is it justified to disregard linguistic correctness with regards to artistic freedom given the fact that we are dealing with a fictional thriller, or is it nevertheless necessary to be precise concerning foreign language usage? How far may one “test” their artistic freedom in this particular case? In order to answer these questions a detailed analysis of the thriller is performed, concerning artistic freedom and modern literature/light fiction as well as the German language used in quotes and direct speech.
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Tesis sobre el tema "Comets – Fiction"

1

Podeschi, Mario. "What comes next /". View online, 2008. http://repository.eiu.edu/theses/docs/32211131428176.pdf.

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2

Cabrera, Remberto. "Love comes in at the eye". FIU Digital Commons, 1998. http://digitalcommons.fiu.edu/etd/1958.

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LOVE COMES IN AT THE EYE relates the story of Marshall Craig, a Midwesterner transplanted to South Florida who turns 35 in the course of the book. Marshall is an assistant curator for a Miami art museum, a man who has been obsessed with--as he calls it--a greed for seeing from a young age. His fascination with the surface of appearance of things is exacerbated by his precocious studies in art and its histories. Marshall views himself as marked by his red hair and freckled skin, as someone whose chances of attracting a partner into a meaningful relationship have been diminished by his looks. He is colored by his image of himself as unattractive and most importantly, convinced that his romantic life would be more successful, more vibrant, if he'd been graced with the face and figure of, say, a Velazquez. When Marshall meets a Cuban-born man from Atlanta, he is transfixed by the conviction that this is the man the universe has selected for him. The thrust of the story goes beyond boy-meets/loses/gets-boy to an exploration of said boy coming to terms with his definition of self. In a pivotal span of six months, the book explores Marshall's obsessions with seeing and how they define his vision of reality, the emphasis placed on beauty in gay culture, the tentative beginnings of a relationship as it takes root and grows, and finally, the inexplicable, magical forces that direct our romantic destinies.
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3

Grimm, Gunter E. "Kometenforschung zwischen Aberglauben und Science-fiction - Comet research between superstition and science fiction". Gerhard-Mercator-Universitaet Duisburg, 2002. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-08162002-150835/.

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Cho, Victoria. "Trouble Comes From the Mouth". ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2237.

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Bond, John A. "Reconcilable differences, a dark comedy". FIU Digital Commons, 2001. http://digitalcommons.fiu.edu/etd/1731.

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Reconcilable Differences is the story of Miami radio host Adam Painter. Confused about relationships, Adam cancels his wedding and, under the guidance of his bad-boy best friend, delves into the demi-monde inhabited by strippers and hookers. On the air he begins to examine how men and women interact. Adam explores the night world, moving from a connection with its denizens through his talk show to direct experience of its license and loneliness. He fails miserably in his clumsy efforts with women and is fired, sued and arrested. An unlikely, unwilling rebel, Adam confronts change and stumbles almost truculently toward self-discovery. This picaresque novel is told in the third person closely attached to the protagonist. The time scheme covers a thirteen-week radio ratings period. The story encompasses the worlds of radio and the sex industry, using South Florida settings to re-inforce character, plot and theme.
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6

Vincent-Comte, Sandra Varinard André. "Le principe de la responsabilité pénale personnelle réalité ou fiction? /". Lyon : Université Lyon3, 2005. http://thesesbrain.univ-lyon3.fr/sdx/theses/lyon3/2005/comte_s.

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Kurtz, Matthew B. "What Comes After the Blues". Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619717430532435.

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Gilder, John M. "The First Rule of Improv". ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2607.

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The First Rule of Improv is a collection of fictional short stories concerned with loss, life’s unfairness, the weight of the past, and how people succeed or fail in coping. Each story explores these notions through its characters, who vary wildly in terms of both dramatic severity and success in the face of adversity, with the first rule of improv—to accept and build—being suggested by the author as the healthiest manner of approach, if not necessarily the easiest.
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9

SEGATO, GIULIO. "THE AMERICAN COMEDY. TEMI, INNOVAZIONI E TEOLOGIA NELL'OPERA DI ELMORE LEONARD". Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/45734.

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Il giudizio di molti critici e biografi nei confronti di Elmore Leonard è stato tanto positivo quanto un po’ superficiale: è uno dei più validi scrittori di crime fiction americani grazie alla sua particolare ‘prosa cinematografica’ e al suo orecchio per i dialoghi dei personaggi. Credo che invece nelle narrazioni di Leonard ci siano molti altri aspetti degni d’interesse che il mio lavoro cercherà di indagare. Prima di scrivere ‘romanzi del crimine’ (dal 1969, con la pubblicazione di The Big Bounce) Leonard si era specializzato in racconti e romanzi western con cui sperimentò la sua distintiva tecnica narrativa basta sul discorso indiretto libero e altre innovazioni tematiche. Questa tesi esamina principalmente tre caratteristiche fondamentali dell’opera di Leonard. Anzitutto, nei suoi libri non c’è mai una vera e propria indagine. I lettori sanno già dalle prime pagine chi è il colpevole del crimine e il detective stesso lo scopre poco dopo. Tuttavia, l’eroe non riesce ad arrestare il responsabile a causa di continui impedimenti burocratici. La ricerca delle prove necessarie a incastrare il delinquente si trasforma quindi in una sfida personale che metterà a dura prova l’eroe e la sua coscienza. La seconda caratteristica riguarda le scelte narratologiche dello scrittore, che ha sviluppato un uso singolare del punto di vista. Leonard racconta le sue storie attraverso un narratore onnisciente in terza persona, solo apparentemente neutrale. In realtà, il punto di vista della narrazione continua spostarsi durante la storia, per cui ogni capitolo può essere narrato dal punto di vista di ogni personaggio (anche di un morto, come avviene in Glitz). La scelta di usare un particolare punto di vista non è solo una mera faccenda tecnica ma è anche e soprattutto una questione morale, che rende i libri di Leonard piuttosto disturbanti per il lettore attento. Infine, Leonard, che ha avuto un’educazione cattolica, tende a nascondere dilemmi teologici nelle intercapedini delle sue storie grottesche. Ad esempio, nei suoi romanzi la violenza non è mai la soluzione più giusta – non si configura una violenza necessaria – per cui i suoi eroi preferiscono dialogare con i criminali, o abbandonare la scena, piuttosto che sparare.
Critics and biographers have summarized Elmore Leonard’s work too easily: he was one of the best crime novels writers in America because of his “cinematic” prose and his unerring ear for the voices of the characters. I think there are much more issues in Leonard’s narratives, so my thesis is focused on investigating other distinctive traits of his novels. Leonard actually wrote westerns for many years before first trying his hand at crime fiction (in The Big Bounce 1969), the genre that gave him great fame. My thesis basically examines three distinguishing features. First, in Leonard’s books there is almost never any process of detection. Readers generally know from the very beginning who the murderer is, and in many cases the detective finds out soon after, but he is always prevented from arresting or killing him at once. What prolongs his pursuit is generally not a process of investigation but rather a frustrating combination of legal procedural constraints that are often portrayed as arbitrary, and the killer’s own animal willingness and absurd good luck. Secondly, Leonard, in his narrative, develops a very distinctive point of view. The writer always tells his stories from the omniscient point of view in the third person, only apparently neutral. In Leonard’s novels any chapter can be narrated from the perspective of any character (even a murder victim as in Glitz). This issue is not only a technical problem, it is a moral one, who makes Leonard’s novels disturbing to the reader. Finally Leonard, who had a catholic education and a deep knowledge of the Bible, hides theological issues in his grotesque crime stories. For example, in his novels violence is never the right solution, never necessary, as his heroes prefer talking with the villain or leaving, instead of shooting him.
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10

SEGATO, GIULIO. "THE AMERICAN COMEDY. TEMI, INNOVAZIONI E TEOLOGIA NELL'OPERA DI ELMORE LEONARD". Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/45734.

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Il giudizio di molti critici e biografi nei confronti di Elmore Leonard è stato tanto positivo quanto un po’ superficiale: è uno dei più validi scrittori di crime fiction americani grazie alla sua particolare ‘prosa cinematografica’ e al suo orecchio per i dialoghi dei personaggi. Credo che invece nelle narrazioni di Leonard ci siano molti altri aspetti degni d’interesse che il mio lavoro cercherà di indagare. Prima di scrivere ‘romanzi del crimine’ (dal 1969, con la pubblicazione di The Big Bounce) Leonard si era specializzato in racconti e romanzi western con cui sperimentò la sua distintiva tecnica narrativa basta sul discorso indiretto libero e altre innovazioni tematiche. Questa tesi esamina principalmente tre caratteristiche fondamentali dell’opera di Leonard. Anzitutto, nei suoi libri non c’è mai una vera e propria indagine. I lettori sanno già dalle prime pagine chi è il colpevole del crimine e il detective stesso lo scopre poco dopo. Tuttavia, l’eroe non riesce ad arrestare il responsabile a causa di continui impedimenti burocratici. La ricerca delle prove necessarie a incastrare il delinquente si trasforma quindi in una sfida personale che metterà a dura prova l’eroe e la sua coscienza. La seconda caratteristica riguarda le scelte narratologiche dello scrittore, che ha sviluppato un uso singolare del punto di vista. Leonard racconta le sue storie attraverso un narratore onnisciente in terza persona, solo apparentemente neutrale. In realtà, il punto di vista della narrazione continua spostarsi durante la storia, per cui ogni capitolo può essere narrato dal punto di vista di ogni personaggio (anche di un morto, come avviene in Glitz). La scelta di usare un particolare punto di vista non è solo una mera faccenda tecnica ma è anche e soprattutto una questione morale, che rende i libri di Leonard piuttosto disturbanti per il lettore attento. Infine, Leonard, che ha avuto un’educazione cattolica, tende a nascondere dilemmi teologici nelle intercapedini delle sue storie grottesche. Ad esempio, nei suoi romanzi la violenza non è mai la soluzione più giusta – non si configura una violenza necessaria – per cui i suoi eroi preferiscono dialogare con i criminali, o abbandonare la scena, piuttosto che sparare.
Critics and biographers have summarized Elmore Leonard’s work too easily: he was one of the best crime novels writers in America because of his “cinematic” prose and his unerring ear for the voices of the characters. I think there are much more issues in Leonard’s narratives, so my thesis is focused on investigating other distinctive traits of his novels. Leonard actually wrote westerns for many years before first trying his hand at crime fiction (in The Big Bounce 1969), the genre that gave him great fame. My thesis basically examines three distinguishing features. First, in Leonard’s books there is almost never any process of detection. Readers generally know from the very beginning who the murderer is, and in many cases the detective finds out soon after, but he is always prevented from arresting or killing him at once. What prolongs his pursuit is generally not a process of investigation but rather a frustrating combination of legal procedural constraints that are often portrayed as arbitrary, and the killer’s own animal willingness and absurd good luck. Secondly, Leonard, in his narrative, develops a very distinctive point of view. The writer always tells his stories from the omniscient point of view in the third person, only apparently neutral. In Leonard’s novels any chapter can be narrated from the perspective of any character (even a murder victim as in Glitz). This issue is not only a technical problem, it is a moral one, who makes Leonard’s novels disturbing to the reader. Finally Leonard, who had a catholic education and a deep knowledge of the Bible, hides theological issues in his grotesque crime stories. For example, in his novels violence is never the right solution, never necessary, as his heroes prefer talking with the villain or leaving, instead of shooting him.
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Libros sobre el tema "Comets – Fiction"

1

Tamar, Erika. Venus and the Comets. Plain City, OH: Darby Creek Pub., 2003.

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2

ill, Lanino Deborah, ed. Maria's comet. New York: Atheneum Books for Young Readers, 1999.

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3

Somtow, S. P. Do Comets Dream?: Star Trek: The Next Generation. New York: Pocket Books, 2003.

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4

Baillie, M. G. L. Exodus to Arthur: Catastrophic encounters with comets. London: B.T. Batsford, 1999.

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5

Perritano, John. The comet of doom. Minneapolis, Minnesota: Calico, an imprint of Magic Wagon, 2015.

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6

Forest, John. The piper of the stars: A story for children. London: NdA Press, 1986.

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7

Vega, L. Eduardo. Comet dis'aster: (Latin, "dis," evil; Greek, "astron," star) : a novel. Oakland, CA: Regent Press, 2000.

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8

Jansson, Tove. Comet in Moominland. London: Black, 1986.

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9

Jansson, Tove. Comet in Moominland. New York: Farrar Straus Giroux, 1990.

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10

Wallace, Karen. The comet of doom: A thrilling tale from the time of Montezuma. London: A. & C. Black, 2009.

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Capítulos de libros sobre el tema "Comets – Fiction"

1

Morin, Olivier, Alberto Acerbi y Oleg Sobchuk. "Perché si muore nei romanzi: l’ipotesi della simulazione dell’ordalia". En La narrazione come incontro, 59–80. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-215-0045-5.06.

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What is fiction about, and what is it good for? An influential family of theories sees fiction as rooted in adaptive simulation mechanisms. In this view, our propensity to create and enjoy narrative fictions was selected and maintained due to the training that we get from mentally simulating situations relevant to our survival and reproduction. We put forward and test a precise version of this claim, the “ordeal simulation hypothesis”. It states that fictional narrative primarily simulates “ordeals”: situations where a person’s reaction might dramatically improve or decrease her fitness, such as deadly aggressions, or decisions on long-term matrimonial commitments. We study mortality in fictional and non-fictional texts as a partial test for this view. Based on an analysis of 744 extensive summaries of twentieth century American novels of various genres, we show that the odds of dying (in a given year) are vastly exaggerated in fiction compared to reality, but specifically more exaggerated for homicides as compared to suicides, accidents, war-related, or natural deaths. This evidence supports the ordeal simulation hypothesis but is also compatible with other accounts.
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Ribke, Nahuel. "Bilingual Comedy Series". En Multilingual Fiction Series, 58–85. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003378112-4.

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Davies, Dominic. "Intolerable fictions". En Comics and Migration, 257–70. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003254621-18.

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Marsh, Huw. "Comedy". En The Routledge Companion to Twenty-First Century Literary Fiction, 67–79. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge companions to literature series: Routledge, 2019. http://dx.doi.org/10.4324/9781315880235-7.

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Trommer, Ralph. "Phantastische Comics — Science-Fiction, Fantasy, Horror". En Comics und Graphic Novels, 212–32. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05443-2_12.

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Tredell, Nicolas. "That Comes at Night: The Information (1995)". En The Fiction of Martin Amis, 154–72. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-137-19344-5_10.

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Roman, Christopher Michael. "Queering Wolverine in Fan Fiction". En Queering Wolverine in Comics and Fanfiction, 58–79. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003222644-4.

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Hart, Jonathan. "Realism and Comedy". En Fictional and Historical Worlds, 133–48. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012647_9.

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Guignery, Vanessa. "When Horror Meets Comedy: Before She Met Me (1982)". En The Fiction of Julian Barnes, 17–27. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_3.

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Anderson, David S. "‘The Aliens from 2,000 B.C.!’: Truth, Fiction and Pseudoarchaeology in American Comic Books". En Comics and Archaeology, 21–48. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98919-4_2.

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Actas de conferencias sobre el tema "Comets – Fiction"

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ЦВИК, Ирина. "Forms of realization of the dialogue of cultures in a work of art". En Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p76-80.

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The article discusses the ways of implementing intercultural dialogue in fiction. The author analyzes the types of intertextual connections and the reasons for their use by the writer in the work. He comes to the conclusion that, firstly, the line of terms is not synonymous, and, secondly, intercultural dialogue is a means of expanding the meaning of the work, updating new meanings and interpretations.
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Popovic, Tanja. "Milorad Pavic’s Khazar Dictionaryas a Postmodern Comment on theHagiography of Saints Cyril and Methodius". En Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.24.

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Thеаim of this paper is to investigate the relationship between the texts of the Hagiography of Saint Cyril (Konstantin Philosopher) and the M. Pavich’s novel “Khazar Dictionary”. The focuses of this research are intertextuality (hypertext / hypothesis) and metatextuality (auto-referential comments), the philosophy of fi ction, the principle of complementarity and possible worlds. Erasing the boundaries between fiction and faction create a special kind of literary discourse, new semantic and formative functions of the text.
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Grimova, O. "BIOGRAPHICAL DISCOURSE IN THE STRUCTURE OF E.G. VODOLAZKIN’S NOVEL “CHAGIN”". En VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3720.rus_lit_20-21/175-178.

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The article is devoted to the consideration of the narrative organization of E.G. Vodolazkin’s novel “Chagin”, the features of the functioning of life-descriptive fragments in the structure of a text are explored. The work comprehends such features of biographical narratives as fragmentation, narrative mediation, subjective syncretism, and appeal to counterfactual biographicality. The researcher comes to the conclusion that the transformations of life-descriptive discursivity are associated with meanings that are important for the conceptual sphere of the novel, in particular, with the idea of fiction as a way to bring the life path built by a person as close as possible to the Divine plan for him.
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Hölzle, Université Grenoble 3, Dominique. "Le pouvoir des fictions dans les Lettres de la Marquise de M*** au Comte de R*** de Crébillon". En Crébillon, Lettres de la marquise de M*** au comte de R***. Fabula, 2011. http://dx.doi.org/10.58282/colloques.1399.

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Santos, Raiden, Paula Alexandra Silva, Waleed Zuberi y Philipp Jordan. "A Survey of Beliefs and Attitudes toward Artificial Intelligence — Practical Implications and Fictional Depictions". En AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004177.

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The relationship between science fiction (sci-fi) and Artificial Intelligence (AI) is a continuing topic of interest in academia and society, especially with the recent, rapid, real-world advances in AI research and application, most notably the emergence of generative chatbots (e.g. ChatGPT, Bard or Sydney). For this reason, we present a survey of an opportunistic sample and self-assessment of n=121 respondents regarding beliefs, perceptions, and impacts of AI as experienced in the real world, as well as depicted in sci-fi media. The results of our 17-item survey show that the majority of our respondents indicate a strong familiarity with the term AI and a lesser degree of acquaintance with AI-related technical terms and concepts (e.g., Neural Networks). In addition, participants express in a total of 255 qualitative comments a broad range of opinions and beliefs about ‘what AI is’ and ‘what AI will do’, describing AI at times as a 'marketing buzzword' and in other instances ‘as a tool to help humanity’. When asked if AI will either have an overall positive or negative impact on the respondents' lives, the majority (58%) comments that AI will indeed be overall beneficial, however, participants frequently express at the same time a contradicting view assessing both, the future opportunities and legitimate threats of AI.
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Kergoat, Marie. "Palimpseste de la fiction de fantasy : créer, interpréter et incarner les combats d’un univers de papier. Réflexions autour des Rois du monde (Jean-Philippe Jaworski)". En Variantes. La déclinaison des possibles comme objet de la recherche. Fabula, 2024. http://dx.doi.org/10.58282/colloques.12090.

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Kizhakkethil, Priya. "Information experience in a diaspora small world". En ISIC: the Information Behaviour Conference. University of Borås, Borås, Sweden, 2020. http://dx.doi.org/10.47989/irisic2022.

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Introduction. Leisure is considered important in the settlement and acculturation experiences of refugee and immigrant communities. Perceiving a gap in the literature which has taken a diaspora perspective, this on-going study looks at an online community converging around a leisure activity from a gender and diaspora standpoint, while looking to understand what would be experienced as information in that context. Method. Employing a qualitative research approach, data was obtained through semi-structured interviews with fourteen participants and also through the collecting of comments posted on fan fiction blogs. Analysis. Qualitative thematic analysis is being carried out using Nvivo software. Results. Early observations by way of themes lend credence to the importance of social context and point towards the role of meaning making in the information and document experience of the participants. Conclusions. Going beyond information seeking and problematic situations, adopting an experience approach can contribute towards conceptual and theoretical development in the field. The study also hopes to contribute towards literature that has looked at diaspora communities from a gender and leisure perspective.
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Sun, Liping, Zhiqiang Wan, Shangmao Ai y Jiaji Li. "Numerical Analysis of Gas Leakage Problem Based on Improved Gas Storage Vessel Leakage Model". En ASME 2016 35th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/omae2016-54142.

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The gas leakage accidents always lead to great damages in the process of off-shore oil and gas treatment, consisting of health, wealth and environment losses. When leakage happens, the leakage duration, leak amount and other corresponding parameters are very important on the topic of emergency reaction and decision. The leaking process is complex and cumbersome, so the solving of the leakage problem could be quite difficult. On this point view, a specific and direct solution is given to the leakage problem on the basis of the leakage theory in this paper. According to the improved gas storage vessel leakage model, the mathematical differential method and discretization method are conducted to calculate the result of gaseous container leakage of any kind, consisting of leakage duration, leak amount, residual amount of gas and the residual pressure in the container. There are two probable flowing state of gas during the leakage. So, there is a requirement for different solving methods and principles for gas leakage in different flowing states. There is also calculation for residual amount of gas and residual gas pressure in the container at any given time point. The MATLAB program language is conducted to design the specific computing program and finish the GUI achievement of the program according to the fixed calculative methods and parameters concerned. Carry out the calculation of a fictive leakage problem with the designed MATLAB program, and get the result. It shows that the computing program comes to good leakage result, and the program can also result in acceptable outcome at any chosen time point on the issue of calculating residual amount and residual pressure of gas in the container. The computing program can solve the leakage problem veritably to some degree.
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Süyük Makakli, Elif y Ebru Yücesan. "Spatial Experience Of Physical And Virtual Space". En SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.jrvm8060.

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Abstract Fictional spaces produced with multidisciplinary research using improving technologiescreate settings that provoke new questions and have diff erent answers. This comes about bybroadening the horizons in virtual space studies, space concept, design, and experience. Evaluatingvirtual space as a layer of reality represents architectural space that belongs to the physical world.The principal factors that form the physicality of a space, its shape and content, are related tocultural, public, societal, perceptual, and intellectual codes. The space concept can be explained asa physical concept. In the sense of human interaction with space, the feelings it elicits, perceptualfactors, both in the subjective and abstract dimensions, that can be described as feelings, and 3Dphysicality. Spaces designed and produced for human use can be perceived diff erently and meanother things to diff erent people through human–space interactions. Perceiving, interpreting, anddescribing a space is a complex process that can only occur by experiencing it.Although virtual reality emerged as a simulation of physical space, there are increasing attempts toform an emotional and physical connection to such spaces today. New technologies used to createnew spaces and descriptions such as virtual reality, virtual space, cyberspace, and hybrid space arearticulated as new layers within the spatial memory accumulated to date.Virtual reality technologies, which can be explained as an interface between humans and machinesand describe diff erent life systems, give one the feeling of being in another space. Although thesespaces are virtual, they can be related to the space concept as they can be experienced and give thefeeling of being somewhere. These settings, which present multi-dimensional spatial experiences bytaking humans into a digital reality, are created using computer support and are experienced usingvarious electronic tools. These settings in which human and machine, organic and non-organicentities meet are also crucial in design education as they improve creative processes related to thefuture, machine-human interaction, and the space concept and its formation.As virtuality beingevaluated as a layer of reality becomes a representation of architectural space that belongs to thephysical world, it also has the potential to approach space design in a new way.It has the potential to aff ect and improve the perception of creating space and deliver spatialsolutions, understand new living conditions, and discover the future by responding to technologicalimprovements.Virtual reality creates a personal space experience that diff racts space and time—improvingtechnologies set these spaces, which simulate reality, as a layer of fact, a refl ection or representation.The cyber and virtual experiences that have emerged in new media spaces have reduced space’sdependency on the physical world through the integration of improving technologies and art. ‘SALT Research’ within Salt Galata, a monumental building in Galata-İstanbul, and ‘Virtual Archive’, a media art project by Refik Anadol that questions the virtual-digital space concept, were chosen as experience spaces. It was emphasized that there are holistic composition differences between spaces due to the current physical space experience that composes the infrastructure of the study and virtual space. It is composed of different elements and is perceived just like real space. The dataset includes a detailed assessment of two different spaces with similar contexts and contains the physical and virtual space analysis through syntactic, semantic and pragmatic scales. Volunteer participants emphasized the differences in holistic composition between the two spaces. They noted that the virtual space differs from the physical space and is composed of different elements and that the user has the perception of belonging just like in a physical space.The physical space, SALT Research, was evaluated as satisfactory and high-quality in terms of aesthetics and equipment. Phrases used to describe it were neat, high spaces, comfort, spaciousness, light, dark areas, tranquillity, silence, acoustic balance, harmony, historical, gripping, transformation, aesthetic and functional, and plain. In contrast, participants saw the Virtual Archive is a new, exciting, different, and innovative experience. The bodily freedom of the virtual space experience was described as optimistic. Through a brief understanding of the space, they overcame the difficulties of physical existence that arose when accessing information in this new environment.Fictional space produced with a multidisciplinary study using improving technologies creates settings where new questions are asked, and different answers are made, broadening the horizons in virtual space studies, space concept, design, and experience. Virtuality being evaluated as a layer of reality represents architectural space that belongs to the physical world.Virtual reality technology changes and influences our time, dimension, and architectural perceptions, the modes of expression and interaction models in art and architecture by taking us into a different universe experienced spiritually and mentally in new space creations.The space experience through the journey of interpretation and understanding of space and architecture tells different things for each person on each occasion. Perceiving space through the physical space experience and active senses via intellectual feedback also affects virtual reality interactions.Different disciplines examine the machine, human, space, and future relations in an interdisciplinary environment. Different designs’ varieties and opportunities have a place in architecture and interior architecture. In the future, the integration of physical space, virtual space, and machine intelligence into space design and design education and the role and effect of the designer will continue to be discussed.Today, new representation environments present new evolutions that improve, evaluate, and interpret spatial ideas. Despite changing technologies, humans must exist somewhere, and existence is related to our sensory, emotional, and memorial creations. In this sense, the place of humans and designers will continue to be questioned in the new spaces created. Keywords: Patrik Schumacher, ethics, ethical paradigms in architecture, humanitarian architecture, architectural media platforms.
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Informes sobre el tema "Comets – Fiction"

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Poussart, Denis. Le métavers : autopsie d’un fantasme Réflexion sur les limites techniques d’une réalité synthétisée, virtualisée et socialisée. Observatoire international sur les impacts sociétaux de l’intelligence artificielle et du numérique, febrero de 2024. http://dx.doi.org/10.61737/sgkp7833.

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Lorsque Neal Stephenson a introduit le terme « métavers » dans son roman de science-fiction Snow Crash, en 1992, il était loin de se douter que le mot allait susciter autant de discussions. La notion d’une réalité d’un type nouveau, qui serait synthétisée, puis virtualisée et librement socialisée, est fascinante par ce qu’elle exigerait aux plans scientifique et technique. Fascinante surtout par ses retombées éventuelles aux niveaux culturel et social, y compris de nature éthique (qui ne sont pas abordées ici). Ce texte rappelle brièvement l’origine du concept avant de se consacrer à ses requis et défis techniques, abordés en l’examinant comme un système avancé d’information et communication. Le métavers revêt une complexité inédite alors que les capacités cognitives de l’humain et de la machine sont appelées à se fusionner avec synergie. L’analyse – qui demeure succincte compte tenu du format d’un article court – permettra de comprendre comment et pourquoi le métavers, dans la mouture originale proposée par Stephenson, demeure une utopie. Mais aussi comment l’élimination de certains requis peut permettre d’en retenir une saveur intéressante, laquelle apparait déjà dans une multitude d’applications.
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Estrada, Jorge. Ruthless Desires of Living Together in Roberto Bolaño’s 2666: Conviviality between Potestas and Potentia. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, marzo de 2022. http://dx.doi.org/10.46877/estrada.2022.42.

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A desire to live together is perhaps a key idea in Roberto Bolaño’s narratives. His characters are constantly negotiating their involvement in diverse societies amid the historical catastrophes of the twentieth century, so this desire becomes highly differentiated. It undergoes perspectival shifts and creates “mirror games”, which express scepticism towards universalising forms and trigger reflections on history and modernity. In this working paper, I examine how, in 2666, the cosmopolitan desire of a self-legislating and self-authorizing individual is disassembled and superseded by a convivial framework and a relational subject that is crossed by diverse determining forces. This transition is correlated to Bolaño’s diagnosis of late capitalism, in which a matrix of domination that worked with the logic of potestas is replaced by the channelling of potentia, i.e. an apparatus for capturing a flow of lives whose features only come to light in forensic discourse and project the fictional city of Santa Teresa.
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