Literatura académica sobre el tema "Worlds of fiction"
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Artículos de revistas sobre el tema "Worlds of fiction":
1
POPA, Alexandru. "Fiktion´ und Fiktionen. Einige Beobachtungen zu terminologischen und sachlichen Unklarheiten in literaturtheoretischem und -wissenschaftlichem Kontext". Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (enero de 2022): 27–38. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.2.
Resumen
The following article discusses some issues regarding the use of the terms ‘fiction’, ‘fictionality’, ‘fictive’ and ‘fictional’ with regard to fictions and fictional expressions or texts. The main concern of this text is to indicate the fact, that ‘fiction’ and fictions are used and treated with a certain amount of ambiguity. It is the case when literature and literary worlds are discussed both in a general context and in scholarly treatment of these issues. Relevant terminological distinctions exist. Still, their use to name their corresponding referents lacks a certain consequence.
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Urian, Adriana Diana. "Narrative Language and Possible Worlds in Postmodern Fiction. A Borderline Study of Ian McEwan’s The Child in Time". Studia Universitatis Babeș-Bolyai Philologia 66, n.º 3 (20 de septiembre de 2021): 247–64. http://dx.doi.org/10.24193/subbphilo.2021.3.16.
Resumen
"Narrative Language and Possible Worlds in Postmodern Fiction. A Borderline Study of Ian McEwan’s The Child in Time. The present paper is a study of more traditional hermeneutics combined with a tinge of possible world modality, with the purpose of creating a thorough picture of narrative worlds and balancing it against the possible world system, with practical applications onto postmodern fiction, in Ian McEwan’s novel The Child in Time. The article focuses on exposing narrative language, worlds and characters, viewing them through Seymour Chatman’s perspective and slightly counterbalancing this approach with the possible world semantics system (as envisioned by Kripke, Lewis, Nolan, Putnam) for a diverse understanding of the inner structure and functioning of narrative text and fictional worlds. Keywords: possible worlds, possible-world semantics, narrative worlds, fictional worlds, narrative language, fiction, postmodern fiction, fictional characters "
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Mikkonen, Kai. "Minimal Departure and Fictional Narrative Situations". Storyworlds: A Journal of Narrative Studies 13, n.º 2 (diciembre de 2021): 71–96. http://dx.doi.org/10.1353/stw.2021.a925851.
Resumen
Abstract: Readers understand fictional worlds at least to some extent by drawing on background knowledge of their own world. Some theories of fiction, however, hold that such realistic expectations, or processes of naturalization, are the default attitude in experiencing fictions. Thus, what Marie-Laure Ryan has called the principle of minimal departure (MD) states that readers understand fictional worlds and their components by drawing on background knowledge of their own world, unless otherwise indicated. This article is a critical examination of the relevance of the principle of MD and a contextualization of other theoretical notions of readerly attitude, including Thomas Pavel's principles of maximal departure (MxD) and optimal departure (OD) and Kendall L. Walton's principle of charity, within the broader framework of fictional verisimilitude and believability. The question of relevance will be discussed in relation to the idea of the contract of fiction by which is meant the knowledge that one is reading fiction. The analytic sections of this article focus on the question of fictional narrative situation, which in Ryan's possible-worlds theory functions as the trademark of fiction—as narrators and narratees (or narrative audiences) are exempted from the operations of MD. The "impossible" narrative situations that serve as examples include Jorge Luis Borges's loosely autobiographical story "Funes el memorioso" (1942) and two nineteenth-century French fictions: Guy de Maupassant's short story "La nuit" (1887) and a passage from Émile Zola's roman à thèse, Lourdes (1894).
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Šešlak, Mirko Ž. "PHILIP K. DICK’S UBIK: A NATURAL POSSIBLE WORLD OF SCIENCE FICTION OR A SUPERNATURAL POSSIBLE WORLD OF FANTASY?" Lipar XXIV, n.º 82 (2023): 107–21. http://dx.doi.org/10.46793/lipar82.107s.
Resumen
The article aims to explore whether the text of Philip K. Dick’s Ubik constructs a natural (physi- cally possible) or a supernatural (physically impossible) fictional world. According to Darko Suvin, one of the fundamental traits of science fiction is that its texts construct natural, physically possible fictional worlds. Readers of science fiction have often complained of Ubik, regarding it a confusing work, riddled with supernatural impurities and a lack of precise explanations. The betrayal of these expectations often casts doubt on whether this novel is science-fictional or a work of fantasy. If we aim to determine whether the fictional world of Ubik belongs to the possible worlds of science fiction, the theoretical framework for such a task can be found in Lubomir Doležel’s possible worlds theory. To do this, we must analyze the alethic constraints of the given fictional world, for those narrative modalities govern the formation of the fic- tional world’s physical laws and determine what is possible, impossible and necessary within its boundaries. If our analysis shows that the alethic constraints present in Ubik are analogous to the physical laws of the real world, we will prove that this fictional world is physically pos- sible and therefore possesses one of the fundamental traits of science fiction, naturalness. If our analysis shows otherwise, the fictional world of Ubik can be relegated to the supernatural, physically impossible worlds of fantasy.
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Raghunath, Riyukta. "Possible worlds theory, accessibility relations, and counterfactual historical fiction". Journal of Literary Semantics 51, n.º 1 (1 de abril de 2022): 1–18. http://dx.doi.org/10.1515/jls-2022-2047.
Resumen
Abstract Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relations from logic to literary studies, distinguishes between four text types depending on the extent to which their fictional worlds can be seen as possible, probable, or impossible in the actual world. Developing Maître’s work, Ryan, Marie-Laure. 1991a. Possible worlds and accessibility relations: A semantic typology of fiction. Poetics Today 12. 553–576, c.f. Ryan, Marie-Laure. 1991b. Possible worlds, artificial intelligence, and narrative theory. Bloomington: Indiana University Press) creates a comprehensive taxonomy of accessibility relations that may be perceived between fictional worlds and the actual world. This includes assuming compatibility with the actual world in terms of physical laws, general truths, people, places, and entities. Using her taxonomy, she then offers a typology of 13 genres to show how fictional worlds created by different genres differ from each other. As it stands, Ryan’s typology does not contain the genre of counterfactual historical fiction, but similar genres such as science fiction and historical confabulation are included. In this article, specific examples from counterfactual historical fiction are analysed to show why it is problematic to place these texts within the genres of historical confabulation or science fiction. Furthermore, as I show, Ryan’s typological model also does not account for some of the characteristic features of the genre of counterfactual historical fiction and as such the model cannot account for all texts within the genre. To resolve this issue, I offer modifications to Ryan’s model so it may be used more effectively to define and distinguish the genre of counterfactual historical fiction.
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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.
Resumen
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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Klebes, Martin. "If Worlds Were Stories". Konturen 2, n.º 1 (11 de octubre de 2010): 124. http://dx.doi.org/10.5399/uo/konturen.2.1.1346.
Resumen
The metaphysics of possible worlds proposed by the analytic philosopher David K. Lewis offers an account of fictional discourse according to which possible worlds described in fiction are just as real as the actual world. In an inspired reversal of the analysis of literary fictions by such philosophical means, the French poet Jacques Roubaud makes direct reference to Lewis’ controversial ontological picture in two cycles of elegies composed between 1986 and 1990. Roubaud’s poems take up the idea of possible worlds as real entities, and at the same time they challenge the notion that philosophy could offer an account of fiction in which the puzzling collision of the possible with the impossible that fundamentally characterizes the phenomenon of fictionality would be seamlessly unravelled. For Roubaud the lyrical genre of the elegy and its thematic concern with love and death stands as a prime indicator of the quandary that results from our inability to solve paradoxes of modality such as those raised by Lewis in strictly theoretical terms.
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Morris, Raphael. "Interpretive Context, Counterpart Theory and Fictional Realism without Contradictions". Disputatio 11, n.º 54 (1 de diciembre de 2019): 231–53. http://dx.doi.org/10.2478/disp-2019-0018.
Resumen
Abstract Models for truth in fiction must be able to account for differing versions and interpretations of a given fiction in such a way that prevents contradictions from arising. I propose an analysis of truth in fiction designed to accommodate this. I examine both the interpretation of claims about truth in fiction (the ‘Interpretation Problem’) and the metaphysical nature of fictional worlds and entities (the ‘Metaphysical Problem’). My reply to the Interpretation Problem is a semantic contextualism influenced by Cameron (2012), while my reply to the Metaphysical Problem involves an extension and generalisation of the counterpart-theoretic analysis put forth by Lewis (1978). The proposed analysis considers interpretive context as a counterpart relation corresponding to a set of worlds, W, and states that a sentence φ is true in interpretive context W iff φ is true at every world (w∈W). I consider the implications of this analysis for singular terms in fiction, concluding that their extensions are the members of sets of counterparts. In the case of pre-existing singular terms in fiction, familiar properties of the corresponding actual-world entities are salient in restricting the counterpart relation. I also explore interpretations of sentences concerning multiple fictions and those concerning both fictional and actual entities. This account tolerates a plurality of interpretive approaches, avoiding contradictions.
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Abraham, Anna. "How We Tell Apart Fiction from Reality". American Journal of Psychology 135, n.º 1 (1 de abril de 2022): 1–18. http://dx.doi.org/10.5406/19398298.135.1.01.
Resumen
Abstract The human ability to tell apart reality from fiction is intriguing. Through a range of media, such as novels and movies, we are able to readily engage in fictional worlds and experience alternative realities. Yet even when we are completely immersed and emotionally engaged within these worlds, we have little difficulty in leaving the fictional landscapes and getting back to the day-to-day of our own world. How are we able to do this? How do we acquire our understanding of our real world? How is this similar to and different from the development of our knowledge of fictional worlds? In exploring these questions, this article makes the case for a novel multilevel explanation (called BLINCS) of our implicit understanding of the reality–fiction distinction, namely that it is derived from the fact that the worlds of fiction, relative to reality, are bounded, inference-light, curated, and sparse.
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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, n.º 2 (3 de septiembre de 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
Resumen
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.
Tesis sobre el tema "Worlds of fiction":
1
Bell, Alice M. "The possible worlds of hypertext fiction". Thesis, University of Sheffield, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434659.
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Stump, Christina M. "Leaves From Other Worlds". Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu158618674890876.
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Mooney, Susan. "Drawing bridges : publicprivate worlds in Russian women's fiction". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60561.
Resumen
This thesis questions how Russian women's identity is attached to the textual use of public/private spaces in contemporary literature by Russian women writers by drawing from feminist theories. I. Grekova and N. Baranskaia portray female protagonists in their everyday lives, public and private worlds overlapping. While these heroines create stable support systems with other women, male figures enter as interruptive forces in women's lives. Hospital settings in several works by Russian women allow comparisons between women's fictional hospital experiences and those of Muscovite women interviewed. In L. Petrushevskaia's stories, women protagonists' identities are linked to the uncertain quality of locale and the tenuous relationships which transpire in it. Russian women's identity expressed in fiction may change as the self-perceptions of a younger generation of Russian women writers evolve toward a new, gendered concept of self.
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Schaub, Danielle. "Fragmented worlds: narrative strategies in Mavis Gallant's short fiction". Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212667.
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Kneale, James Robert. "Lost in space? : readers' constructions of science fiction worlds". Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309071.
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Raghunath, Riyukta. "Alternative realities : counterfactual historical fiction and possible worlds theory". Thesis, Sheffield Hallam University, 2017. http://shura.shu.ac.uk/19154/.
Resumen
The primary aim of my thesis is to offer a cognitive-narratological methodology with which to analyse counterfactual historical fiction. Counterfactual historical fiction is a genre that creates fictional worlds whose histories run contrary to the history of the actual world. I argue that Possible Worlds Theory is a suitable methodology with which to analyse this type of fiction because it is an ontologically centred theory that can be used to divide the worlds of a text into its various ontological domains and also explain their relation to the actual world. Ryan (1991) offers the most appropriate Possible Worlds framework with which to analyse any fiction. However, in its current form the theory does not sufficiently address the role of readers in its analysis of fiction. Given the close relationship between the actual world and the counterfactual world created by counterfactual historical fiction, I argue that a model to analyse such texts must go beyond categorising the worlds of texts by also theorising what readers do when they read this type of fiction. For this purpose, in my thesis I refine Ryan's Possible Worlds framework so that it can be used to more effectively analyse counterfactual historical fiction. In particular, I introduce an ontological domain which I am calling RK-worlds or reader knowledge worlds to label the domain that readers use to apprehend the counterfactual world presented by the text. I also offer two cognitive concepts – ontolological superimposition and reciprocal feedback – that support a Possible Worlds analysis of counterfactual historical fiction and model how readers process such fiction. In addition, I redefine counterpart theory, transworld identity, and essential properties to appropriately theorise the way readers make the epistemological link between a character and their corresponding actual world individual. The result is a fully fleshed out Possible Worlds model that addresses the reader's role by focusing on how they cognitively interact with the worlds built by counterfactual historical fiction. Finally, to demonstrate my model's dexterity, I apply it to three texts – Robert Harris' Fatherland (1992), Sarban's The Sound of his Horn (1952), and Stephen Fry's Making History (1996). I conclude that the Possible Worlds model that I have developed is rigorous and can be replicated to analyse all fiction in general and counterfactual historical fiction in particular.
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Dillon, Amanda. "'Prism, mirror, lens' : metafiction and narrative worlds in science fiction". Thesis, University of East Anglia, 2011. https://ueaeprints.uea.ac.uk/39033/.
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Jessee, Sharon A. "A monotony of fine weather imagined worlds in contemporary American fiction /". Access abstract and link to full text, 1986. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/8616607.
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Chunjing, Liu. "Seeking identity between worlds: A study of selected Chinese American fiction". University of the Western Cape, 2011. http://hdl.handle.net/11394/5176.
Resumen
Magister Artium - MAThe literature of the Chinese diaspora in America is marked by a tension between ancestral Chinese traditional culture and the modernity of Western culture. This thesis explores diaspora theory, as elaborated by Stuart Hall, Homi Bhabha, Gabriel Sheffer and others to establish a framework for the analysis of key Chinese American literary works. Maxine Hong Kingston's seminal novel, The Woman Warrior (1975), will be analysed as an exemplary instance of diasporic identity, where the Chinese cultural heritage is reinterpreted and re-imagined from the point of view of an emancipated woman living in the West. A comparative analysis will be undertaken of Jade Snow Wong's The Fifth Chinese Daughter (1950) and Amy Tan's The Joy Luck Club (1989) to identify links between the writers who have grappled with various forms of diasporic identity in their works. An important part of this analysis is the representation and adaptation of Chinese folklore and traditional tales in Chinese American literary works.
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Garbutt, Ian. "Asperger's syndrome and fiction : autistic worlds and those who build them". Thesis, University of Stirling, 2017. http://hdl.handle.net/1893/26133.
Resumen
Do tangible, testable links exist between the autistic spectrum and creativity? How would such links work from the perspective of an author with Asperger's Syndrome? To what degree would autism mould the author's work, and how would it affect writing technique and style compared to neurotypical (non autistic spectrum authors)? Do these links provide a tangible advantage? Can an Asperger's author successfully engage a non-Asperger's readership? Has Asperger's become fashionable in fiction and if so what are the benefits/consequences? Can an “extraterrestrial stranded without an orientation manual”1 communicate ideas in a meaningful way to non-autistics? Asperger's Syndrome is a form of high functioning autism where those affected express a range of social, behavioural and perceptual traits which have no actual bearing on their level of intelligence. As an author with Asperger's my intention is to examine the degree to which my autism affects my writing technique and style compared to neurotypical (non autistic) creatives. Asperger's sufferers lack empathy and social skills, therefore creating situations a reader can empathise with is challenging. To an Asperger's other people are 'aliens'. If the characters and scenarios in my work are coloured by my difference, then it may be the difference itself which provides the hook for the reader. To what extent do Asperger's authors need to 'pretend to be normal' in order to engage a neurotypical reader, or to make their work generally marketable? Is there an argument that they shouldn't even try? With increasing diagnosis and better understanding of the autistic spectrum, the Asperger's limited but intense range of interests and ability to focus without human distraction might link in to creative excellence that has an appeal far beyond the boundaries of the autistic spectrum. The purpose of this thesis is to investigate whether claims of autistic links to creativity are more than heresay. I examine alleged positive evidence for these links, and see how this evidence ties in with my experience both as an Asperger's and an author, with particular regard to my decisions in crafting my novel The Ghost Land.
Libros sobre el tema "Worlds of fiction":
1
1944-, Rubenstein Roberta y Larson Charles R, eds. Worlds of fiction. New York: Macmillan, 1993.
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Smith, Paris. Shadow worlds: Short fiction. Chicago: Oracle Press, 2001.
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Pavel, Thomas G. Fictional worlds. Cambridge, Mass: Harvard University Press, 1986.
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Doležel, Lubomír. Heterocosmica: Fiction and possible worlds. Baltimore: Johns Hopkins University Press, 1998.
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Datta, Sukanya. Worlds apart: Science fiction stories. New Delhi: National Book Trust, India, 2012.
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Warnecke, Nils, Gerlinde Waz, Kristina Jaspers y Rüdiger Zill. Future worlds: Science - fiction - film. Berlin: Bertz + Fischer, 2017.
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Bell, Alice. The Possible Worlds of Hypertext Fiction. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281288.
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Bell, Alice. The possible worlds of hypertext fiction. New York: Palgrave Macmillan, 2010.
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Wąsik, Zdzisław, Ewa Kębłowska-Ławniczak y Teresa Bruś. Alternate life-worlds in literary fiction. Wrocław: Wydawnictwo Wyższej Szkoły Filologicznej we Wrocławiu, 2011.
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Malmgren, Carl Darryl. Worlds apart: Narratology of science fiction. Bloomington: Indiana University Press, 1991.
Capítulos de libros sobre el tema "Worlds of fiction":
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Meskin, Aaron y Jon Robson. "Fiction and Fictional Worlds in Videogames". En The Philosophy of Computer Games, 201–17. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-4249-9_14.
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Maté, Rudolph. "When Worlds Collide". En 100 Science Fiction Films, 199–200. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_99.
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Bertetti, Paolo. "2. Building Science-Fiction Worlds". En World Building. Transmedia, Fans, Industries, editado por Marta Boni, 47–61. Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048525317-003.
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Bell, Alice. "Conclusion: Future Worlds". En The Possible Worlds of Hypertext Fiction, 185–94. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281288_7.
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Haskin, Byron. "The War of the Worlds". En 100 Science Fiction Films, 195–96. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_97.
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Brioni, Simone y Daniele Comberiati. "Dystopic Worlds and the Fear of Multiculturalism". En Italian Science Fiction, 163–82. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19326-3_7.
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Manrique, Linnete. "Mestizaje: The All-Inclusive Fiction". En Relating Worlds of Racism, 141–64. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78990-3_6.
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Zettersten, Arne. "Facts and Fiction". En J.R.R. Tolkien’s Double Worlds and Creative Process, 199–204. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118409_19.
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Fife, Wayne. "The Perils of Belief: Fantasy Fiction as Narrative Theology". En Imaginary Worlds, 53–80. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-08641-0_3.
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Lindgren Leavenworth, Maria. "Alternative Worlds and Histories". En The Imagined Arctic in Speculative Fiction, 26–64. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003355588-2.
Actas de conferencias sobre el tema "Worlds of fiction":
1
Schiele, Alexandre. "THE NORMAL AND THE EXCEPTIONAL: A COMPARISON OF PU SONGLING’S AND MO YAN’S SURREAL WORLDS". En 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.10.
Resumen
From a comparison of the surreal worlds of Pu Songling and Mo Yan in their respective auctorial context, this paper argues that although Pu Songling’s short stories integrate surreal elements, contrary to the accepted typology of genres, they fall into realistic and not speculative fiction because the worldview of Imperial China in which he lived not only accepted the supernatural as real, but as foundational to the traditional order. By comparison, Mo Yan’s supernatural stories partly fall within supernatural literature, because post-1949 China espoused a scientific worldview which banishes the supernatural. On a second level, however, both Pu Songling’s and Mo Yan’s surreal fictions are political satires of their times. Yet, even on this point they diverge. While Pu Songling articulates the social and political criticism of his present to surreal elements, Mo Yan casts the surreal as a stand-in for the exceptional situations of his recent past which are the object of his criticisms.
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Hicks, Stewart. "From Diagrams to Fictions: Populated Plans and Their Buildings". En 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.27.
Resumen
This essay builds on and reacts to concepts initiated by Dora Epstein Jones in her essay, “Populated Plans.” Published in Log 45, as well as presented at a previous ACSA conference, Jones’ essay identified the emergence of a ubiquitous (in schools of architecture at least) “new” form of drawing that looks like an architectural plan but isn’t due to the inclusion of human figures. This type of drawing is distinct from a traditional plan, according to Jones, because it isn’t strictly “architectural notation—data received from the object,” nor a universalized geometric abstraction best suited for describing a building’s organization. The introduction of busy little people disrupts the universal and particularizes it by depicting scenes of fictional activity, lending the drawing to narrativity and the projection of alternative worlds. This freshly observed and codified instrument is well-suited to representing stories, fiction, and narrative as motive forces in the design of buildings. What kind of architecture do populated plan drawings produce? How do the rules governing their construction and the viewpoint of their projection influence outcomes? The essay draws parallels between fiction architecture and diagram architecture in an unconventional analogy to arrive at a possible answer. Despite the apparent conflict between their foundational underpinnings, fiction and data, respectively, the more comprehensively theorized diagrammatic practice offers useful concepts and frameworks of understanding for the emerging practice. Most importantly, the idea that a building could be the equivalent of a constructed abstraction, as Toyo Ito argues in his “Diagram Buildings” essay, leads to the possibility of a “populated plan building.” Ito outlines the role between data and the material reality of the building in “Diagram Building,” so what is the equivalent relationship between fiction, populated plans, and the buildings they produce?
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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.
Resumen
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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Ramos, Iolanda. "Exploring the realms of utopia: Science fiction and adventure in A red sun also rises and The giver". En The 2nd International Multidisciplinary Congress Phi 2016 – Utopia(S) – Worlds and Frontiers of the Imaginary. CRC Press, 2016. http://dx.doi.org/10.1201/9781315265322-71.
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Gould, Charlotte. "Chthulucene Hekateris". En 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-61-full-gould-chthulucene-hekateris.
Resumen
Isabel Stenger warns that we are facing the “intrusion of Gaia” where we have caused significant biogeochemical disruption “capable of threatening our modes of thinking and of living for good.” Through my practice-based research I speculate on a possible future to prompt action to trigger change in how we live, our patterns of consumption, the way we see ourselves in relation to our environment and our respect for and interactions with nature for a sustainable future. Amitav Ghosh proposes that science fiction provides an ideal opportunity to explore our relationship to the world past and present to imagine the impacts that living on our planet today will make on tomorrow. Through my research I develop narratives based on speculative imaginings of the future, considering current scientific research, advances in digital technology and environmental factors, to imagine future evolutionary change that will take place if we continue on our current trajectory of global warming. I speculate on the interactions and interconnections, the transformation of complex systems and organisms leading to new patterns of cellular composites of material and virtual worlds, where biotic and unbiotic beings inhabit a posthuman fusion of humans and machines.
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Trein, Fernanda y Taíse Neves Possani. "Literature As a Mean of Self-knowledge, Liberation, and Feminine Empowerment: The Legacy of Clarice Lispector". En 13th Women's Leadership and Empowerment Conference. Tomorrow People Organization, 2022. http://dx.doi.org/10.52987/wlec.2022.004.
Resumen
Abstract: Access to books and literature is, above all, a human right. The acts of reading, creating, and fictionalizing are in themselves, acts of power. Accordingly, literature is a well-respected necessity in society; therefore, a universal human need. Thus, denying women the right to literature is also a form of violation. In this presentation, the author aims to reflect not only on literature by female authors but also its importance in the process of constructing women's subjectivity and identity, whether in reading fiction or in its production. To reflect on women's right to read and write literature, as well as their way of expressing their perception, anxieties, and ways of understanding the world, this presentation proposes a literary analysis of texts by the Brazilian writer Clarice Lispector. Her works evidence the potential of bringing light to the processes of self-knowledge and freedom. These processes can be ignited because these texts can trigger the process of self-awareness and can then generate female empowerment. By reading Clarice Lispector's writing, it remains clear that she reveals human dramas specific to the female universe, as she opens up possibilities for readers to know themselves as women and to project themselves as producers of literature. It would seem that these realities are founded worlds and realities apart from those that dominated male perceptions during the 1950s to 1970s when she was writing; however, many of those predominant male perceptions prevail in today’s contemporary society. Keywords: Women's Writing; Reception; Self knowledge; Clarice Lispector; Empowerment.
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Canizares, Galo. "Stranger than Fiction: Artificial Intelligence, Media, and the Domestic Realm". En 105th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.am.105.76.
Resumen
Alan Kay’s famous soundbite from a 1971 Xerox PARC (Palo Alto Research Center) meeting presents a bizarre chicken and egg paradox. It goes like this: which came first, the science fiction representation of the objector the desire for specific objects themselves? In other words, is the plethora of technological advancements a direct result of anthropomorphic inevitabilities or are we simply trying to realize objects, vehicles, and environments we saw in science fiction representations in the mid-twentieth century? In this paper, I will argue that media and literature are equally as responsible as engineering for our current architectural reality. With the rise of Web 2.0, advances in graphics visualization, and their attendant cultural shifts, aspects of contemporary urban life increasingly resemble a science fiction. The pervasiveness of app culture and recent factual and fictional examples of artificial intelligence augmenting the built environment suggest that engineering advancements exist as part of a tight feedback loop between consumer expectations—largely influenced by Hollywood—and scientific discoveries. Therefore, in order to fully understand, historicise, or speculate on the future of interactions between humans and machines, we must first unpack the cycle of fiction-to-fact that typically occurs. Taking the domestic realm as an example, we can identify a series of uncanny, artificially intelligent, technologies which reflect human desires for subservience, assistance, and interconnectedness. Here, AI will serve as a case study through which to analyze the effect of fiction on scientific advancements and their subsequent dissemination into the consumer world, ultimately constituting a history based less on fact and more on media, image, and variable levels of reality.
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Vale, Constance. "Image Fictions: Fabricating Worlds". En 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.57.
Resumen
Images play a central role in contemporary culture, and it is crucial that architects understand, control, and engineer their political forces.¹ From hyper-real simulations to machine vision, the structure and way that images are mobilized is changing. Photorealistic techniques and data-driven ones are entrusted as “objective” image types, often deployed to represent reality, truth, or facts, when in actuality, they can be used to call those into question through critical narratives. This paper investigates the potential of images to cultivate conversations about emerging technology’s implications in architecture. A pedagogical case study is put forward that frames critical, image-based narratives used in the examination of social, political, economic, or ecological issues within an urban territory. Each project addresses how the territory might interface with a selected emerging technology, including artificial intelligence (AI), autonomous vehicles (AVs), drones, automation, and augmented reality (AR). “Objective” image types are examined—both historical ones like construction documents, patent drawings, and diagrams, and contemporary ones like satellite imaging, video games, LiDAR, and photogrammetry—to foreground the following questions. How does architecture, a field tasked with confronting the “real,” contend with the complex overlap of virtual and physical realms? How might our projections of future “realities” take on political positions rather than respond to the desires of capital?
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Malá, Markéta. "English and Czech children’s literature: A contrastive corpus-driven phraseological approach". En Eighth Brno Conference on Linguistics Studies in English. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9767-2020-8.
Resumen
The paper explores the recurrent linguistic patterns in English and Czech children’s narrative fiction and their textual functions. It combines contrastive phraseological research with corpus-driven methods, taking frequency lists and n-grams as its starting points. The analysis focuses on the domains of time, space and body language. The results reveal register-specific recurrent linguistic patterns which play a role in the constitution of the fictional world of children’s literature, specifying its temporal and spatial characteristics, and relating to the communication among the protagonists. The method used also points out typological differences between the patterns employed in the two languages, and the limitations of the n-gram based approach.
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Bauer, Erin. "Insects in the World of Fiction". En 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.118288.
Informes sobre el tema "Worlds of fiction":
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien y Damon Herd. A New Palingenesis. University of Dundee, noviembre de 2022. http://dx.doi.org/10.20933/100001273.
Resumen
Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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Tabinska, Iryna y Yaroslav Tabinskyi. Феномен «смислу поміж фактами» у друкованому виданні Reporters: взаємодія тексту та фотоілюстрації. Ivan Franko National University of Lviv, marzo de 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11728.
Resumen
The article states that with the development of new journalism, the author’s ability to characterize a phenomenon and identify a trend acquires special value. Representatives of Ukrainian new journalism, which is a relatively new genre, are already gradually implementing these tasks. They compose entire books from their reports, offering the reader a condensed version of versatile observations about a certain country, situation, or phenomenon. In contrast to ordinary reportage, fiction is a synthetic genre, in which it is not reported, but told. The authors of the article research Reporters which is the first magazine of new journalism in Ukraine. Their main task is to explain the phenomenon of “meaning between facts”. According to the authors, this phenomenon is simple and unique at the same time, because through people’s stories you can find depths that relate to historical, cultural and geopolitical life. The article analyzes the interaction of text and images, shows how to find meaningful messages in actual data using specific examples. The study singled out accents that relate to the interaction of text and images. Quite often, photography reproduces reality and helps the reader to paint reality in his imagination. Textual forms delve into the plot through human history and detail. In four printed issues of the magazine, the authors of the study analyzed the stories that are particularly relevant today. First of all, this concerns Russian aggression and the insubordination of Ukrainians. Key words: new journalism, non-fiction, text, images, dialog, photojournalism.
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Tyson, Paul. Australia: Pioneering the New Post-Political Normal in the Bio-Security State. Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp10en.
Resumen
This paper argues that liberal democratic politics in Australia is in a life-threatening crisis. Australia is on the verge of slipping into a techno-feudal (post-capitalist) and post-political (new Centrist) state of perpetual emergency. Citizens in Australia, be they of the Left or Right, must make an urgent attempt to wrest power from an increasingly non-political Centrism. Within this Centrism, government is deeply captured by the international corporate interests of Big Tech, Big Natural Resources, Big Media, and Big Pharma, as beholden to the economic necessities of the neoliberal world order (Big Finance). Australia now illustrates what the post-political ‘new normal’ of a high-tech enabled bio-security state actually looks like. It may even be that the liberal democratic state is now little more than a legal fiction in Australia. This did not happen over-night, but Australia has been sliding in this direction for the past three decades. The paper outlines that slide and shows how the final bump down (covid) has now positioned Australia as a world leader among post-political bio-security states.
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Fernández, Iván Escobar. COMTOG Report: ‘My Memory of Us’ — Boosting Historical Memory Through Implicit Visual Metaphors. European Center for Populism Studies (ECPS), abril de 2023. http://dx.doi.org/10.55271/rp0037.
Resumen
My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city that has been divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, and stealth elements, as well as a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game that tells a story of friendship, love, and survival during a war.
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Fagan, Matt y Naomi Schwartz. Exploring the Social and Ecological Trade-offs in Tropical Reforestation: A Role-Playing Exercise. American Museum of Natural History, 2018. http://dx.doi.org/10.5531/cbc.ncep.0108.
Resumen
This exercise introduces students to the complexities of conservation in rural tropical landscapes. It introduces the concepts of payments for environmental services (PES), trade-offs and synergies between agricultural land-uses and society’s needs, and introduces students to tropical land-uses and common rural stakeholders in the tropics. The module has two main parts. In Part 1, students learn about a new reforestation program in the fictional country of Nueva Puerta and must debate how to direct the reforestation program: towards poverty alleviation, export production, water protection, or habitat connectivity. In Part 2, students break into small groups to negotiate the placement of PES in a tropical land-use simulation game. The land-use simulation is designed to show students some of the realities and limits of tropical conservation. In the final phase of the exercise, students reflect on their experiences through discussion questions. Optionally, they can write a reflective essay and/or vote which real-world reforestation project they are interested in supporting as a class.
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Demchenko, Dmytro. DEMASSIFICATION OF SOCIAL PROCESSES IN THE CONTEXT OF DIGITAL COMMUNICATION (TO THE PROBLEM OF THE DICHOTOMY OF “ELITE-MASS” AS A POLITICAL COMMUNICATION PARADOX). Ivan Franko National University of Lviv, marzo de 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12171.
Resumen
The article aims to analyze a complicated process of the society’s main components – elite, mass communication, and masses – in their interaction and interdependence from the historical perspective. Due to industrialization and modernization of the life quality, the social life changes radically, and the essence of every component of the society changes as well. The elite loses its dynastic character. The media stop to play the role of a mediator taking on the obligations of a collective agitator and propagandist, and the mass stops to be cloth for wiping shoes. It starts to form a mass audience and, by that, obtains new forms that must be taken into account by social institutions. Together with that the collective views are substituted by the views which are stronger than the ones of a separate individual. One of the main conclusions of the investigation is as follows. The formation of the “consumer society” and the strengthening of the mass communication role resulted in the appearance of “mediocracy” which factually introduced an absolute elite dependence on it and conferred the right of media to set the social agenda. The mass turned out to be a silent majority, a unity of conformity-oriented people. These people become simultaneously a product of mass communication impact because they dictate what one must read, listen to, and watch from the media menu. They force MMC to satisfy their unassuming needs making the content trivial and commodificated. In other words, the mutual process of the interaction of the media, “impossible independence” and the conscious “communicative consensus” of individuals who are willingly united with the mass audience takes place. The creation of the internet due to “digital anonymity” and the autonomy of the consumer formed the conditions for the self-determined citizens and gave the elite a modest place in the “cyber democracy”. However, the increase in individual self-isolation leads to his gradual loss of “social capital,” and that threatens to replace the direct experience with a virtual environment that will make it very difficult to differentiate reality from fiction. Keywords: elite, mass, media, mass communication, information space, globalization.