Artículos de revistas sobre el tema "Worlds of fiction"
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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 "
3
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.
11
Ajdačić, D. "IRONY AND FANTASY". Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, n.º 36 (2020): 116–26. http://dx.doi.org/10.17721/2075-437x.2020.36.11.
Resumen
The absence of a typology of irony in the theory of fiction stems from the fact that irony and fiction differently form and transform reality – fiction is a kind of fictional depiction of amazing worlds or phenomena. On the contrary, irony does not create worlds; in it, the subject comments on reality, adding another vision, a vision with a reassessment and deviation from what is said or presented. Irony can comment on the realities of different ontological status, that is, irony can relate to the real world and the fictional world, whether it is real or amazing. Fantasy transforms the world – it distorts, destroys or completes, or builds new worlds, and irony already adds a different vision to the ideas and views presented, regardless of whether they are real or fictional. The terminological and literary-theoretical aspects of the use of irony in works of literary fiction are discussed in the text. Dragan Stojanović’s book “Irony and Meaning” and the author’s terms “Ironical Focus” and “Meaning Pressure” are used as a theoretical starting point. After highlighting the touchpoints of irony and fiction and their special qualities and roles, is proposed a typology of the use of irony in fiction that separates ironic actions concerning the real world, the marvelous world and problematizing the relationship between the real and the marvelous world.
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Fitzpatrick, Noel. "The question of Fiction – nonexistent objects, a possible world response from Paul Ricoeur". Kairos. Journal of Philosophy & Science 17, n.º 1 (1 de diciembre de 2016): 137–53. http://dx.doi.org/10.1515/kjps-2016-0020.
Resumen
Abstract The question of fiction is omnipresent within the work of Paul Ricoeur throughout his prolific career. However, Ricoeur raises the questions of fiction in relation to other issues such the symbol, metaphor and narrative. This article sets out to foreground a traditional problem of fiction and logic, which is termed the existence of non-existent objects, in relation to the Paul Ricoeur’s work on narrative. Ricoeur’s understanding of fiction takes place within his overall philosophical anthropology where the fictions and histories make up the very nature of identity both personal and collective. The existence of non-existent objects demonstrates a dichotomy between fiction and history, non-existent objects can exist as fictional objects. The very possibility of the existence of fictional objects entails ontological status considerations. What ontological status do fictional objects have? Ricoeur develops a concept of narrative configuration which is akin to the Kantian productive imagination and configuration frames the question historical narrative and fictional narrative. It is demonstrated that the ontological status of fictional objects can be best understood in a model of possible worlds.
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Maza, Antonio José Planells de la. "The expressive power of the Possible Worlds Theory in video games: when narratives become interactive and fictional spaces". Comunicação e Sociedade 27 (29 de junio de 2015): 289–302. http://dx.doi.org/10.17231/comsoc.27(2015).2102.
Resumen
The philosophical concept of possible worlds (Lenzen, 2004; Lewis, 1986) has been used in literary studies and narratology (Dolezel, 1998; Eco, 1979) to define the way in which we conceive different narrative possibilities inside the fictional world. In Game Studies, some authors have used this concept to explore the relationship between game design and game experience (Kücklich, 2003; Maietti, 2004; Ryan, 2006), while Jesper Juul (2005) has studied the fictional world evoked by the connection between rules and fiction. In this paper we propose a new approach to video games as ludofictional worlds - a set of possible worlds which generates a game space based on the relationship between fiction and game rules. In accordance with the concepts of minimal departure (Ryan, 1991) and indexical term (Lewis, 1986), the position of the player character determines his/her actual world and the next possible or necessary world. Lastly, we use this model to analyse the video game The Elder Scrolls V: Skyrim and show that the possible worlds perspective provides a useful, flexible and modular framework for describing the internal connections between ludofictional worlds and the interactive nature of playable game spaces.
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Demmerling, Christoph. "Von den Lesewelten zur Lebenswelt. Überlegungen zu der Frage, warum uns fiktionale Literatur berührt". Journal of Literary Theory 12, n.º 2 (3 de septiembre de 2018): 260–78. http://dx.doi.org/10.1515/jlt-2018-0015.
Resumen
Abstract The following article argues that fictional texts can be distinguished from non-fictional texts in a prototypical way, even if the concept of the fictional cannot be defined in classical terms. In order to be able to characterize fictional texts, semantic, pragmatic, and reader-conditioned factors have to be taken into account. With reference to Frege, Searle, and Gabriel, the article recalls some proposals for how we might define fictional speech. Underscored in particular is the role of reception for the classification of a text as fictional. I make the case, from a philosophical perspective, for the view that fictional texts represent worlds that do not exist even though these worlds obviously can, and de facto do, contain many elements that are familiar to us from our world. I call these worlds reading worlds and explain the relationship between reading worlds and the life world of readers. This will help support the argument that the encounter with fictional literature can invoke real feelings and that such feelings are by no means irrational, as some defenders of the paradox of fiction would like us to believe. It is the exemplary character of fictional texts that enables us to make connections between the reading worlds and the life world. First and foremost, the article discusses the question of what it is that readers’ feelings are in fact related to. The widespread view that these feelings are primarily related to the characters or events represented in a text proves too simple and needs to be amended. Whoever is sad because of the fate of a fictive character imagines how he or she would fare if in a similar situation. He or she would feel sad as it relates to his or her own situation. And it is this feeling on behalf of one’s self that is the presupposition of sympathy for a fictive character. While reading, the feelings related to fictive characters and content are intertwined with the feelings related to one’s own personal concerns. The feelings one has on his or her own behalf belong to the feelings related to fictive characters; the former are the presupposition of the latter. If we look at the matter in this way, a new perspective opens up on the paradox of fiction. Generally speaking, the discussion surrounding the paradox of fiction is really about readers’ feelings as they relate to fictive persons or content. The question is then how it is possible to have them, since fictive persons and situations do not exist. If, however, the emotional relation to fictive characters and situations is conceived of as mediated by the feelings one has on one’s own behalf, the paradox loses its confusing effect since the imputation of existence no longer plays a central role. Instead, the conjecture that the events in a fictional story could have happened in one’s own life is important. The reader imagines that a story had or could have happened to him or herself. Readers are therefore often moved by a fictive event because they relate what happened in a story to themselves. They have understood the literary event as something that is humanly relevant in a general sense, and they see it as exemplary for human life as such. This is the decisive factor which gives rise to a connection between fiction and reality. The emotional relation to fictive characters happens on the basis of emotions that we would have for our own sake were we confronted with an occurrence like the one being narrated. What happens to the characters in a fictional text could also happen to readers. This is enough to stimulate corresponding feelings. We neither have to assume the existence of fictive characters nor do we have to suspend our knowledge about the fictive character of events or take part in a game of make-believe. But we do have to be able to regard the events in a fictional text as exemplary for human life. The representation of an occurrence in a novel exhibits a number of commonalities with the representation of something that could happen in the future. Consciousness of the future would seem to be a presupposition for developing feelings for something that is only represented. This requires the power of imagination. One has to be able to imagine what is happening to the characters involved in the occurrence being narrated in a fictional text, ›empathize‹ with them, and ultimately one has to be able to imagine that he or she could also be entangled in the same event and what it would be like. Without the use of these skills, it would remain a mystery how reading a fictional text can lead to feelings and how fictive occurrences can be related to reality. The fate of Anna Karenina can move us, we can sympathize with her, because reading the novel confronts us with possibilities that could affect our own lives. The imagination of such possibilities stimulates feelings that are related to us and to our lives. On that basis, we can participate in the fate of fictive characters without having to imagine that they really exist.
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Ammanabrolu, Prithviraj, Wesley Cheung, Dan Tu, William Broniec y Mark Riedl. "Bringing Stories Alive: Generating Interactive Fiction Worlds". Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 16, n.º 1 (1 de octubre de 2020): 3–9. http://dx.doi.org/10.1609/aiide.v16i1.7400.
Resumen
Interactive fictions—also called text-based games—are games in which a player interacts with a virtual world purely through textual natural language. In this work, we focus on procedurally generating interactive fiction worlds. Generating these worlds requires (a) referencing everyday and thematic commonsense priors in addition to (b) being semantically consistent, (c) interesting, (d) coherent throughout, all while (e) producing fluent natural language descriptions of places, people, and things. Using existing story plots from books as inspiration, we present a method that first extracts a partial knowledge graph encoding basic information regarding world structure such as locations and objects. This knowledge graph is then automatically completed utilizing thematic knowledge and used to guide a neural language generation model that fleshes out the rest of the world. We evaluate generated worlds with human-participant studies, comparing our technique against rule-based and human-made baselines
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Jones, Todd. "The paradox of fact from fiction; What fiction can and can’t tell us about the real world". Aesthetic Investigations 3, n.º 1 (24 de diciembre de 2019): 28–46. http://dx.doi.org/10.58519/aesthinv.v3i1.11950.
Resumen
In philosophical discussions of literature, there is a great deal of discussion about what’s been termed “the paradox of fiction”: how is it that we can be emotionally moved by characters that we know are not real? But an important related problem might be called the paradox of fact from fiction: how can an invented fictional world give us knowledge about the real one? In this essay I will look carefully at how fictional worlds could possibly tell us about real ones, and whether they, in fact, tends to do so. I then discuss ideas about how we might change how fiction is taught, in light of these conclusions.
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Pavlik, Anthony. "Being There: The Spatiality of ‘Other World’ Fantasy Fiction". International Research in Children's Literature 4, n.º 2 (diciembre de 2011): 238–51. http://dx.doi.org/10.3366/ircl.2011.0029.
Resumen
Fantasy other worlds are often seen as alternative, wholly ‘other’ locations that operate as critiques of the ‘real’ world, or provide spaces where child protagonists can take advantage of the otherness they encounter in their own process of growth. Rather than consider fantasy fiction's presentations of ‘other’ worlds in this way, this article proposes reading them as potential thirdspaces of performance and activity that are neutral rather than confrontational such that, in fantasy other world fiction for children and young adults, the putative ‘other’ world may not, in fact, be ‘other’ at all.
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Merce, Gabriela-Emilia. "Liliana Corobcaʹs Novels “Un an în Paradis” and “Kinderland” in Critical Reading from a Thematic Perspective". Philologia, n.º 2(320) (agosto de 2023): 90–97. http://dx.doi.org/10.52505/1857-4300.2023.2(320).08.
Resumen
This article presents how the novels Un an în Paradis and Kinderland have been received by critics from a thematic perspective. Identity, memory, alienation, childhood are themes highlighted in the novels under review, which contribute to the representation of a real, believable world. Liliana Corobcaʹs prose is defined by narratively constructed worlds, worlds that expose taboo subjects, that illustrate limit-situations, that sustain a marginal identity. The author stands out in Romanian literature as a distinct voice, which surprises by the chosen themes, by the style of writing, by the constructed fictional worlds, which complement the known real world. She is a writer who looks for real events to expose fictionally. Her prose is the result of a interplay between fiction and non-fiction. The authenticity of her writing is sustained by the fictionalization of individual or collective memory.
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Markussen, Thomas, Eva Knutz y Tau Lenskjold. "Design Fiction as a Practice for Researching the Social". Temes de Disseny, n.º 36 (1 de octubre de 2020): 16–39. http://dx.doi.org/10.46467/tdd36.2020.16-39.
Resumen
The aim of this paper is to contribute to a new conceptual foundation for design fiction. Much attention is dedicated to theorising how design fictions relate to our so-called actual world. This work can be seen as an attempt at securing the seriousness and legitimacy of design fiction as an approach to design research. The theory of possible worlds has proven promising in this regard. We argue, however, that a detailed understanding of design fiction is still lacking. In design fiction literature, authors often engage in critiquing techno-centric approaches while paying less attention to how design fiction has a potential to foster social change in situated actual affairs. We argue that analysis should start from the messy unfolding of the design event itself rather than from big ontological discussions of the boundaries between fiction and reality. To grasp the messiness of design fiction, we offer an interdisciplinary framework, bridging knowledge domains such as literally theory and design anthropology.
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Lang, Mengchen. "Fictional Worlds Theory Problematized: Global Logical Impossibilities in Vladimir Nabokov’s Novels". Style 56, n.º 3 (1 de agosto de 2022): 258–79. http://dx.doi.org/10.5325/style.56.3.0258.
Resumen
ABSTRACT Confronting fictional worlds theory with three novels by Vladimir Nabokov (The Real Life of Sebastian Knight, Pale Fire, and Look at the Harlequins!), the author argues that the theory is problematized by Nabokov’s employment of global logical impossibilities. All three novels elicit fluid, fragmentary imaginations of “fictional worlds”; however, by requiring readers to juggle between several logically incompatible interpretations of characters and plots without reaching any synthesis, Nabokov refuses to let these imaginations of “worlds” solidify into fictional worlds in the theoretical sense. This obstruction of world-creation challenges the analytical power of fictional worlds theory and questions some of its basic assumptions. A further examination of three solutions that the theory proposes for logical impossibility shows that they fail to account for cases like Nabokov’s without undermining the soundness or status of the theory itself. This problematization ultimately points to an alternative perception of fiction as a means of real-world communication.
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Le Poidevin, Robin. "WORLDS WITHIN WORLDS? THE PARADOXES OF EMBEDDED FICTION". British Journal of Aesthetics 35, n.º 3 (1995): 227–38. http://dx.doi.org/10.1093/bjaesthetics/35.3.227.
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Aarseth, Espen. "Doors and Perception: Fiction vs. Simulation in Games". Jouer, n.º 9 (10 de agosto de 2011): 35–44. http://dx.doi.org/10.7202/1005528ar.
Resumen
In this paper, the author outlines a theory of the relationship of fictional, virtual and real elements in games. Not much critical attention has been paid to the concept of fiction when applied to games and game worlds, despite many books, articles and papers using the term, often in the title. Here, it is argued that game worlds and their objects are ontologically different from fictional worlds; they are empirically upheld by the game engine, rather than by our mind stimulated by verbal information. Game phenomena such as labyrinths, moreover, are evidence that games contain elements that are just as real as their equivalents outside the game, and far from equal to the fictional counterparts.
23
Cesereanu, Ruxandra. "The Atlas of Globalizing Fiction". Caietele Echinox 38 (30 de junio de 2020): 131–37. http://dx.doi.org/10.24193/cechinox.2020.38.10.
Resumen
David Mitchell has written a famous novel about how to make a (geographically fragmented) novel out of fragments: the six life stories included in Cloud Atlas are implicit fictional networks, simultaneously concealed and laid bare. The novel offers ample room for six nested histories and their divergent styles; the result is a strange and rather ostentatious book, shaped like a ziggurat, and providing an almost didactic initiation into matters of style. In fact, David Mitchell offers an atlas of the globalization of fiction. The spaces and times of Cloud Atlas engender not only polytopy and polychrony, but also a theory of fiction. The atlas of worlds, zones, territories, topographies becomes a structure that constantly generates other worlds to be visited or narrated. Their very narrativity allows for the globalization of fiction.
24
Herman, David y Lubomir Dolezel. "Heterocosmica: Fiction and Possible Worlds". Journal of Aesthetics and Art Criticism 57, n.º 3 (1999): 377. http://dx.doi.org/10.2307/432209.
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Pavel, T. "Heterocosmica. Fiction and Possible Worlds". Comparative Literature 52, n.º 3 (1 de enero de 2000): 266–68. http://dx.doi.org/10.1215/-52-3-266.
26
Oatley, Keith. "Fiction: Simulation of Social Worlds". Trends in Cognitive Sciences 20, n.º 8 (agosto de 2016): 618–28. http://dx.doi.org/10.1016/j.tics.2016.06.002.
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Proudfoot, Diane. "Possible Worlds Semantics and Fiction". Journal of Philosophical Logic 35, n.º 1 (9 de noviembre de 2005): 9–40. http://dx.doi.org/10.1007/s10992-005-9005-8.
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Ryan, Marie-Laure. "In Defense of Minimal Departure: A Response to Kai Mikkonen". Storyworlds: A Journal of Narrative Studies 13, n.º 2 (diciembre de 2021): 97–106. http://dx.doi.org/10.1353/stw.2021.a925852.
Resumen
Abstract: Inspired by David Lewis's analysis of "truth in fiction," I proposed in Possible Worlds a principle of minimal departure (MD) to formalize the relation between storyworlds and the real world. In this article I respond to Kai Mikkonen's critiques of MD. The article bears on three issues. First, MD, by giving the text precedence over the reader's life experience, does not force a naturalization of fictional worlds and of narrative acts. It works just as well for the remote worlds of fantasy or science fiction as for the familiar worlds of realism. Second, postulating a principle of maximal departure (MxD) to counterbalance MD is a futile move, because MxD does not provide standards of comparison for the reader's act of imagination, and even if redefined as "large" departure, it only works as an expectation for certain genres, while MD applies to all genres. And third, although MD does not provide a guideline for "literary" interpretations, it cannot be replaced by a "principle of relevance," because of the tautological nature of the latter: a reading is relevant when it is relevant.
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Franzén, Nils. "A Sensibilist Explanation of Imaginative Resistance". Canadian Journal of Philosophy 51, n.º 3 (abril de 2021): 159–74. http://dx.doi.org/10.1017/can.2021.10.
Resumen
AbstractThis article discusses why it is the case that we refuse to accept strange evaluative claims as being true in fictions, even though we are happy to go along with other types of absurdities in such contexts. For instance, we would refuse to accept the following statement as true, even in the context of a fiction: (i) In killing her baby, Giselda did the right thing; after all, it was a girl.This article offers a sensibilist diagnosis of this puzzle, inspired by an observation first made by David Hume. According to sensibilism, the way we feel about things settles their evaluative properties. Thus, when confronted with a fictional scenario where the configuration of non-evaluative facts and properties is relevantly similar to the actual world, we refuse to go along with evaluative properties being instantiated according to a different pattern. It is the attitudes we hold in the actual world that fix the extension of evaluative terms, even in nonactual worlds. When engaging with a fiction, we (to some extent) leave our beliefs about what the world is like behind, while taking our emotional attitudes with us into the fiction.To substantiate this diagnosis, this paper outlines a sensibilist semantics for evaluative terms based on recent discussion regarding predicates of personal taste, and explains how, together with standard assumptions about the nature of fictional discourse, it makes the relevant predictions with respect to engagement with fictions.
30
Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious". Jurnal POETIKA 5, n.º 1 (31 de julio de 2017): 51. http://dx.doi.org/10.22146/poetika.25994.
Resumen
This study aims to analyze astral projection as a concept of Death and Dying by using a postmodern fiction discourse analysis perspective in Insidious movie script. This study found that astral projection is a capability possessed by a person to leave physical body and explore an astral world or the spirit world. Astral projection is a death and dying concept that is presented as one of the postmodern fictional strategies known as superimposition. This strategy illustrates that there are two worlds that accumulate and co-exist with each other. Its presence is a way of deconstructing thoughts about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
31
Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious". Poetika 5, n.º 1 (31 de julio de 2017): 51. http://dx.doi.org/10.22146/poetika.v5i1.25994.
Resumen
This study aims to analyze astral projection as a concept of Death and Dying by using a postmodern fiction discourse analysis perspective in Insidious movie script. This study found that astral projection is a capability possessed by a person to leave physical body and explore an astral world or the spirit world. Astral projection is a death and dying concept that is presented as one of the postmodern fictional strategies known as superimposition. This strategy illustrates that there are two worlds that accumulate and co-exist with each other. Its presence is a way of deconstructing thoughts about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
32
Nurgali, Kadisha y Katerina Melnova. "THE BASICS OF WORLD-BUILDING IN THE WORKS OF THE FANTASY GENRE". Bulletin of the Eurasian Humanities Institute, Philology Series, n.º 1 (15 de marzo de 2024): 188–99. http://dx.doi.org/10.55808/1999-4214.2024-1.14.
Resumen
The article presents the theoretical foundations of world building in the genre of fantasy literature. In the context of the general category of fantasy literature, the creation of worlds is closely interrelated with science fiction. Consideration of the construction of the world can be divided into various aspects, depending on the point of view of the researcher. Some scientists divide into micro and macro levels, while others, without dividing it into two categories, analyze geography, biology, magic and culture in a single system. Practical guides for authors of fantasy literature describe in detail the process of world-building. The article examines the main groups that coincide among various researchers and authors of fantastic works, as well as variants of the worlds created by the authors. Such worlds include fictional, fictional, historical, or alternative worlds, as well as the original Earth. These categories of worlds fully or partially correspond to fantasy genres, revealing the main goals and intentions of the author. The influence of culture and the real world on the formation of the fictional world plays a special role. Fantasy is an excellent platform for exploring and uncovering the problems we face on a daily basis.
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Stougaard-Nielsen, Jakob. "Wallander's Dark Geopolitics". Nordicom Review 41, s1 (10 de septiembre de 2020): 29–42. http://dx.doi.org/10.2478/nor-2020-0014.
Resumen
AbstractA current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. The overarching premise for this article is to explore the extent to which Henning Mankell's crime novels and their adaptations engage the character Wallander's own and “other” worlds with a cosmopolitan perspective, by considering the mutations of Wallander's fictional local world as intricately tied to discursive geopolitical realities of the post–Cold War world. More specifically, I consider what may be gained from exploring the Wallander series within two distinct – yet, I shall argue, related – perspectives on geopolitics and crime fiction: on the one hand, the geopolitics of the translation, adaptation, and reception networks that have “worlded” the Wallander series (what I call Wallander's geopolitical adaptation networks), and on the other, the fictional geopolitical networks that weave the Global North and the Global South together in several of Mankell's intricate crime plots (Wallander's dark geopolitics).
34
Leś, Mariusz M. "„To jest weryfikacja rzeczywistości”. Narracja drugoosobowa w fantastyce naukowej". Białostockie Studia Literaturoznawcze, n.º 22 (2023): 171–93. http://dx.doi.org/10.15290/bsl.2023.22.10.
Resumen
The article contains an analysis of the function of second-person narrative in selected works of science fiction. This experimental type of narrative is characterised by a tendency to blur the line between the fictional and non-fictional worlds and to strengthen the reader’s empathic attitude. As the article shows, the combination of the possibility of deepening the psychological images of fictional characters with the complication of the ontological hierarchy of worlds and undermining their stability leads to interesting effects. Among them, the most promising seems the potential for strengthening the meanings that result from the confrontation of subjective worlds with the fictional worlds, understood as arenas for the characters’ actions.
35
Vertesi, Janet. "“All these worlds are yours except …”: Science Fiction and Folk Fictions at NASA". Engaging Science, Technology, and Society 5 (12 de junio de 2019): 135. http://dx.doi.org/10.17351/ests2019.315.
Resumen
Although they command real spacecraft exploring the solar system, NASA scientists refer frequently to science fiction in the course of their daily work. Fluency with the Star Trek series and other touchstone works demonstrates membership in broader geek culture. But references to Star Trek, movies like 2001 and 2010, and Dr. Strangelove also do the work of demarcating project team affiliation and position, theorizing social and political dynamics, and motivating individuals in a chosen course of action. As such, science fiction classics serve as local folk fictions that enable embedded commentary on the socio-political circumstances of technoscientific work: in essence, a form of lay social theorizing. Such fiction references therefore allow scientists and engineers to openly yet elliptically discuss their social, political, and interactional environment, all the while maintaining face as credible, impartial, technical experts.
36
Alves, Pedro M. S. "Phenomenology of Phantasy and Fiction: Some Remarks Towards a Unified Account". Phainomenon 29, n.º 1 (1 de diciembre de 2019): 39–55. http://dx.doi.org/10.2478/phainomenon-2019-0003.
Resumen
Abstract I offer an outline of an integrated phenomenological analysis of free fantasy and of fictional worlds. My main concern amounts to stress the scissions entailed in free fantasy and in the consciousness of fictional objects: a scission of the I, and a scission of the experience. Firstly, I offer a somewhat new characterization of the presence of the objects of free fantasy, which disconnects any possible relationship of those objects with a real perception as the leading form of an originally giving consciousness. My leading example is daydream. Secondly, I take the Husserlian analysis of neutralization as a conceptual tool to explain the consciousness of fictional worlds, against a new tendency for interpreting these worlds in light of the concept of “possible world”. The two approaches converge to a twofold characterization of the mode of being of fictions and of the modality of presence of the objects of fantasy.
37
Ray, Alice. "Approche contrastive anglais-français de la création lexicale science-fictionnelle". Studia Romanica Posnaniensia 49, n.º 4 (9 de enero de 2023): 125–43. http://dx.doi.org/10.14746/strop.2022.494.008.
Resumen
Imaginary genres have always played with language and lexicon in order to build their worlds. The science fiction genre, in particular, creates a lexicon on the borderline between literary creation and scientific and technical terminology so the stories can be framed elsewhere or in the future. The translation of these invented words can be a real challenge for translators because of their very nature as hybrids, but also because of the science fictional megatext. The translation treatment from English into French of these neologisms, known as “fiction terms”, shows different strategies of lexical (re)creation. Following a terminological approach, this paper presents a contrastive analysis of lexical creation strategies and morpho- syntactic structures between the two languages on a list of science fictional terms from the audiovisual field and extracted from a corpus of science fiction novels.
38
Forter, Greg. "Atlantic and Other Worlds: Critique and Utopia in Postcolonial Historical Fiction". PMLA/Publications of the Modern Language Association of America 131, n.º 5 (octubre de 2016): 1328–43. http://dx.doi.org/10.1632/pmla.2016.131.5.1328.
Resumen
This essay traces the meanings and effects of postcolonial authors' recent refashioning of classical historical fiction. That refashioning has two aims: a materialist cartography that counters the nationalist vocation of classical historical fiction by revealing the supranational, global aspirations of colonial capitalism as a system; and an effort to retrieve from colonial modernity the residues of premodern, often presecular modes of solidarity that persist in yet lie athwart the colonial-modern. The analysis focuses on two novels: Barry Unsworth's Sacred Hunger (1992) and Amitav Ghosh's Sea of Poppies (2006). It engages with work on the Atlantic and Indian Ocean worlds, with theoretical critiques of utopia, and with the Lukácsian concept of typification (and Ian Baucom's criticism of it). The essay concludes by linking the birth of postcolonial historical fiction to the form of finance capital undergirding our contemporary moment—a form of capital that reprises while intensifying that which held sway at the moment of historical fiction's first emergence.
39
Troscianko, Emily. "Kafkaesque worlds in real time". Language and Literature: International Journal of Stylistics 19, n.º 2 (27 de abril de 2010): 151–71. http://dx.doi.org/10.1177/0963947010362913.
Resumen
We read in a linear fashion, page by page, and we seem also to experience the world around us thus, moment by moment. But research on visual perception shows that perceptual experience is not pictorially representational: it does not consist in a linear, cumulative, totalizing process of building up a stream of internal picture-like representations. Current enactive, or sensorimotor, theories describe vision and imagination as operating through interactive potentiality. Kafka’s texts, which evoke perception as non-pictorial, provide scope for investigating the close links between vision and imagination in the context of the reading of fiction. Kafka taps into the fundamental perceptual processes by which we experience external and imagined worlds, by evoking fictional worlds through the characters’ perceptual enaction of them. The temporality of Kafka’s narratives draws us in by making concessions to how we habitually create ‘proper’, linear narratives out of experience, as reflected in traditional Realist narratives. However, Kafka also unsettles these processes of narrativization, showing their inadequacies and superfluities. Kafka’s works engage the reader’s imagination so powerfully because they correspond to the truth of perceptual experience, rather than merely to the fictions we conventionally make of it. Yet these texts also unsettle because we are unused to thinking of the real world as being just how these truly realistic, Kafkaesque worlds are: inadmissible of a complete, linear narrative, because always emerging when looked for, just in time.
40
Jacobs, Arthur M. y Roel M. Willems. "The Fictive Brain: Neurocognitive Correlates of Engagement in Literature". Review of General Psychology 22, n.º 2 (junio de 2018): 147–60. http://dx.doi.org/10.1037/gpr0000106.
Resumen
Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. The brain processes which play a role in the mental construction of fiction worlds and the related engagement with fictional characters, remain largely unknown. The authors discuss the neurocognitive poetics model ( Jacobs, 2015a ) of literary reading specifying the likely neuronal correlates of several key processes in literary reading, namely inference and situation model building, immersion, mental simulation and imagery, figurative language and style, and the issue of distinguishing fact from fiction. An overview of recent work on these key processes is followed by a discussion of methodological challenges in studying the brain bases of fiction processing.
41
Powell, Gareth L. "Brave New Worlds?" Engineer 302, n.º 7929 (julio de 2021): 39. http://dx.doi.org/10.12968/s0013-7758(22)90546-x.
Resumen
Now that the world’s richest men are turning their attention to other planets, our resident science fiction author, Gareth L. Powell considers what kind of future they might have to build when they get there.
42
Goodstein, Joshua y Deena Skolnick Weisberg. "What Belongs in a Fictional World?" Journal of Cognition and Culture 9, n.º 1-2 (2009): 69–78. http://dx.doi.org/10.1163/156853709x414647.
Resumen
AbstractHow do readers create representations of fictional worlds from texts? We hypothesize that readers use the real world as a starting point and investigate how much and which types of real-world information is imported into a given fictional world. We presented subjects (N=52) with three stories and asked them to judge whether real world facts held true in the story world. Subjects' responses indicated that they imported many facts into fiction, though what exactly is imported depends on two main variables: (1) the distance that a narrative world lies from reality and (2) the types of fact being imported. Facts that are true of the real world are more likely to be imported into worlds that are more similar to the real world, and facts that are more central to the representation of the real world are more likely to be imported overall. These results indicate that subjects make nuanced inferences when creating fictional worlds, basing their representations both on how different a story world is from the real world and on what they know to be causally central to the real world.
43
Yu, Lei. "Ecological Concerns and Insights in Science Fiction Films — A Case Study of The Wandering Earth". Journal of Research in Social Science and Humanities 3, n.º 3 (marzo de 2024): 56–60. http://dx.doi.org/10.56397/jrssh.2024.03.09.
Resumen
Science fiction films, as an artistic expression highlighting the relationship between future technology and human survival, often utilize grand story settings and fictional futuristic worlds to explore the connection between humanity and the environment. This paper takes the Chinese science fiction film The Wandering Earth as a case study, examining its focus on ecological issues and the presentation of ecological awareness within the narrative. The aim is to use science fiction cinema as a medium to provide audiences with insights into Earth’s ecology, guiding humanity towards profound reflections on environmental issues.
44
Abraham, Anna, D. Yves von Cramon y Ricarda I. Schubotz. "Meeting George Bush versus Meeting Cinderella: The Neural Response When Telling Apart What is Real from What is Fictional in the Context of Our Reality". Journal of Cognitive Neuroscience 20, n.º 6 (junio de 2008): 965–76. http://dx.doi.org/10.1162/jocn.2008.20059.
Resumen
A considerable part of our lives is spent engaging in the entertaining worlds of fiction that are accessible through media such as books and television. Little is known, however, about how we are able to readily understand that fictional events are distinct from those occurring within our real world. The present functional imaging study explored the brain correlates underlying such abilities by having participants make judgments about the possibility of different scenarios involving either real or fictional characters being true, given the reality of our world. The processing of real and fictional scenarios activated a common set of regions including medial-temporal lobe structures. When the scenarios involved real people, brain regions associated with episodic memory retrieval and self-referential thinking, the anterior prefrontal cortex and the precuneus/posterior cingulate, were more active. In contrast, areas along the left lateral inferior frontal gyrus, associated with semantic memory retrieval, were implicated for scenarios with fictional characters. This implies that there is a fine distinction in the manner in which conceptual information concerning real persons in contrast to fictional characters is represented. In general terms, the findings suggest that fiction relative to reality tends to be represented in more factual terms, whereas our representations of reality relative to fiction are colored by personal subjectivity. What modulates our understanding of the relative difference between reality and fiction seems to be whether such character-type information is coded in self-relevant terms or not.
45
Hager, Tamar y Carl D. Malmgren. "Worlds Apart: Narratology of Science Fiction". Poetics Today 13, n.º 3 (1992): 554. http://dx.doi.org/10.2307/1772876.
46
Rusu, Mihai. "Worlds, Objects, and Theories of Fiction". Studia Universitatis Babeș-Bolyai Philosophia 65, n.º 1 (20 de febrero de 2020): 39–52. http://dx.doi.org/10.24193/subbphil.2020.1.03.
47
Segal, E. "The Possible Worlds of Hypertext Fiction". Poetics Today 32, n.º 3 (1 de septiembre de 2011): 614–16. http://dx.doi.org/10.1215/03335372-1375225.
48
Dolezel, Lubomir. "Possible Worlds of Fiction and History". New Literary History 29, n.º 4 (1998): 785–809. http://dx.doi.org/10.1353/nlh.1998.0039.
49
Hunt, Peter. "ALTERNATIVE WORLDS IN FANTASY FICTION—REVISITED". New Review of Children's Literature and Librarianship 11, n.º 2 (noviembre de 2005): 163–74. http://dx.doi.org/10.1080/13614540500324153.
50
Gavrilin, K. N. y I. A. Fadin. "Dellshaw's art worlds: truth or fiction?" Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, n.º 4-2 (2022): 271–83. http://dx.doi.org/10.37485/1997-4663_2022_4_2_271_283.