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1
Fitzpatrick, Noel. "The question of Fiction – nonexistent objects, a possible world response from Paul Ricoeur." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 137–53. http://dx.doi.org/10.1515/kjps-2016-0020.
Повний текст джерелаАнотація:
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.
2
Siderevičiūtė, Simona. "Science Fiction in Historical and Cultural Literary Discourse." Respectus Philologicus 25, no. 30 (April 25, 2014): 172–84. http://dx.doi.org/10.15388/respectus.2014.25.30.13.
Повний текст джерелаАнотація:
This work intends to complement literary studies in science fiction. It discusses the history of global science fiction, overviews the most characteristic features of its historical periods, and provides an introduction to Lithuanian science fiction, indicating its main features and topics. In the context of culture, science fiction is often defined as a literary genre with the emphasis on its nature as fiction. Only rarely are the history of the origin of science fiction, its variations, and the pioneers of science fiction whose works are still highly valued taken into account. Science fiction is often criticized through the filter of preconceived ideas that consider this type of literature to be “frivolous.” This article discusses the possible reasons for such an approach. In Lithuania, this genre is still associated only with pop literature, and its expression cannot yet equal the works of foreign authors. The basic classical motifs of global science fiction found in Lithuanian science fiction include: representatives of extraterrestrial civilizations and human contact with them, scientists and inventors, agents of military institutions, and space travel. Lithuanian science fiction writers follow the traditions of global science fiction when using these classical motifs; however, a general lack of original and individual themes, motifs, and manifestations may be observed.
3
Larsen, Svend Erik. "Nature between fact and fiction: A note on virtual reality." Sign Systems Studies 29, no. 1 (December 31, 2001): 187–202. http://dx.doi.org/10.12697/sss.2001.29.1.12.
Повний текст джерелаАнотація:
The paper places the trendy notion of virtuality and virtual reality in a conceptual and historical context that makes it useful in a semiotic perspective. Virtuality is connected with the classical notion of fictionality, in its meaning of both invention and deception. Historically an active, a passive, and a neutral version of the concept can be distinguished. The notion is reinterpreted as a variant of the semiotic processes of deixis. In relation to nature - scenarios, prognoses, hypotheses, etc. - virtuality is seen as a means of anchoring the human subject in nature instead of constructing a nonreal universe separated from it.
4
Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-10-27.
Повний текст джерелаАнотація:
In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.
5
Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/2500-4247-2021-6-2-10-27.
Повний текст джерелаАнотація:
In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.
6
Knapp, Jeffrey. "Selma and the Place of Fiction in Historical Films." Representations 142, no. 1 (2018): 91–123. http://dx.doi.org/10.1525/rep.2018.142.1.91.
Повний текст джерелаАнотація:
Every historical film must contend with the possibility that its viewers will be scandalized by its mixture of fact and fiction, but no recent historical film has faced such pressure to justify its hybrid nature as Selma has, in large part because no recent film has taken on so momentous and controversial a historical subject: the civil rights marches from Selma to Montgomery that led to the passage of the Voting Rights Act in 1965. The renewed urgency of the issues Selma dramatizes, along with the film’s own commitment to the “moral certainty” of the civil rights movement, helps explain why Selma wavers in a self-defense that links the fictionality of its historical reenactments to the purposely theatrical element of the marches themselves. But politics are not the only problem for fiction in Selma, and to show why, this essay compares Selma to an earlier historical film, The Westerner (1940), that openly flaunts the commercial nature of its fictionality.
7
Abdigapbarova, Zhanar. "Forming the historical consciousness of the student through teaching fiction." International journal of linguistics, literature and culture 6, no. 4 (May 11, 2020): 27–37. http://dx.doi.org/10.21744/ijllc.v6n4.903.
Повний текст джерелаАнотація:
Teaching fiction is closely related to science because any sphere of science involves theoretical and applied practical meaning. While forming a fiction-reading student by teaching literature we should take into account both theoretical and applied systems of the literature and pay attention to its artistic nature. When the meaning of the word, a concept, or an idea influence the student, he/she starts to think deeply and attentively. Moreover, reading fiction affects consciousness differently. On one hand, it may encourage an individual to act, on the other hand, it may invoke his interest in the subject (literature) and encourage him/her to read fiction. Teaching is a bilateral process, hence, its quality is directly related to the attitudes of the student and the level of cognitive activity and didactic improvement of the teacher’s work. Improving critical thinking improves students’ cognitive activity. The literature of any nation develops in a close relationship with its history. Any scientific sphere is also closely related to history. There is no life beyond history as well as literature. Therefore, teaching fiction is an extremely effective way of forming historical consciousness. The public opinion in Kazakhstan is formed through the history and literature of the Kazakh nation.
8
PARE, SHVETAL VYAS. "Writing Fiction, Living History: Kanhaiyalal Munshi's historical trilogy." Modern Asian Studies 48, no. 3 (June 4, 2013): 596–616. http://dx.doi.org/10.1017/s0026749x12000777.
Повний текст джерелаАнотація:
AbstractKanhaiyalal Munshi was a pre-eminent Gujarati author, freedom fighter and politician. A member of the Indian National Congress and a close associate of Mahatma Gandhi, he is credited with having developed and popularized the concept of Gujarat ni asmita, or Gujarati self-consciousness. This paper focusses on a trilogy of Munshi's historical fiction namely Patan Ni Prabhuta (The Glory of Patan) (1916), Gujarat No Nath (The Master of Gujarat) (1917–1918) and Rajadhiraj (The King of Kings) (1922). This paper offers a close reading of these texts, to argue that the trilogy offers the possibility of opening up notions of Gujarati identity, and of showing its constructed nature. Munshi's engagement with the ideas of politics, heroism and nation-building reflects the concerns of a movement that is trying to understand both itself and the nation that it is in the process of imagining. Highlighting the subversion of the texts is an attempt to stretch the boundaries of Gujarati identity, and think differently about the meaning of being Gujarati.
9
G, Nirmaladevi. "Transit in Kalki Historical Novels." International Research Journal of Tamil 3, S-1 (June 25, 2021): 279–84. http://dx.doi.org/10.34256/irjt21s145.
Повний текст джерелаАнотація:
The novel is one of the brand new arts acquired by Tamils due to European contact and learning English. In storytelling for Tamils since ancient times; there is involvement. However, the literary form of the novel became known to the people only after learning English novels. As a result, AD.Novels may have appeared in Tamil in the late nineteenth century. By the time the first novel appeared in Tamil, Tamils were well versed in education. So the number of scholars was increasing. Tamils learned to speak English along with Tamil. It is easy for people to move from one place to another due to the convenience of the train. A number of printing presses appeared and printed texts. Thus diminishing the influence of poetry influence of prose grew. These were the reasons for the origin of the Tamil novel and its subsequent development. The novels thus multiplied into science fiction, science fiction, enlightenment novel, Gandhian novel, Marxist novel, social novels, social novels, and historical novels. The purpose of this article is to examine the nature of historical novels and Kalki's contribution to them.
10
Gorelova, Olga Olegovna. "Literary-documental narrative in the fictional autobiographic novel “My Secret History” by Paul Theroux." Litera, no. 5 (May 2020): 39–49. http://dx.doi.org/10.25136/2409-8698.2020.5.32908.
Повний текст джерелаАнотація:
This article raises the problem of differentiation between authorial fiction and factual information in the fictional autobiographic prose that interfere with each other. The object of this research is the fictional autobiographic prose as a peculiar type of text with structure containing system codes of diverse narrative nature. The subject of this research is the characteristics and features of the literary-documental narrative in a fictional autobiographical text. The goal consists in demonstrating the dual nature of the fictional biographic prose on the example of literary-documental novel “My Secret History” (1989) by Paul Theroux. The following conclusions were formulated: 1) fictional autobiographic narrative as a variety of literary-documental narration is characterized with descriptiveness and aptitude to imitation of objectivity studying the personality of the hero; 2) the text in question contains the signs of realization of paradigms of fiction and actuality. The scientific novelty is consists in application of narratological approach towards analysis of the text, which demonstrates the specific constituting spheres associated with simultaneous implementation of the strategies of fictionalization and documental stylization of the material. It is determines that the fictional autobiographic material is characterized with subjective processing of represented data, and thus, it is essential to interpret the prose in question based on the accessible to audience contextual information (suggested authorial context and historical context).
11
Ahmad, Mumtaz, Nighat Ahmad, and Amara Javed. "Environmental Performativity in Native American and Afro-American Womens Fiction: An Ecofeminist Critique of Erdrichs Tracks and Morrisons Beloved." Global Social Sciences Review VI, no. I (March 30, 2021): 48–56. http://dx.doi.org/10.31703/gssr.2021(vi-i).06.
Повний текст джерелаАнотація:
This article, evaluating the usefulness and applicability of the ecofeminist tenets upon the environmental fiction of Erdrich and Morrison, creates a new understanding of the preservation of the environment for engendering a more egalitarian relationship between humanity and nature. It presents the critique of the ways Toni Morrison and Louise Erdrich engage with the environmental themes and motifs using the historical connections of their communities with nature as a reference point via eco-performative texts. The overall scheme of the article, therefore, denies the anthropocentric approach upheld by the Euro-American world towards the environment and glorifies the biocentric approach revered and celebrated by the Native American and AfroAmerican lifestyle, emphasizing that in the cosmic scheme of nature, not just humans but non-humans, nature and environment are equal partners. The study concludes that Morrison and Erdrich have stressed in their fiction the ecocritical recognition of the inevitable interdependence of man and nature. Their fiction asserts that considering environmental issues to be human issues can positively affect the human attitude towards nature/environment.
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Lysova, Natalia Aleksandrovna. "Representation of image of the past in modern Russian historical fiction films." Философия и культура, no. 2 (February 2020): 12–26. http://dx.doi.org/10.7256/2454-0757.2020.2.32256.
Повний текст джерелаАнотація:
This article examines the problems of representation of images of the past in modern historical fiction film and TV series. The relevance of the topic is substantiated by current popularity of this genre of cinematography among audience. The younger generation refers to the historical fiction films as an easy-to-grasp source of information on the historical facts, events, processes and personalities. However, such trend carries a threat of disorientation of mass audience regarding the historical past. The article analyzes the concept of “image”, “artistic image”, “image of the past” and their specific features in the context of the subject of research. Attention is turned to complexity of interrelation of the concept of “historical film” and the introduced into mass media terminology stable lexical construct “pseudohistorical film”. The combination of two approaches became the foundation for this research: culturological approach allowed viewing the degree of representation of images of the mast in historical fiction cinematography; while multifaceted nature of the subject of research and versatility of theoretical and empirical materials suggest referring to interdisciplinary approach. Based on the analysis of modern historical fiction feature films and TV series, the author highlights the criteria that allows assessing the adequacy of image of the past and historical reality depicted on the screen. Such criteria include: veracity of reconstruction of material culture of a specific historical period; events and occurrences, social and historical processes of the reproduced historical time; accuracy of interpretation of mentality of a particular cultural-historical period; original view of the film creators upon history; original understanding and interpretation of historical processes, events and phenomena, etc. Within the framework of this article, emphasis is made on the first two criteria.
13
Walker, Stanwood S. "A False Start for the Classical-Historical Novel: Lockhart's Valerius and the Limits of Scott's Historicism." Nineteenth-Century Literature 57, no. 2 (September 1, 2002): 179–209. http://dx.doi.org/10.1525/ncl.2002.57.2.179.
Повний текст джерелаАнотація:
This essay examines the relationship between a popular but neglected subgenre of nineteenth-century historical fiction, the classical-historical novel, and the Waverley novels of Walter Scott. Using John Gibson Lockhart's Valerius; a Roman Story (1821), the first of the classical-historical novels to appear in the wake of the Waverley novels, as a test-case, the essay demonstrates how this subgenre highlights the limits of Scott's model for historical fiction. The essay first outlines the nature of Scott's favored brand of historicism, which it argues was a genealogical one centered on the oral testimony of witnesses to the past events in question (or their near-descendants). It then assesses Lockhart's attempt to adapt Scott's historicist model to his novel's second-century setting, and argues that for reasons having to do both with the temporal and cultural remoteness of that setting, and with the special status of late antiquity in the nineteenth century, Scott'smodel was not available to Lockhart and subsequent classical-historical novelists. Lockhart's novel thus stands as an instructive "false start" for the nineteenth-century classical-historical novel.
14
Marsh, Rosalind. "The Nature of Russia's Identity: The Theme of “Russia and the West” in Post-Soviet Culture." Nationalities Papers 35, no. 3 (July 2007): 555–78. http://dx.doi.org/10.1080/00905990701368795.
Повний текст джерелаАнотація:
The aim of this essay is to present a brief overview of the treatment in post-Soviet culture and the media, especially in literature, film and publitsistika on historical themes, of certain aspects of the perennial debate about “Russia and the West.” I will ask whether the West is still regarded as Russia's “Other,” or whether, in a period when Russia has been more open to the West than ever before, and Western and Russian tastes in historical and other fiction appear to be converging, such a polar opposition can now be seen as fundamentally outdated.
15
Groeben, Norbert. "Biographische Real-Fiktion als Paradigma narrativer Erklärung." Journal of Literary Theory 14, no. 2 (September 25, 2020): 287–310. http://dx.doi.org/10.1515/jlt-2020-2008.
Повний текст джерелаАнотація:
AbstractThe two categories of »fiction« and »non-fiction« are most often conceived of – and treated as – disjointed and separate, not only in common sense but also in literary studies. This does not adequately reflect, however, the developmental trajectory of the non-fiction genre over the course of the twentieth century. After all, the popularization of expert knowledge has increasingly been effected with the help of narrative strategies which raise one crucial question: Just how much fiction can the factual nature – the dependence on facts – of non-fiction tolerate? However, as the more precise definition of the pertinent term, »fiction«, indicates, a distinction must be made between »fictionality«, on the one hand, and »fictivity«, on the other. »Fictionality«, that is to say, refers to narrative strategiesanalogous tothose of fiction, but which relate to historical facts. »Fictivity«, by contrast, refers to the representation of fictitious content. More precisely, then, the question is this: Just what degree of fictivity can the factuality of non-fiction writing tolerate? Since this question cannot be answered constructively from a quantitative but only from a qualitative point of view, we are faced with the ultimately crucial question: Just what kind of fictivity can the factuality of non-fiction tolerate?In trying to answer that question, it seems advisable to start from the structure of deductive-nomological explanation, in which a given phenomenon – the explanandum – is explained by deducing its description from regularities plus the antecedent conditions contained in them (the explanans). In the case of historical explanation, in particular, historical facts most often form the explanandum, while the antecedent conditions of the potentially explanatory regularity (i. e., of the explanans) are not historically documented. Even more specifically, the genre of biography presents a paradigmatic case of such historical explanations falling within the purview of literary studies as well. Not uncommonly, attempts to arrive at a coherent, psychologically convincing biographical portrayal are met with the problem that historically documented life events can be explained – as to their genesis or »coming about« – only by reference to ultimately fictitious – or, to take up the distinction introduced above, to ultimately fictive – assumptions regarding antecedent conditions. Literary biography may, therefore, be said to realize the desired combination of fictivity and factuality in the best possible way: namely, as fictivity in the service of factuality.To find a paradigmatic example of such a combination, one need look no further than the biography of the German chemist Clara Immerwahr, wife of the professor of chemistry, Dr. Fritz Haber, who during the First World War was in charge of German efforts to develop and deploy chemical combat agents such as poison gases. Clara Immerwahr demonstrably saw her husband’s work as a perversion of science but was completely isolated and powerless in her protest against it. Her suicide after the German gas attacks at Ypres in April and May 1915 may therefore be understood as a final and ultimate protest (attempt). There is no clear evidence for this, however, since Immerwahr’s farewell letters no longer exist. Accordingly, the path leading towards her decision to end her life has to be reconstructed using fictive assumptions (about decisive life events). This implies the following, central hypothesis: »Once a person breaks away from a religiously motivated rejection of suicide as an inadmissible interference in God’s plan, that person will, in a situation of hopeless, existential, despair, commit suicide.« In the example of a literary biography presented here, Immerwahr’s reaction to the papal encyclical of 1910 is posited as a fictive antecedent condition, for which no historical record exists. In particular, this involves the question whether Immerwahr was prompted by that experience to establish, in her own mind, the precedence of a scientific-humanistic ethos over any kind of religious ideology. That she did come to rank a scientist’s morality of a shared humanity more highly than religious dogma – particularly where self-determination over one’s own life (and the end of one’s own life) was concerned –, is, however, a highly probable developmental condition of her life story, considering its actual culmination in a highly demonstrative suicide.On the basis of this exemplary piece of biographical writing, the connection of fictivity and factuality may be considered in terms of its fundamental structures, and may be revealed as really a case of fictivity in the service of factuality. In fact, we are looking at an explanation of the »how it was possible that« type, in which the explanandum is a confirmed (historical) fact, while the antecedent condition of the explanatory regularity can only be postulated as a psychologically plausible, hermeneutically intelligible life event. It is this combination of factual effects (hence explained) and fictive conditions (thus explaining), or, otherwise put, of historical factuality and (psychologically) probable fictivity, which is meant to be captured by the term »real fiction«.Biography as a genre is particularly suitable for the elaboration of this concept of »real fiction«, because it has been seen as »fundamentally caught between facts and fiction« – between factuality and fictivity – for quite some time now. To justify the introduction of a new genre, however, the level of detail chosen must be such that it, on the one hand, allows us to apprehend the differences, in terms of literary theory, between this new model and other, established models of factuality, while at the same time giving a nuanced, structured account – one that meets the requirements of the philosophy of science– of how precisely fictivity might be said to be »in the service of factuality«. With regard to genre concepts already established in literary theory, one will have to consider the historical novel and the writing of the New Objectivity movement as well as documentary literature. In the case of the historical novel, writers’ »fictivity leeway« is much greater, since there is no requirement for a strict coherence with concrete factual explananda. As an antithesis to this, consider the writing of the New Objectivists, which is characterised by a predominance of factuality which is accompanied by a wholesale – if overgeneralised – rejection of aesthetic concerns and the demand for an unreserved critique of society and ideology. This same anti-ideological impulse also characterises documentary literature, in which the preferred narrative strategies are even fewer (being restricted to the modes of reportage, montage, etc.). The genre of »real fiction«, by contrast, is much more open and flexible, both in terms of (theoretical) content and narrative strategies. In return, however, it places significantly higher demands on the structural relation between fiction and factuality, insofar as an explanation of relevant historical facts has to be given. Thus, the concept of »real fiction« is characterised by a combination of openness (regarding its possible topics and content) with a formally concise explanatory structure. This is how »real fiction« particularizes the fictive in the service of the factual.In the end, »real fiction« can be explicated as a form of narrative explanation in the sense proposed by Danto. It is concerned with the historical explanation of developments – and in the case of biography, more specifically, with the explanatory reconstruction of a life story in ontogenetic terms. Thus, the reconstruction of fictive life events in the form of a narrative does indeed provide a causal explanation, but it does so employing narrative strategies. This permits an epistemological differentiation between »real fiction« and both explanatory narration and thought experiments, at the same time effecting a marked pragmatization (through recourse to the criterion of relevance) and a heightened flexibility of narrative strategies available. If one conceives of the combination of fictivity and narration as the source of literariness, we are ultimately confronted with a synthesis of (literary) art and science, of scientificity and literariness. Being, in the memorable phrase of Wilhelm Dilthey, a wissenschaftliches Kunstwerk (i. e., a »scientific« or »scholarly work of art«), »real fiction« is both: literature striving for the highest standards of scholarship – and scholarship given a literary form.
16
Zheng, Guangjie. "Children’s historical narrative of the early XXI century (based on the story “The Ghost of the Network» by Tamara Kryukova)." Neophilology, no. 26 (2021): 328–34. http://dx.doi.org/10.20310/2587-6953-2021-7-26-328-334.
Повний текст джерелаАнотація:
In the core of the research is a modern Russian historical narrative for children. On the example of the historical adventure fiction “The Ghost of the Network” written by Tamara Kryukova the work identifies and describes the main characteristics of this type of narrative due to the trends in modern children’s literature, features of modern teenagers’ world perception, changed conditions of social life, etc. The artistic narrative is analyzed in the mainstream of discursiveness due to its open and fluid nature, the cultural and historical nature of the narrative artistic discourse and its inclusion in a wide cultural and discursive context, the polyphonic nature of the stories that form the basis of the narrative discourse of Tamara Kryukova’s children story “The Ghost of the Network”, which covers almost 700 years old and takes the reader to the distant era of Ancient Russia, the main “ingredients” of the historical narrative include the author’s fantasy in the form of a ghost from ancient history, which frightens a scientist who finds himself on a night highway, completely deserted by a mystical coincidence. The leading method is narrative analysis. Thematic and discourse analysis is used as an auxiliary method. In the course of the study, conclusions are drawn. The work reveals the features of a modern children’s historical narrative, combining elements of an adventure-fantasy genre, interweaving the past and the present, history and fiction, taking into account the peculiarities of a modern teenager, living not only in real, but also in virtual space. The enrichment of this story allows the authors to achieve cultural and historical continuity, give the text a semantic dimension, educational meanings, and include modern linguocultural national knowledge in it.
17
Brodsky, Alexander. "Justification of human nature. Universalism and cultural diversity from the point of view of modern science." KANT 37, no. 4 (December 2020): 229–36. http://dx.doi.org/10.24923/2222-243x.2020-37.50.
Повний текст джерелаАнотація:
In this article the author is going to prove that all the data of recent decades obtained in the field of neurophysiology, linguistics, logic, semiotics and anthropology prove that the idea of a unite Human Nature, which was postulated by the Enlightenment, is not a fiction or even "abstraction", but a perfectly recognizable (though nondescript) reality. All humans are the same, and human nature does not depend on culture. However, the paper addresses not so much the data as their consequences. The universal Human Nature implies the existence of uniform standards of thinking and behavior (ethics), unaffiliated with historical experience, traditions, and beliefs. These standards are available to everyone. But they are unevenly implemented in various cultures due to various historical circumstances.
18
Kasavin, Ilya T. "Knowledge and Reality in the Historical Epistemology." Epistemology & Philosophy of Science 57, no. 2 (2020): 6–19. http://dx.doi.org/10.5840/eps202057216.
Повний текст джерелаАнотація:
The article gives a generalized view of the historical epistemology and highlights its main problems: the nature of historical reality, historical knowledge and historical agent. The historical epistemology represents a special philosophical discourse, the purpose of which is constructing historical knowledge for cultural assimilation of the new historical reality at the intersection of science and society. A distinction is proposed between the position of a historian of science and a historical epistemologist in terms of the essence of historical event and historical fact. The historical epistemology reveals its boundaries and a position within modern epistemological approaches. On the one hand, it is the substantialist interpretation of the historical event, which loses its a priori status only by socio-epistemological explanation. On the other hand, a figure of the historical agent (hero and author) keeping the status of a theoretical fiction in historical epistemology, acquires the adequate meaning in the existential philosophy of science.
19
Goodstein, Elizabeth. "‘Behind the Poetic Fiction’: Freud, Schnitzler and Feminine Subjectivity." Psychoanalysis and History 6, no. 2 (July 2004): 201–23. http://dx.doi.org/10.3366/pah.2004.6.2.201.
Повний текст джерелаАнотація:
In 1922 Sigmund Freud wrote to fellow Viennese author and dramatist Arthur Schnitzler: ‘I believe I have avoided you out of a sort of fear of my double’. Through a series of reflections on this imagined doubling and its reception, this paper demonstrates that the ambivalent desire for his literary other attested by Freud's confession goes to the heart of both theoretical and historical questions regarding the nature of psychoanalysis. Bringing Schnitzler's resistance to Freud into conversation with attempts by psychoanalytically oriented literary scholars to affirm the Doppengängertum of the two men, it argues that not only psychoanalytic theories and modernist literature but also the tendency to identify the two must be treated as historical phenomena. Furthermore, the paper contends, Schnitzler's work stands in a more critical relationship to its Viennese milieu than Freud's: his examination of the vicissitudes of feminine desire in ‘Fräulein Else’ underlines the importance of what lies outside the oedipal narrative through which the case study of ‘Dora’ comes to be centered on the uncanny nexus of identification with and anxious flight from the other.
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Miller, Robert J. "When It's Futile to Argue about the Historical Jesus: A Response to Bock, Keener, and Webb." Journal for the Study of the Historical Jesus 9, no. 1 (2011): 85–95. http://dx.doi.org/10.1163/174551911x601144.
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AbstractThis brief response to the essays by Darrell Bock, Craig Keener, and Robert Webb unfolds in three parts. First, I maintain that arguments about the historical Jesus can be productive only among those who already agree on a number of contested questions about historiographical method and the nature of the Gospels. Therefore, debates about the historical Jesus that occur between the 'evangelical' camp (which sees the canonical Gospels as fully reliable historically) and the 'traditional' camp (which sees the Gospels as blends of fact and fiction) are futile. Second, I propose a thought experiment designed to test our historical assessment of ancient biographies that portray their hero like the Gospels portray Jesus. I argue that the results of this experiment undermine Keener's conclusion that the historical reliability of the Gospels should be regarded as equal to that of ancient biographies of Roman emperors. Third, I pose the question of whether the methodological naturalism proposed by Webb allows us to conclude that events reported in the Gospels are unhistorical. I argue that either answer to that question reduces the appeal of methodological naturalism for historical-Jesus scholars.
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Mulalić, Lejla. "Redefining the Boundaries of Historical Writing and Historical Imagination in Carolyn Steedman’s Master and Servant: Love and Labour in the English Industrial Age." ELOPE: English Language Overseas Perspectives and Enquiries 10, no. 1 (May 9, 2013): 51–61. http://dx.doi.org/10.4312/elope.10.1.51-61.
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One of the dominant features of the late 20th and early 21st century academic debates on the nature of history is a curious form of radicalism both in the ranks of defenders of traditional approaches to history/historiography and eloquent champions of postmodern theories. These debates will provide the context for my reading of Steedman’s Master and Servant, which probes disciplinary boundaries of history and fiction in order to explore the unhistoricised ways of love and labour in 18th century industrial Yorkshire. As Steedman inhabits the position of both a professional historian, with all the ideological implications of that position, and Nelly Dean, a servant and narrator in Brontë’s Wuthering Heights, this paper will consider her approach to historical imagination in the light of deconstructionist genre of historical writing.
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Zubair, Hassan Bin, Mamona Yasmin Khan, and Sidra Tariq. "Exploring the Metaphoric Mythical and Historical Ideologies with Nationalist Affiliations and Religious Historical Past in James Joyce's Selected Literary Fiction." Global Language Review V, no. IV (December 30, 2020): 103–12. http://dx.doi.org/10.31703/glr.2020(v-iv).11.
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This paper explores the mythical basis, nationalist affiliations and religious, historical past in James Joyce's A Portrait of the Artist as a Young Man and Ulysses. These two selected novels carry different mythical narratives and sensibilities. This paper discusses a journey where time and space are transcended, which is called a “mythic journey”. Issues related to culture, religion and their association with ideological grounds are very prominent. Elements of religious past and feelings attached to these grounds are very vibrant. The author shares his keen observation and deep experience with nationalist affiliations and their impact. This research is qualitative in nature. For better conceptual understanding, documentaries and works of Joseph Campbell and theories presented by Allan Watts: especially his book Myth and Rituals in Christianity, support this research as a major theoretical framework. This research is helpful to know about the historical past and the mythical grounds of that time.
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Leane, Elizabeth, and Stephanie Pfennigwerth. "Antarctica in the Australian imagination." Polar Record 38, no. 207 (October 2002): 309–12. http://dx.doi.org/10.1017/s003224740001799x.
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AbstractAntarctica and Australia share a geographical marginality, a commonality that has produced and continues to reinforce historical and political ties between the two continents. Given this close relationship, surprisingly few fulllength novels set in or concerned with the Antarctic have been produced by Australian authors. Until 1990, two latenineteenth- century Utopias, and two novels by Thomas Keneally, were (to our knowledge) the sole representatives of this category. The last decade, however, has seen an upsurge of interest in Antarctica, and a corresponding increase in fictional response. Keneally's novels are ‘literary,’ but these more recent novels cover the gamut of popular genres: science fiction, action-thriller, and romance. Furthermore, they indicate a change in the perception of Antarctica and its place within international relations. Whereas Keneally is primarily concerned with the psychology of the explorer from the ‘Heroic Age,’ these younger Australian writers are interested in contemporary political, social, and environmental issues surrounding the continent. Literary critics have hitherto said little about textual representations of Antarctica; this paper opens a space for analysis of ‘Antarctic fiction,’ and explores the changing nature of Australian-Antarctic relations as represented by Australian writers.
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Jablensky, A. "The disease entity in psychiatry: fact or fiction?" Epidemiology and Psychiatric Sciences 21, no. 3 (May 25, 2012): 255–64. http://dx.doi.org/10.1017/s2045796012000339.
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Background.The current debate concerning the forthcoming revisions of the International Classification of Diseases (ICD) and the Diagnostic and Statistical Manual of Mental Disorders (DSM) lacks sufficient historical perspective on groundwork concepts in psychiatry, such as the nature of the disease entity, categorical typologies, dimensional models and their validity and utility.Objective.To offer an overview of the evolution and metamorphoses of the conceptual basis of classification in psychiatry, with particular focus on psychotic disorders.Method.Discursive, proceeding from history of ideas to a critique of present dilemmas.Results.Much of the present-day discussion of basic issues concerning the classification of mental disorders is a replay of debates that took place in the earlier periods of scientific psychiatry.Conclusion.The mainstream nosological paradigm adopted in psychiatry since early 20th century is in need to be critically examined and transcended with the help of concepts and methodological tools available today.
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Saidova, Mohira Rasulovna, and Dilbar Gulyamovna Sharipova. "THE CULIN THE CULINARY NAMES IN TEXT AMES IN TEXTS OF NATIONAL AND CUL AL AND CULTURAL ATTITUDE." Scientific Reports of Bukhara State University 5, no. 2 (May 24, 2021): 30–40. http://dx.doi.org/10.52297/2181-1466/2021/5/2/3.
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Introduction. By its very nature, a way of existence and potential possibility - language occupies a special place in the system of values and priorities of a cultures. Language and culture are seen as co-development factors enrichment - and existence. Participating in a single historical process, each nation in a special way perceives and evaluates the world around him, which depends on many factors: the peculiarities of historical development, lifestyle, geographic and climatic conditions of living, customs and traditions. National literature is worthy general - of people. Fiction reflects the historical era, with socio-political structure, geographical conditions, especially to - one the customs and traditions of the people. The names of such realities as dishes are constantly found in the works of Russian and English classics.
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Kesebir, Selin, and Pelin Kesebir. "A Growing Disconnection From Nature Is Evident in Cultural Products." Perspectives on Psychological Science 12, no. 2 (March 2017): 258–69. http://dx.doi.org/10.1177/1745691616662473.
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Human connection with nature is widely believed to be in decline even though empirical evidence is scarce on the magnitude and historical pattern of the change. Studying works of popular culture in English throughout the 20th century and later, we have documented a cultural shift away from nature that begins in the 1950s. Since then, references to nature have been decreasing steadily in fiction books, song lyrics, and film storylines, whereas references to the human-made environment have not. The observed temporal pattern is consistent with the explanatory role of increased virtual and indoors recreation options (e.g., television, video games) in the disconnect from nature, and it is inconsistent with a pure urbanization account. These findings are cause for concern, not only because they imply foregone physical and psychological benefits from engagement with nature, but also because cultural products are agents of socialization that can evoke curiosity, respect, and concern for the natural world.
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R, Sumathi, and Sutharshan V. "THE ADVANCEMENT OF ARTIFICIAL INTELLIGENCE A WAY TO MAN AND MACHINE IN COMBAT IN TIME MACHINE AND I ROBOT." Kongunadu Research Journal 6, no. 1 (June 30, 2019): 14–16. http://dx.doi.org/10.26524/krj279.
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Science fiction has proved notoriously difficult to define. It can be explained as a combination of science and technology and development in robotics in short it can be otherwise called as ‘realistic speculation about future events and a genre based on an imagined alternative to the reader's environment. It has been called a form of fantasy fiction and an historical literature. The paper goes further with two main concepts one with clash between two people of future and the other with advancement of science particularly on robotics. First is about general outline to science fiction in short a (SF) a genre cause problem because itdoes not recognize the hybrid nature of many SF works. It is more helpful to think of it as a mode or field where different genres and subgenres intersect. And then there is the issue of science. In the early decades of the 20th century, a number of writers attempted to tie this fiction to science and event to use it as a means of promoting scientific knowledge, a position which continues into what has become known as ‘hard SF’. The research article is completely based on advancement of science and its effects.
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Alston, Richard. "The fiction of History: recalling the past and imagining the future with Caesar at Troy." Classica - Revista Brasileira de Estudos Clássicos 23, no. 1/2 (September 2, 2010): 143–60. http://dx.doi.org/10.24277/classica.v23i1/2.164.
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This essay considers the nature of historical discourse through a consideration of the historical narrative of Lucan’s Pharsalia. The focus is on the manner in which Lucan depicts history as capable of being fictionalised, especially through the operation of political power. The discourses of history make a historical account, but those discourses are not, in Lucan's view, true, but are fictionalised. The key study comes from Caesar at Troy, when Lucan explores the idea of a site (and history) which cannot be understood, but which nevertheless can be employed in a representation of the past. yet, Lucan also alludes to a ‘true history’, which is unrepresentable in his account of Pharsalus, and beyond the scope of the human mind. Lucan’s true history can be read against Benjamin and Tacitus. Lucan offers a framework of history that has the potential to be post-Roman (in that it envisages a world in which there is no Rome), and one in which escapes the frames of cultural memory, both in its fictionalisation and in the dependence of Roman imperial memory on cultural trauma.
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Gallagher, Catherine. "Facts, Fictions, Counterfactuals." PMLA/Publications of the Modern Language Association of America 134, no. 5 (October 2019): 1129–35. http://dx.doi.org/10.1632/pmla.2019.134.5.1129.
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The facts of history have long been thought of as Contingent:Not determined by unchanging laws of nature or by divine will but instead produced by human beings, who are limited by circumstances yet capable of agency. The belief in the contingency of historical facts is an invitation to speculate about what might have happened instead, and the thought experiments we call counterfactual history accept that invitation by imagining alternative historical events. Before the scientific revolution, contingency was thought to be a characteristic of facts in general: the word fact was used mainly to describe the time-bound and particular deeds of humankind as opposed to the eternal and general truths of nature. The scientific revolution marked the beginning of a long process in which modern thinkers gradually developed the concept of the fact to mean any observable, freestanding, particular occurrence in history or nature. The idea that there were natural, as well as historical, facts became acceptable, whereas earlier it would have seemed self-contradictory (Shapiro).
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ENDERSBY, JIM. "A visit to Biotopia: genre, genetics and gardening in the early twentieth century." British Journal for the History of Science 51, no. 3 (June 20, 2018): 423–55. http://dx.doi.org/10.1017/s000708741800047x.
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AbstractThe early decades of the twentieth century were marked by widespread optimism about biology and its ability to improve the world. A major catalyst for this enthusiasm was new theories about inheritance and evolution (particularly Hugo de Vries's mutation theory and Mendel's newly rediscovered ideas). In Britain and the USA particularly, an astonishingly diverse variety of writers (from elite scientists to journalists and writers of fiction) took up the task of interpreting these new biological ideas, using a wide range of genres to help their fellow citizens make sense of biology's promise. From these miscellaneous writings a new and distinctive kind of utopianism emerged – the biotopia. Biotopias offered the dream of a perfect, post-natural world, or the nightmare of violated nature (often in the same text), but above all they conveyed a sense that biology was – for the first time – offering humanity unprecedented control over life. Biotopias often visualized the world as a garden perfected for human use, but this vision was tinged with gendered violence, as it became clear that realizing it entailed dispossessing, or even killing, ‘Mother Nature’. Biotopian themes are apparent in journalism, scientific reports and even textbooks, and these non-fiction sources shared many characteristics with intentionally prophetic or utopian fictions. Biotopian themes can be traced back and forth across the porous boundaries between popular and elite writing, showing how biology came to function as public culture. This analysis reveals not only how the historical significance of science is invariably determined outside the scientific world, but also that the ways in which biology was debated during this period continue to characterize today's debates over new biological breakthroughs.
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Kendrick, Christopher. "Socialism and Fantasy: China Miéville's Fables of Race and Class." Monthly Review 67, no. 9 (February 2, 2016): 13. http://dx.doi.org/10.14452/mr-067-09-2016-02_2.
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Among a number of contemporary science and speculative fiction writers who identify as left-wing, China Miéville stands out, not only for the quality of his literary production, but also for the critical character of his political commitment, dedicated equally to socialism and to fantasy. In addition to his fictive works, he has written articles and given lectures on the nature and value of speculative and fantasy fiction; edited a collection of essays on Marxism and fantasy in an issue of the journal <em>Historical Materialism</em>; and, not least, published a list of "Fifty Sci-Fi and Fantasy Works Every Socialist Should Read." I wish to discuss here the form and thematics of the early novels known (after the alternate world in which they are set) as the Bas-Lag trilogy—which remains, if you take it as a single work, his most ambitious and memorable achievement. But since Miéville is a serious critic and advocate of fantasy fiction, I will approach the books with a brief discussion of his aesthetic positions and program, gathered from essays and talks as well as from his literary works.<p class="mrlink"><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-67-number-9" title="Vol. 67, No. 9: February 2016" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>
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Payne, Christopher N. "In/Visible Peoples, In/Visible Lands: Overlapping Histories in Wang Chia-hsiang’s Historical Fantasy." International Journal of Taiwan Studies 2, no. 1 (January 20, 2019): 3–31. http://dx.doi.org/10.1163/24688800-00201002.
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This essay considers two narrative texts by the nature essayist and fiction writer Wang Chia-hsiang (Wang Jiaxiang); namely, the short story ‘On Lamatasinsin and Dahu Ali’ (1995), and the short novel Mystery of the Little People (1996). Structured around ethnographic journeys into the Taiwanese mountainous hinterland, the texts concern the main protagonists, two earnest (Han) Taiwanese ethnographers, who narrate stories that traverse the island’s histories, lands, and written remnants. The paper argues that the two stories purposefully overlap multiple historical, colonial, and environmental encounters and temporal moments as a means to fictionalise the past as inherently heterarchical. The tales thus fabulise new literary spaces in which the Taiwanese relationship to yesteryear—the peoples, the lands—can be cognised alternatively.
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Taylor, Alan, Thomas P. Slaughter, Gregory A. Waselkov, and Kathryn E. Holland Braund. "A Historical Fiction, Not a History: Slaughter's "Natures of John and William Bartram"." Taxon 46, no. 1 (February 1997): 195. http://dx.doi.org/10.2307/1224335.
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Zhurba, Svitlana. "Works of fiction within social realism: experience of «double» life and «double» speech. Review of T. Sharova’s monograph «An author and text in social realism system: the nature of aesthetic conformism and the poetics of artistic compromise (based on the material of K. Gordienko’s works)» (Melitopol, 2019)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 96–98. http://dx.doi.org/10.34079/2226-3055-2020-13-22-96-98.
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The critical research is aimed to review T. Sharova’s monograph «An author and text in social realism system: the nature of aesthetic conformism and the poetics of artistic compromise (based on the material of K. Gordienko’s works)». The attention is paid to the relevance of the book, defined in three aspects. First, the researcher shows one of the possible solutions to the important issue of aesthetic conformism and the poetics of compromise, due to socio-political and historical reasons. Secondly, a successful attempt to explore semantic inversions in the structure of «the patriarch of Ukrainian prose» K. Gordienko’s fiction text, whose work reflects the stages of artistic reorientation and the ways of «reconciliation» with reality, has been made. Third, an interesting approach to substantiation and testing of new mechanisms for the analysis of Soviet discursive practices based on a specific fiction material has been demonstrated. It is proved that sense and value of T. Sharova’s work is that the author focuses not only on historical and fiction issues, but also presents for the first time a number of theoretical issues, such as general markers of the socialist paradigm, «language of cooperation», political regulation of aesthetic norms, etc. Moreover, within the monograph, this aspect is considered both at the level of writer’s individual creative reactions and at the level of fiction writing strategies. The author of the scientific work has characterized the integral components of Ukrainian social realism and generalized the technology of formation and representation in the aesthetic conformism literature. It has been emphasized that the work of K. Gordienko, firstly, illustrates clearly the role of the artist in totalitarian conditions; secondly, it reflects the tragic result of balancing the ethical and aesthetic principles with the imposed Soviet «from above» style; thirdly, it reveals the adaptation practices of the author-creator, sheds light on the logic of both forced and voluntary conformism. In conclusion, T. Sharova’s monograph from a theoretical standpoint as well as historical and literary points of view makes a significant contribution to the study of the history of the twentieth century’s Ukrainian literature. In particular, a complex and ambiguous layer of social realistic literature has been studied.
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Li, Hua. "The environment, humankind, and slow violence in Chinese science fiction." Communication and the Public 3, no. 4 (December 2018): 270–82. http://dx.doi.org/10.1177/2057047318812971.
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This essay takes an analytical approach to examine some Chinese science fiction narratives with the themes of climate change, terraforming, and environment degradation—written from the mid-20th century to the early years of the 21st century. My broad reading of the texts treats these narratives as archive—textual sources that document a historical development of the impact of human activities on nature. On one hand, these narratives are all closely related to the country’s modernization, its economic takeoff, and the rhetoric of building a powerful China. On the other hand, they form one set of what can be understood as an emerging body of Chinese fiction located firmly within the strata and sediment of the Anthropocene. This body of literature offers a venue for explaining and exploring how economics, technological developments, and government policies have transformed the ecology, environment, and climate in the Anthropocene. These narratives also echo the concept of slow violence dubbed by Rob Nixon in 2011. These terraforming and climate narratives reveal an attritional violence of environmental degradation, climate change, and the consequential social and political problems that permeate so many of our lives. My close reading of Chen Qiufan’s novel The Waste Tide ( Huangchao, 2013) specifically portrays a slow and attritional violence—namely, the ways in which the electronics recycling industry have caused severe environmental and occupational impacts on nature and humans—through exploration of the complex relationships among technology, the economy, and the environment.
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Belyaeva, Natalya V. "Differentiated approach to teaching students to make historical and cultural comments with the help of the Internet resources." Literature at School, no. 2, 2020 (2020): 76–88. http://dx.doi.org/10.31862/0130-3414-2020-2-76-88.
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The purpose of the study was to create a methodological model of a differentiated learning process while making historical and cultural comments during the lessons in Literature and Literature-based reading. The differentiated approach should take into account not only the age, personal, psychological, and pedagogical characteristics of students, but also the literary and methodological aspects of the issue. When reading fiction, students often find it difficult to interpret historical or cultural realities, which require mastering the techniques of searching for reference information and the ability to make historical and cultural comments with the use of the Internet. The methodological foundation of the study consists of the works on differentiation in the theory of education and upbringing, the peculiarities of differentiated learning at Literature and Literature-based reading lessons, the methods of making historical and cultural comments while studying literary works of art, the Internet hypertext for the actualization of the intertextual nature of fiction. Making historical and cultural comments, students develop their metasubject and subject skills. In primary school, pupils learn to use various search methods of looking up in the Internet dictionaries and encyclopedias, to advance the culture of using reference sources, to better understand the contents of the books read, to know the initial techniques of interpreting a literary text. In secondary school, students learn to identify the lack of information and to extract the latter from various sources, to attain semantic reading minding historical realities while analyzing the text, to use ICT, observing the rules of information security. In high school, they should be able to carry out independent research, to take into account the historical and cultural context while analyzing the text, to possess the skills of complex philological analysis. Differentiated tasks while making historical and cultural comments on literary works with the use of the Internet resources contribute to the successful implementation of the metasubject and subject results indicated in the Federal state standards (National Curricula) of primary, secondary, and high education.
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Seitenova, A., and G. Bolatova. "CONCEPTUAL SIGNIFICANCE OF THE ARRAY OF COLOURS IN A WORK OF FICTION." BULLETIN Series of Philological Sciences 75, no. 1 (March 30, 2020): 280–86. http://dx.doi.org/10.51889/2021-1.1728-7804.48.
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Based on the novels of Sherkhan Murtaza - “The Moon and Aisha”, “The Red Arrow”, “War with no Weapons”, and “A Black Pearl”, the article discusses the concept-forming significance of the nature of colors in the narrative system. In the course of the analysis, the emotional, psychological, philosophical, and mythological foundations of colors in portraying the hero's spiritual world, the author's ideas, and historical reality are being comprehended. The analysis was carried out on the basis of textual and typological systemic functional techniKues. The research results reveal multifold prospects of the concept-forming potential of the array of colors in a semiotic aspect. The psychological and ideological conceptual significance of the color array in the piece of work was contemplated within the framework of the literary poetic style of Sherkhan Murtaza.
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Gibson, Roy. "On the Nature of Ancient Letter Collections." Journal of Roman Studies 102 (June 7, 2012): 56–78. http://dx.doi.org/10.1017/s0075435812000019.
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AbstractThere exists a strong link in modern thinking between letter collections and biographical or historical narration. Many ancient letter collections have been rearranged by modern editors along chronological lines, apparently with the aim of realizing the biographical and historiographical potential of these ancient collections. In their original format, however, non-fictional Greco-Roman letter collections were arranged predominantly by addressee or by theme (often without the preservation of chronology within addressee or thematic groupings), or they might be arranged on the principle of artful variety and significant juxtaposition. Consequently, some purpose or purposes other than biographical or historical narration must be attributed to ancient letter collections. This paper asks what those purposes might be.
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Aitimov, M., and А. Naimanbayev. "ARTISTIC IMAGES OF ALASH FIGURES IN MODERN KAZAKH PROSE." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 193–200. http://dx.doi.org/10.51889/2021-1.1728-7804.32.
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Novels of modern Kazakh prose are the result of creative work in the system of national and world literary processes. The works of modern writers, who are followers of artists who described various periods in the history of the Kazakh people, have a direct impact on the formation and renewal of the historical and national consciousness of the current reader. The article examines the features of the image of historical reality and artistic solutions in modern Kazakh novels, reveals how documentary is combined in them with artistic fiction. The analysis is performed on a material of novels Sabit Dosanov "Kylburau", “Yiyk". The article analyzes how modern Kazakh novels depict human life against the background of nature, how national and ethnographic traditions relate to the realities of time, and other features of the aesthetics of the artistic solution. The authors also note that in these works, writers try to create literary and artistic images of Alash leaders Alikhan Bokeikhanov, Akhmet Baitursynov and other historical figures.
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Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.
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Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.
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Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.
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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.
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Schwall, Hedwig. "Forms of a Posthuman Fantastic in Mia Gallagher’s Shift." Estudios Irlandeses, no. 16 (March 17, 2021): 1–12. http://dx.doi.org/10.24162/ei2021-10097.
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In posthuman philosophy the human subject is not regarded as an entity but a relational process. Yet the historical construct of “the individual” remains the (unconscious) reference point in human perception, feeding ego- and anthropocentrism. This article will argue that in their call to revise the static ideal of the individual entity posthuman philosophers find “allies” in fiction. More specifically, the fantastic is a genre which offers great possibilities to drastically reshuffle basic tenets of perception. Mia Gallagher’s Shift offers a spectrum of fantastic stories in which protagonists relate to human and nonhuman agents such as animals, minerals, air and water. But, in this posthuman theory and fiction, not only human beings are deconstructed into relational nodes; the categories that constitute them are no independent concepts either, but mere interactional factors. This article’s analysis of Gallagher’s short stories focuses on the ways in which self and other, nature and culture, life and death, feminine and masculine, interior and exterior worlds interact.
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Manney, PJ. "Yucky gets yummy: how speculative fiction creates society." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 16, no. 2 (October 9, 2019): 243–54. http://dx.doi.org/10.5209/tekn.64857.
Повний текст джерелаАнотація:
Human biology creates empathy through storytelling and emulation. Throughout history, humans have honed their capacity to understand optimum storytelling and relate to others in new ways. The bioethical concepts of Leon Kass’s Wisdom of Repugnance and Arthur Caplan’s Yuck Factor attempt to describe, and in Kass’s case even support, society’s abhorrence of that which is strange, against God or nature, or simply the “other.” However, speculative fiction has been assessing the “other” for as long as we’ve told speculative stories. The last thousand years of social liberalization and technological progress in Western civilization can be linked to these stories through feedback loops of storytelling, technological inspiration and acceptance, and social change by growing the audience’s empathy for these speculative characters. Selecting highlights of speculative fiction as far back as the Bible and as recently as the latest movie blockbusters, society has grappled back and forth on whether monsters, superhumans, aliens, and the “other” are considered villainous, frightening and yucky, or heroic, aspirational and yummy. The larger historical arc of speculative fiction, technological acceptance and history demonstrates the clear shift from yucky to yummy. Works include The Bible, Talmud, stories of alchemists and the Brazen Head, Paradise Lost, Frankenstein, Dr. Jekyll and Mr. Hyde, The Wonderful Wizard of Oz, gothic horror films of Germany and the U.S., Superman and the Golden Age of comics, and recent blockbusters, among others.
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Zur, Dafna. "Whose War Were We Fighting? Constructing Memory and Managing Trauma in South Korean Children's Fiction." International Research in Children's Literature 2, no. 2 (December 2009): 192–209. http://dx.doi.org/10.3366/e1755619809000696.
Повний текст джерелаАнотація:
The Korean War (1950–3) was one of the most traumatic events in the history of the Korean peninsula. Known commonly as the ‘Forgotten War’, it is explained as a civil war that was exacerbated by the Soviet Union and the United States into an arena for the Cold War. Since then, North and South Korea have had to construct their national identities in accordance with the political ideologies that defined them. Consequently, each has told their national birth story – the story of division and war – in historical narratives for children. While a strict anti-communist ideology muted personal experiences of the war that might diverge from the anti-communist rhetoric of the immediate post-war period, contemporary children's literature reveals that the authority that the myth of innocence maintains in children's fiction firmly places the child protagonists in a position to pose tough questions about the nature of the conflict. Hegemonic Korean War narratives are challenged in contemporary fiction through ‘truth-telling’ uses of realism and folktales; at the same time, this paper questions the extent to which contemporary fiction presents its young audience with freedom of interpretation, and asks what implications it has for the relief of trauma.
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Tsiborovska-Rymarovych, Iryna. "Vyshnivetsky Castle Library of Prince Mychailo Servaty Vyshnivetsky – Historical Book Heritage and Object of Bibliological and Historical Reconstruction." Bibliotheca Lituana 3 (December 22, 2014): 166–82. http://dx.doi.org/10.15388/bibllita.2014.3.15569.
Повний текст джерелаАнотація:
The article has as its object the elucidation of the history of the Vyshnivetsky Castle Library, definition of the content of its fund, its historical and cultural significance, correlation of the founder of the Library Mychailo Servaty Vyshnivetsky with the Book.The Vyshnivetsky Castle Library was formed in the Ukrainian historical region of Volyn’, in the Vyshnivets town – “family nest” of the old Ukrainian noble family of the Vyshnivetskies under the “Korybut” coat of arm. The founder of the Library was Prince Mychailo Servaty Vyshnivetsky (1680–1744) – Grand Hetman and Grand Chancellor of the Grand Duchy of Lithuania, Vilno Voievoda. He was a politician, an erudite and great bibliophile. In the 30th–40th of the 18th century the main Prince’s residence Vyshnivets became an important centre of magnate’s culture in Rich Pospolyta. M. S. Vyshnivetsky’s contemporaries from the noble class and clergy knew quite well about his library and really appreciated it. According to historical documents 5 periods are defined in the Library’s history. In the historical sources the first place is occupied by old-printed books of Library collection and 7 Library manuscript catalogues dating from 1745 up to the 1835 which give information about quantity and topical structures of Library collection.The Library is a historical and cultural symbol of the Enlightenment epoch. The Enlightenment and those particular concepts and cultural images pertaining to that epoch had their effect on the formation of Library’s fund. Its main features are as follow: comprehensive nature of the stock, predominance of French eighteenth century editions, presence of academic books and editions on orientalistics as well as works of the ideologues of the Enlightenment and new kinds of literature, which generated as a result of this movement – encyclopaedias, encyclopaedian dictionaries, almanacs, etc. Besides the universal nature of its stock books on history, social and political thought, fiction were dominating.The reconstruction of the history of Vyshnivetsky’s Library, the historical analysis of the provenances in its editions give us better understanding of the personality of its owners and in some cases their philanthropic activities, and a better ability to identify the role of this Library in the culture life of society in a certain epoch.
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Bensmaïa, Réda. "Representations of History: From Acedia to the Dialectical Image in Bourlem Guerdjou's Vivre au paradis." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1878–82. http://dx.doi.org/10.1632/pmla.2009.124.5.1878.
Повний текст джерелаАнотація:
Can a film based on fiction contribute to the restoration of historical memory? can films help fill in the blanks of history? What exactly is the filmmaker's position? What faculty and what means does he or she require to make such a prodigious feat possible? Are films capable of creating sites of memory, and by what means? What traces will make it possible to set up markers in a site of a scotoma? The questions become increasingly precise: Can cinema lift the veil that colonial history has thrown over the history of the Algerian War? And what can the nature of the blind spot be if every effort has been made to keep it hidden?
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Yerbulatova, Ilmira Kanatovna, Gelinya Khajretdinovna Gilazetdinova, and Aigul Galimzhanovna Bozbayeva. "Peculiarities of Kazakh Reality Translation with Cultural-Historical Educational Components." International Journal of Higher Education 8, no. 8 (December 23, 2019): 51. http://dx.doi.org/10.5430/ijhe.v8n8p51.
Повний текст джерелаАнотація:
The development of intercultural relations and the globalization of multicultural civilization gives rise to the need for educational study the elements found in the language of each nation, not only in the national-cultural aspect but also in comparative translation. At the present stage of translation educational study development, special attention is paid to the issues of the national and historical specifics of the original work preservation and transmission in the process of translation into the language of another culture. This article discusses the linguistic realities and their role in the national and historical identity reflection of a different culture, presented in the context of a work of art. As the result of the study, the methods of Kazakh historical reality transmission are analyzed, and the specifics of their translation into Russian is described on the basis of the works of Kazakh writer Dukenbai Doszhan (XX century). The article highlights the sign of the “dual nature” of historical realities in archaized texts of fiction, on which the choice of a translation solution depends. The main results and conclusions of the study presented in this article show that the distance in time and space separating the source text from the text of translation inevitably leads to national-cultural biases, which should be taken into account during a text translation that must be adequate to the original text.
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Williams, James S. "A Thousand Suns: Traversing the Archive and Transforming Documentary in Mati Diop's Mille Soleils." Film Quarterly 70, no. 1 (2016): 85–95. http://dx.doi.org/10.1525/fq.2016.70.1.85.
Повний текст джерелаАнотація:
This article explores the aesthetic and political implications of the 2013 experimental short Mille Soleils (A Thousand Suns) by the Franco-Senegalese director Mati Diop. Placing it within the specific context of Djibril Diop Mambety's legendary 1973 feature, Touki Bouki, which it references directly, the article reveals how Diop (Mambety's niece) crafts an urgent, sensuous, and highly original form of documentary fiction that draws on, and extends, the historical impurity of African documentary. By plugging into the rich intertextual imaginary of cinema and engaging poetically with notions of found footage and the everyday (including that of Touki-Bouki's main actor, Magaye Niang, still living in Dakar forty years later), Mille Soleils, as Williams argues, produces an inclusive wide frame open simultaneously to the personal and historical, social and political. In the process, it both projects a new vision of documentary form and reconceives the very nature of the archive in African cinema.
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Soshkin, Evgeny. "Unknown play by Vladimir Bogoraz-Tan." Literary Fact, no. 15 (2020): 8–41. http://dx.doi.org/10.22455/2541-8297-2020-15-8-41.
Повний текст джерелаАнотація:
Vladimir Germanovich Bogoraz (1865–1936, pseudonyms: Tan, Tan-Bogoraz, Bogoraz-Tan), the famous ethnographer, linguist, religious scholar, and researcher of Northern peoples, was also a prolific and popular fiction author, in particular, a prominent representative of the so-called prehistoric fiction, i.e. fiction about prehistoric times. This is the first publication of Bogoraz’s play “Dragon Victims” which is a revision of his prehistoric novel under the same name (1909, “Sons of Mammoth” in English translation of 1929), commissioned in 1920 by the Section of Historical Pictures at the Petrograd Theater Department of the People's Commissariat of Education, after Bogoraz, at that time an employee of the Petrograd Museum of Anthropology and Ethnography, had been invited by the Section to write an introduction for the upcoming paleophantastic play “Rhino Hunt” by N.S. Gumilev. The text of Bogoraz’s play “Dragon Victims”, preserved in the archive (St. Petersburg Department of the Russian Academy of Sciences Archives), is published according to the typescript with author’s handwritten corrections. In a detailed introductory article, the publisher clarifies the dating, the history of creating, and the literary characteristics of the play as compared to the novel, as well as the programmatic nature of the encouraging attitude to composing plays on prehistoric themes that came from A.M. Gorky, the founder and head of the Section.
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Van Vuuren, H. "‘Op die limiete’: Karel Schoeman se Verkenning (1996)." Literator 18, no. 3 (April 30, 1997): 57–78. http://dx.doi.org/10.4102/lit.v18i3.549.
Повний текст джерелаАнотація:
‘At the limits’: Karel Schoeman’s Verkenning (1996)Written from the postcolonial vantage point of the new South Africa, Karel Schoeman's Verkenning (Reconnaissance) deals with the colonial era of the early nineteenth century. Through metafictional commentary the reader is alerted to the provisionality and tentativeness of historical fiction, as fiction and historical facts are constantly juxtaposed. At the same time the novel can be read as an attempt to fathom the ‘darkness’ of the bygone era, and to throw ‘light’ on the nature of intercultural relationships during the period of the Batavian Republic (1803-1806). Of central importance, however, is the way in which the consciousness of a new era is suggested through the subtle functioning of numerous intertexts. These intertexts deal with various forms of transitional consciousness, such as those associated with the French Revolution. A remarkable characteristic of the novel is its historiographic metafictionality, an innovative element in Schoeman’s oeuvre. Verkenning (Reconnaissance) is a polyphonic novel in which a collage of voices is foregrounded and presented in the process of ‘exploring’. From within the politically transformed multicultural South Africa of the late twentieth century, the creative imagination explores the roots of this society in the history of almost two centuries ago. In this respect Verkenning may be characterised as a postcolonial narrative construct and thus part of "oorgangsliteratuur" or “Wendeliteratur”, a term coined for the literature produced after the political change in 1989/1990 in Germany.