Reality beckons: metamodernist depthiness beyond panfictionality

European journal of English studies, 2019, Vol.23 (2), p.172-189 https://doi.org/10.1080/13825577.2019.1640426

Autor: 

1. Gibbons, Alison; Department of Humanities, Sheffield Hallam University, Sheffield, UK; a.gibbons@shu.ac.uk;  https://orcid.org/0000-0001-8912-9350
2. Vermeulen, Timotheus; Department of Media and Communication, University of Oslo, Oslo, Norway; timotheus.vermeulen@media.uio.no 
3. Van den Akkerc, Robin; Department of Humanities, Erasmus University College Rotterdam, Rotterdam, Netherland; vandenakker@esphil.eur.nl
    

Keywords:  A Tale for the Time Being, autofiction, metamodernism, panfictionality, reality, Ruth Ozeki, The Keepers, true crime

Abstract: It is often argued that postmodernism has been succeeded by a new dominant cultural logic. We conceive of this new logic as metamodernism. Whilst some twenty-first century texts still engage with and utilise postmodernist practices, they put these practices to new use. In this article, we investigate the metamodern usage of the typically postmodernist devices of metatextuality and ontological slippage in two genres: autofiction and true crime documentary. Specifically, we analyse Ruth Ozeki’s A Tale for the Time Being and the Netflix mini-series The Keepers, demonstrating that forms of fictionalisation, metafictionality and ontological blurring between fiction and reality have been repurposed. We argue that, rather than expand the scope of fiction, overriding reality, the metamodernist repurposing of postmodernist textual strategies generates a kind of ‘reality-effect’.

Idioma: Inglés 

Publicación: 04 de octubre del 2019 

Volumen: European journal of English studies, 2019, Vol. 23 (2), p.172-189

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Truth in Fiction, Impossible Worlds, and Belief Revision

Australasian Journal of Philosophy; Vol 97, N°1 (2019) https://doi.org/10.1080/00048402.2018.1435698 

Author: 

1. Badura, Christopher; RUB Research School & Department of Philosophy II, Ruhr-University Bochum; christopher.badura@ruhr-uni-bochum.de; https://orcid.org/0000-0003-2481-8192
2. Berto, Francesco; Institute for Logic, Language and Computation, University of Amsterdam; https://orcid.org/0000-0003-3246-657X

Keywords: truth in fiction, impossible worlds, inconsistent fiction, Sylvan's box, belief revision. 

Abstract: We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as (make-believed) belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

Language: English. 

Publication: 27 Feb, 2018 

Volumen: Australasian Journal of Philosophy, Vol 97, N°1

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A feeling for fiction : becoming what we behold

Poetics, journal of empirical research on culture media and the arts; Vol 30, issue 4, agosto 2002, pages 221-241 https://doi.org/10.1016/S0304-422X(02)00011-6

Author: 

1. David S. Miall; Departments of English and Psychology, University of Alberta, Edmonton, Alberta, Canada; david.miall@ualberta.ca 
2. Don Kuiken; Departments of English and Psychology, University of Alberta, Edmonton, Alberta, Canada; dkuiken@ualberta.ca; https://orcid.org/0000-0002-4330-2223 

Keywords: Narrative feelings, fiction, literature, aesthetics reaction, reading interact.  

Abstract: Feelings during literary reading can be characterized at four levels. First, feelings such as enjoyment, pleasure, or the satisfaction of reading are reactions to an already interpreted text [Spiel 9 (1990) 277].While providing an incentive to sustain reading, these feelings play no significant role in the distinctively literary aspects of text interpretation. Second, feelings such as empathy or sympathy with an author, narrator, or narrative figure are involved in the interpretive processes by which are presentation of the fictional world is developed and engaged [Poetics 23 (1994) 125]. Although serving an important mimetic role within text comprehension, these feelings ,too ,do not derive from the distinctively literary aspects of reading. Third, feelings of fascination, interest, or intrigue are an initial moment in readers’ response to the formal components of literary texts (narrative, stylistic, or generic). Although serving to capture and hold readers’ attention [Poetics 22 (1994) 389], these aesthetic reactions only anticipate a fourth level of feeling that is the main focus of the present discussion: the modifying powers of feeling. We propose that aesthetic and narrative feelings interact to produce metaphors of personal identification that modify self-understanding. Weal so argue that the concept of catharsis (the conflict of tragic feelings identified by Aristotle) identifies one particular form of a more general pattern in which aesthetic and narrative feelings evoked during reading interact to modify the reader. We illustrate these interactions with examples  from two studies of readers’ responses to a Sean O’Faola in short story. 

Language: English 

Publication: agosto, 2022 

Volumen: Poetics, journal of empirical research on culture media and the arts; Vol 30, issue 4, agosto 2002, pages 221-241. 

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