جستجوی مقالات مرتبط با کلیدواژه "possible worlds" در نشریات گروه "ادبیات و زبان ها"

In this world, talking about things that are or have been, such as the galaxy, the ocean, Karim-Khan, etc., we wonder about the things that we know but are not or have not been around us. Rostam, Superman, Mount Qaf and beliefs that were once considered to be true, such as the wrath of the gods and the rotation of the earth around the sun, are now deemed to be false. During the twenty-six centuries since the world of Plato's theory of ideas, the thinking man has always been pondering upon the idea of possible worlds. The current form of the Possible Worlds Theory relies on the opinions of the German philosopher Leibniz in the 17th century and his followers, like the American philosopher Saul Kripke, who posit that a possible world can be created in the periphery of the actual world. This article tries to find a way toward the possible world(s) hidden in the metatext by analyzing the texts and exploring the real world of Saadi's thought in Bustan and Golestan. Indeed, the possible world(s) that rationalists, thinkers, and sages believe in and lead the society to, have been and are on the path of history.

Theory of mental spaces is a theory derived from the theory of possible worlds. This theory and its derived theory, conceptual blending, are useful tools for text analysis in the field of cognitive poetics. The purpose of this study is to investigate how these theories encounter Persian poetry. To examine the application of these theories in the analysis of Persian poetry, we first discuss their philosophical aspects and theoretical foundations, and then test how they work in a lyric by Saadi. The results of the present study show that the theory of mental spaces, despite its generally appropriate function, in some positions such as allegorical structures, does not have the necessary efficiency in semantic analysis of poetry and in such circumstances, the theory derived from that, theory of conceptual blending, can cover the functional vacuum. We have also shown that the theory of mental spaces is a tool that explains and analyzes the linguistic nature of ambiguity, as one of the most important elements of rhetoric in poetry.

The different  worlds in physics are called as "parallel worlds" and in narratology as "possible worlds" provide a cognitive model of narrative in which the "real world" is surrounded by "unreal possible worlds" that are at different distances and they are different from the real world. In this research, the novel Parisa by Fereshteh Sari was investigated with the descriptive-analytical research method and the following results were obtained: In terms of narrative, the story is a representation of two worlds inside fantasy and reality, which can be investigated by relying on concepts such as: the principle of uncertainty, the fluidity of time, choice, and the issue of ontology. Parisa's novel is based on the division of multi-universal, fantasy and scientific narrative. The journey of its characters to other worlds has been one-way and without return. The topic of traveling and transferring information to other planets was a leading scientific topic at the time of writing the novel. In terms of form, the novel is written as a mirror text.

In cognitive stylistics, the theory of probable worlds is used to understand the contradictory plots of narratives. The principles of this theory explain the type of reading of the literary narrative and the interactions between the text and the reader. Similarly, Quantum physicists emphasize the multiplicity of universes and call them parallel universes. This issue can be explored in narratology under the name of possible worlds. Ryan divides multi-world narratives into three types of stories: fantasy and science fiction (world exploration narrative), intermittent history, and time travel. The fit of probable worlds with the real world can be studied in terms of access to real-world conditions that include 1) access to a time when the history of the probable world is different from the history of the real world, 2) linguistic access, 3) the use of language that leads the reader to the probable world, 4) natural access, 5) violations of the laws of physics, logic, mathematics, etc. 5) the real world, and 6) access to objects that are incompatible with the probable world with the real world.

In the study of the nature of art and literature, the discussion of the ‘object of mimesis’ has always been of particular importance. In fact, Aristotle in Poetics, by distinguishing the object, the method and the means of imitation, initiates debates that have continued until the contemporary era. In the meantime, the issue of the object of mimesis as an artistic object was raised before Aristotle in Plato’s philosophical tradition. Of course, unlike Aristotle, who tries to recognize imitation based on the empirical ideal, Plato, due to his involvement with the transcendental ideal, considers imitation to have no epistemic value. Accordingly, scholars of the Renaissance and later on in the contemporary period, thinkers such as Lukács or Auerbach, have described the object of mimesis from different perspectives. In sum, these thinkers suggest that when an artist turns to the creation of a work of art, the object of mimesis may include the ideal, tradition, nature, state of affairs, general principles of human nature, or merely external reality. Therefore, the present study tries to examine these arguments on the object of mimesis, and explore their theoretical points of strength and/or shortcomings. Finally, the paper suggests the possible world as the object of mimesis and thus tries to open up a new perspective, which seems to have more analytical power in this regard. Accordingly, it is suggested that phenomena and events in the literary work as a possible world function on the basis of the internal logic particular to the work of art. In this way, even the non-realistic types of representation can be interpreted on the basis of the verisimilitude principle.  Extended Abstract1.IntroductionAccording to the theory of mimesis, art is the product of representation. In the present article, mimesis is studied as the artistic object. The article studies the definition of mimesis and discusses whether, in the ideas of thinkers such as Plato and Aristotle, mimesis is merely concerned with the representation of inanimate objects or deals with a wider range of issues. The arguments put forward by major thinkers in this regard, their epistemological origins, and weaknesses and strengths will be discussed. Finally, the article will propose the idea of the world as the object of mimesis.  2.Theoretical FrameworkIn the present study attempt is made to discuss some important ideas on the idea of mimesis and explore their theoretical capabilities and shortcomings. A critical reading will be offered in order to find out to what extent the hypotheses put forward about the concept of mimesis can be employed to explain works of art.  3.MethodologyIn the study of mimesis, scholars have tried to discuss what artists imitate in their aesthetic imitation and have formulated different hypotheses. In the present study, attempt has been made to analyze some major hypotheses in this regard and provide answers that can be of help in the analysis of works of art and literature.  4.Discussion and AnalysisIn a work of art or literature, different elements should be arranged in a way that all events seem probable or possible without necessarily being consistent with the realities of the world. In such a possible world, the form of thinking and the logic governing it follow specific rules. Although this form shares some similarities with scientific ideas, it is dominated by different rules in terms of objectivity, time, space, and causality. 5.ConclusionBefore Aristotle, mimesis was discussed in Plato’s philosophical tradition. However, unlike Aristotle, who recognized imitation based on the empirical ideal, Plato, because of his involvement with the transcendental ideal, found imitation to have no epistemic value. Contemporary thinkers have discussed mimesis from different perspectives and suggest that in creating a work of art, mimesis may include the ideals, traditions, nature, general principles of human nature, or merely external realities. While works of art or literature have undeniable similarities to the real world, they extract the object of mimesis out of a possible world that depends on the real world. This possible world might be strikingly similar to the real world, which might suggest that the work of art is an exact imitation of the real world; however, when this possible world is recognized, it can be claimed that the events and phenomena in this possible world are based on the independent rules of the same possible world. Thus, surrealist works, for instance, can be considered to be imitating a reality. Select BibliographyAbrams, M. H. 1953. The Mirror and the Lamp. Oxford: Oxford University Press.Aristotle. 1991. The Complete Works of Aristotle. J. Barnes (ed.). Princeton: Princeton University Press.Auerbach, E. 1953. Mimesis: The Representation of Reality in Western Literature. Willard R. Trask (trans.).  Princeton: Princeton University Press.Halliwell, S. 2002. The Aesthetics of Mimesis: Ancient Texts and Modern Problems. Princeton and Oxford: Princeton University press.Melberg, A. 1995. Theories of Mimesis. Cambridge: Cambridge University Press.Potolsky, M. 2016. Mimesis. New York and London: Routledge.Tousi, M. 1355 [1976]. Asas al-Eghtebas. M. Razavi (ed.). Tehran: University of Tehran.Wellek, R. 1377 [1998]. Tarikh-e Naqd-e Jadid. S. Arbabshirani (trans.). Tehran: Niloufar.Zarqani, M. 1390 [2011]. Boutiqa-ye Kelasik: Barresi-e Tahlili-Enteqadi-e Nazaryeh-ye She’r dar Manebe’-e Falsafi. Tehran: Sokhan.

Possible worlds is an interdisciplinary subject that can be used as an effective cognitive model to make sense of long-distance fiction; Especially modern stories in which we see the disintegration and collapse of the narrative plot of the stories as well as the mental fragmentation of the fictional characters. To this end, the authors in the present study, using the method of content analysis in a library method, seek to answer the questions of how the types of worlds and the gateways to them are formed in the Malakout story and what functions they will have? The story of the Malakout, though seemingly chaotic, but the globalizations created by the various textual elements cause the chaos and nonsense seen in its superstructure to be abolished and greater coherence and entanglement achieved. It is noteworthy that such possible worlds are created by ourselves as an illustrator and producer narrator or an associative narrator who will have different perceptions of the text. In addition to what makes it possible for modern stories such as the Malakout to enter the possible worlds from the real world of the story, there are characters who have undergone a kind of mental and spiritual transformation and are given a wide range of time and space. In this way, they go beyond the dimension of time and space, which has a real plan, and encounter a kind of extra-temporal and trans-spatial space. It is as a result of such cases that the necessary preparation for entering other worlds is provided. By discovering possible worlds and gateways to the story of the Malakout, ambiguity becomes possible, and all of these seemingly fluid and separate worlds will reach a point of connection, that of becoming a kingdom.

Auster’s latest novel, published in 2017, reveals his mastery in creating a complicated and unusual narrative once again. The title of this novel, 4321, has been a point of interest to a number of critics, but their analyses have not been successful in clarifying the complexities of its narratology. The current study aims to investigate the narrative structure of this novel based on Ryan’s possible worlds and multiverse theories. The findings reveal that in this novel, Auster engineers a 4D narrative in which the mental world of a character named Ferguson is represented. In this 4D narrative, the multiverse progresses in four paths to tell the tales of four Fergusons. At the end of the narrative, using a final twist, Auster declares the fourth Ferguson as the author of a book entitled 4321, thus exposing the circular structure of its structure. This revelation helps the reader recognize the point zero of the narrative (1.0) and understand Auster’s motif in beginning and ending the narrative with a joke. The transformation of the narrative structure enables Auster to successfully represent a tangible embodiment of the contradictory layers in the authorial self and mentality. Hence, 4321 comes to life, seemingly similar to a 4D holographic movie, to embody the multiverse of Ferguson’s character in its narrative multiverse.

There is a tradition in contemporary literary theory and philosophy of literarture according to which there is a rift between literary/aesthetic value and cognitive value. The anti-cognitivist maintains that even if a literary work has some cognitive value, this has nothing to do with the work’s overall aesthetic value. Furthermore, if a work’s perspective on some issue is seriously flawed, this, by no means contaminates its aesthetic purenss. This paper aims to demonstrate the opposite. It thus makes use of a ceratin thought-experiment and the concept of possible worlds to show that the cognitivist’s position is justified and proceeds to illustrate that even polyphony as an aesthectic value cannot be properly understood without recourse to its cognitive status. It then goes on to meet a serious challenge: the so-called “institutional argument” which is deemed to be among the best arguments in the anti-cognitivist’s dialectical arsenal. The argument is shown to have several defects in the context of the contemporary debates in theory and philosophy of literature. The main conclusion of the paper is thus as follows: The cognitive value of a literary work is part and parcel of its aesthetic value