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The article presents the author's views on multimodal essays that can deepen students' knowledge about writing and foster connections that humanize their learning. It discusses the students sharing their beliefs and truths in their voices, which helped foster fellowship among the students. The bravery in their generation who are using their voices to effect change in their communities and the world.

The article discusses Katherine Angel's book "Tomorrow Sex Will Be Good Again," which discusses consent which does not address the ambiguity and uncertainty involved in sex and desire. According to the author, speaking the truth about themselves is doubtful, and consent relies on speaking the truth. She writes about sexual violence and feels feminists have tried to draw a harsh line between sexuality and violence.

This article revisits the concept of great prose originally proposed by Merleau-Ponty to stress the importance of literary language in the problem of the expression of truth. To achieve this objective, the main theses of the course given by Merleau-Ponty in the 1953-1954 academic year, titled Le problème de la parole, will be discussed. A characterization of literary language and its ability to express the meaning of perception will follow. Finally, the need to incorporate literary expression in the elaboration of a philosophy of the sensible will be considered. [ABSTRACT FROM AUTHOR]

The article presents the author's experience of facing trouble when he teaches the play "Hamlet" due to ambiguity. He offers two practical troubling practices to engage students, including Hamlet's soliloquies and the characters' searches for truth. With the use of the provided definitive terms for interpretive actions, students can strategize their reading, writing, and discussion and enjoy the troubles of this play.

For Proust, sleep is a door to knowledge. Not that it sharpens the sleeper's reason; on the contrary, it neutralizes it. But it is exactly because he is deprived of his reason (a tricky faculty that confers a false concreteness on things) that the truth becomes visible. Hence, in À la recherche du temps perdu, truth and sleep have a privileged relation. It happens that dreams are as transparent as rational knowledge. Must we assume—the narrator wonders—that rational knowledge is the dream, i.e. an illusion, a chimera ? “J’étais effrayé pourtant de penser que ce rêve avait eu la netteté de la connaissance. La connaissance aurait-elle, réciproquement, l'irréalité du rêve ?” (RTP, III, 375) (“I was horrified, however, to think that this dream had had the clarity of knowledge. Would knowledge then have the irreality of a dream?” (my translation)). In this article, I propose to use this question to interrogate, on the one hand, the landscape that sleep opens up, and, on the other, the fatal effects of awakening, which, in the overturned world created by Proust, can be considered a farewell to truth. [ABSTRACT FROM PUBLISHER]

David Jones's fragment "The Agent," which he began writing around 1940, is one of his most enigmatic and complex pieces. Left unpublished at his death, but sitting at the heart of his epic-length collection of Roman poetry, the fragment has raised issues of interpretation not simply due to the variant reconstructions made from the manuscripts but because of its style, context and intertextual depth. In particular, the piece examines Judas's rationale for betraying Christ and his conversations about this act with the High Priest Caiaphas. By probing into the presentation of "agency" in the text, this article explores the intricate relationships Jones developed between his poem (the scenes, characters and dialogue) and both the scriptural sources for the betrayal and Oswald Spengler's cyclical historical theories laid out in The Decline of the West (1918-22). Through this analysis, Jones's comprehension of the powerful forces which shape and counter individual agency comes to light as does his sympathy for characters caught up in moments of religious and historical change which they cannot control. [ABSTRACT FROM AUTHOR]

We offer an original argument for the existence of universal fictions-that is, fictions within which every possible proposition is (fictionally) true. Specifically, we detail a trio of such fictions, along with an easy-to-follow recipe for generating more. After exploring several consequences and dismissing some objections, we conclude that fiction, unlike reality, is unlimited when it comes to truth. [ABSTRACT FROM AUTHOR]

The Republic's noble lie is widely read as an endorsement of political difference that opposes the democratic ideals of its Athenian setting. Once the text's exclusionary political realities and rhetorical structure are attended to, however, the passages no longer appear as the template for an essentialist politics or the act of political deception they are typically taken to be. What they do is lay bare the 'artifice' ( mēchanē) by which regimes - including classical Athens - produce membership status as a 'natural' category. Plato presents the regulatory fiction that one's political 'kind' ( genos) expresses a pre-given status as an open secret. Given the privileged awareness he affords the reader, the noble lie may be fruitfully read as revealing - not concealing - that the 'natural' distinctions of an exclusionary citizenship politics are the effects of willful political power. This narrative strategy takes on specific significance in the context of the blood-based membership politics of Athens, which had its own noble lie. Accordingly, Plato's text is shown to provoke insights into questions of democratic difference usually assumed beyond its purview. The Republic is read as exposing the workings of an essentialist politics it is typically thought instead to originate and prescribe. [ABSTRACT FROM AUTHOR]

The article analyzes the stories "Roman des sept sages" and "Barlaam et Josaphat" as well as "Décaméron" by Jean Boccace. The author discusses the common themes of the quest for the truth and seduction and the history of the Old Man of the Mountain, Hassan el-Sabbah, an Arab scholar, politician, and the founder and leader of the Assassins sect.

Within social semiotics we discuss how different semiotic resources alone or in multimodal texts are used to communicate truth. This is one of the parts of the multimodal theory that are least developed and discussed. The discussion on truth within social semiotics is mainly focused on the relationship between a corresponding type of truth that is common in natural science and a more everyday perception of truth. This can give an incomplete and stereotypical image of how truth is portrayed. This essay attempts to nuance the picture by suggesting that our theoretical conceptions of how we portray truth visually can be nuanced and developed by combining the theory of multimodality with categories of truth taken from the general philosophy of science. This approach will be illustrated by examples from Norwegian non-fiction books aimed at young people. [ABSTRACT FROM PUBLISHER]

The article focuses on depiction of a variety of subjects in fictions and mentions artistic authority of authors to depict them, which is called Principle of Poetic License (PPL), according to scholar Harry Deutsch. Topics discussed include implication of fictional truths for making a story, structural incoherence of PPL, evaluation of the short story "Pierre Menard, Author of the Quixote" by author Jorge Luis Borges, and aspects of using literary elements such as metaphors.

The article presents the author's views on truth and its distortion by journalists, historians, and biographers to entice the readers. Topics include the perspectives of several authors towards falsehood and truth, the depiction of truth in fictional literature, and postmodernists attitude towards truth.

The article discusses relationship between art and truth in Italian Baroque art with reference to the book "Il cannocchiale aristotelico" by Emanuele Tesauro. Topics include the association of truth with fiction found in Baroque art; example of association between truth an untruth like the book "Don Quixote" by Miguel de Cervantes; characteristics of the book "Il cannocchiale aristotelico" like supposed elusive language of the book.

This article draws from J. M. Coetzee's linguistic work on the passive sentence to analyze his representation of torture in Waiting for the Barbarians. It argues that Coetzee's complex use of the short passive (also known as the "agentless sentence") counters the transparent connection between truth and language in the novel by creating critical gaps in the narrative that disrupt the process of interpretation. Given how the torturer in the novel, Colonel Joll, perceives "truth" as having a certain "tone," the question of how truth is represented in language becomes critical to undermining the logic of torture Joll explicates. Throughout the novel, Coetzee exploits the ambiguity created by the short passive to not only illustrate the grammatical fictions that undergird our assumptions while reading the text but also challenge the linguistic certainties of "truth" to which the torture chamber owes its existence. [ABSTRACT FROM AUTHOR]

Andrew McGonigal presents some interesting data concerning truth in serial fictions.1 Such data has been taken by McGonigal, Cameron and Caplan to motivate some form of contextualism or relativism. I argue, however, that many of these approaches are problematic, and that all are undermotivated as the data can be explained in a standard invariantist semantic framework given some independently plausible principles. [ABSTRACT FROM AUTHOR]

The article presents criticism on the novel "Our Mutual Friend," by Charles Dickens. Particular focus is given to the work's exploration of lies and agency. Additional topics discussed include an examination of a widow depicted in the book, Lady Tippins, the Victorian taxonomy of status and the book's character, Jenny Wren.

Fictional truth, or truth in fiction/pretense, has been the object of extended scrutiny among philosophers and logicians in recent decades. Comparatively little attention, however, has been paid to its inferential relationships with time and with certain deliberate and contingent human activities, namely, the creation of fictional works. The aim of the paper is to contribute to filling the gap. Toward this goal, a formal framework is outlined that is consistent with a variety of conceptions of fictional truth and based upon a specific formal treatment of time and agency, that of so-called stit logics. Moreover, a complete axiomatic theory of fiction-making TFM is defined, where fiction-making is understood as the exercise of agency and choice in time over what is fictionally true. The language $$\mathcal {L}$$ of TFM is an extension of the language of propositional logic, with the addition of temporal and modal operators. A distinctive feature of $$\mathcal {L}$$ with respect to other modal languages is a variety of operators having to do with fictional truth, including a 'fictionality' operator $$M $$ (to be read as 'it is a fictional truth that'). Some applications of TFM are outlined, and some interesting linguistic and inferential phenomena, which are not so easily dealt with in other frameworks, are accounted for. [ABSTRACT FROM AUTHOR]

A literary criticism is presented for "The Way of All Flesh" by Samuel Butler. Topics discussed include the 1609 English translation of the Christian Bible known as the Douay-Rheims Bible, the book of the Bible 1 Kings and how it relates to Butler's book, and the book's depiction of lineage and truth.

Narrative fiction has the power to unsettle our deep-seated intuitions and expectations about what it means to live an ethically good life, and the kind of society that best facilitates this. Sometimes its disruptive power is disclosive, leading to an ethically significant shift in perception. I contend that the disruptive and disclosive powers of narrative fiction constitute a potential for ethical knowledge. I construe ethical knowledge as a learning process, oriented by a concern for truth, which involves the rational agency and affective engagement of an embodied human subject. For the purposes of showing this, I engage critically with Adorno’s reading of Kafka, using Kafka's story ‘In the Penal Colony’ to challenge Adorno’s analysis. [ABSTRACT FROM AUTHOR]

This article explores Andrei Tarkovskii's conception of truth in Solaris (1972) and Stalker (1979) as part of his wider philosophical project concerning knowledge. The director's epistemological views form a core dimension of his life and aesthetic as he strives towards what he considers a higher, spiritual 'idea of knowing'. In his search for this idealised notion of truth, Tarkovskii uses the medium of film to address what he perceives as a profound imbalance in modern civilization between scientific rationalism and spiritual/aesthetic 'truth'. This is nowhere more prominent than in his two science fiction films, Solaris and Stalker, as he uses the genre as a battleground to discuss key debates in epistemology. Comparisons will be made with the Russian author and thinker Tarkovskii most revered, Fyodor Dostoevskii, and the Soviet-period science fiction authors whose works he adapted, Stanisław Lem and the Strugatskii brothers, in order to elucidate how the director came to cinematically represent his philosophy. [ABSTRACT FROM AUTHOR]

A literary criticism is presented to the book "St. Leon: A Tale of the Sixteenth Century," by William Godwin. The article often references the German philosopher Immanuel Kant's ethics to examine the depiction of truth, lying and morality within the aforementioned novel. The book's portrayal of the relationship between truth and duty is discussed.

Giuseppe Betussi's Imagini del tempio della signora donna Giovanna Aragona (1556) offers a privileged insight into the inner workings of encomium as a crucial self-authorizing experience in Renaissance culture. In this perspective, the paper focuses on: a) the strategic blending of literary genres as a response to the tensions of a challenging editorial market; b) the pivotal role of figurative metaphors in the self-depiction of celebrative texts and their connection with the memorial and allegorical dimensions; and c) the multiplication of textual voices and layers as a means of staging celebration itself as an ongoing performance, combining monumental accomplishment and verbal dynamism. It considers the question of why Betussi seemingly connects a small corpus of lyric texts (the sonnets quoted in the Imagini) to a major collection (Ruscelli's 1554 Tempio alla divina signora Giovanna d'Aragona) by means of a dialogue between Truth and Fame and proposes that the figure of Truth enables Betussi to modulate one single voice from the apparent interaction of many, ultimately building on well-established collective models to create a solo encomiastic anthology. [ABSTRACT FROM AUTHOR]

Copyright of Education et Societes is the property of INRP and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Perseitas is the property of Revista Perseitas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers the author's insights on the view of poet Maitreyi Devi on time in autobiographical fiction. Topics discussed include the ide of Devi about time is shaped upon the Indian classification of time as human and divine, the objection raised by Devi against fictionalization, and the debate in contemporary theory regarding the truth in fiction.

An essay is presented criticizing the book "House Made of Dawn" by N. Scott Momaday that deals with a modernist understanding of the nature of truth. It compares the book with another book "The Snows of Kilimanjaro" by Ernest Hemingway and mentions that in his book, Momaday suggests a separation between the written word and the nature of truth. He adds that Momaday emphasizes language's ability to generate truth.

A literary criticism of the essay "My Platonic Sweetheart" by Mark Twain is presented. It argues that the author's dreams depicting young women discussed within essay represent both platonic relationships and well as an understanding of Platonism. Topics considered include transcendent truths, Greek philosopher Plato's theory of the Forms, and idealism.

This paper examines the intersecting of the themes of temporality and truth in Deleuze's philosophy. For the ancients, truth was something eternal: what was true was true in all times and in all places. Temporality (coming to be and passing away) was the realm of the mutable, not the eternal. In the seventeenth century, change began to be seen in a positive light (progress, evolution, and so on), but this change was seen to be possible only because of the immutable laws of nature that govern change. It was not until philosophers such as Bergson, James, Whitehead - and then Deleuze - that time began to be taken seriously on its own account. On the one hand, in Deleuze, time, freed from its subordination to movement, now becomes autonomous: it is the pure form of change (continuous variation) that lies at the basis of Deleuze's metaphysics in Difference and Repetition (and is explored more thematically in The Time-Image). As a result, on the other hand, the false, freed from its subordination to the form of the true, assumes a power of its own (the power of the false), which in turn implies a new 'analytic of the concept' that Deleuze develops in What Is Philosophy? [ABSTRACT FROM AUTHOR]

A literary critique is presented that explores the theme of sincerity in the writings of German author Christa Wolf, who died in 2011. It examines the question of the author's and narrator's voice. The author comments on texts written before and after German unification, analyzing books including "Nachdenken über Christa T.," "Was bleibt," and "Medea." Themes of truth, fear, and mourning are also considered.

The article critiques the novella "Véhi Ciosane," by Ousmane Sembène, focusing on its depiction of truth-telling and the society of a village in colonial Africa. The author discusses Sembène's portrayal of incest and the role of religion in the novella, and Sembène's stylistic approach is highlighted.

Copyright of Synthesis Philosophica is the property of Croatian Philosophical Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the book "Fall on Your Knees" by Ann-Marie MacDonald is presented. The criticism looks at major concepts from the book including theorization of trauma through magic realism, aesthetics, and performative experience. Other topics include languages of trauma, such as music or painting, the difference between fact and truth, and multiple representations of a single traumatic event.

From where to write when our world is wounded and our literature is sick? This is the question posed by a narrator who estimates that recent Spanish narrative is diagnosed but not healthy. Reality had become one with capitalism, they said, and the following truths to redefine it do not exist. The narrator asks herself whether it is better not to try to have the truth, rather than to be it. This article explores the other that does not exist: the truth, whether it is defeated, crazy or running away. The author presupposes that literature has the precise capacity of imagining a horizon that enables us. In order to achieve it, the challenge, which we don’t know to be impossible, will dissolve into the field of the material, given that the multiple declines of the capital seem to conquer our entire horizon. [TRANSLATION]

The article focuses on the short period of time during which French Canadian artist Hector de Saint-Denys Garneau wrote most of his poems. The author focuses on different poems written between 1934 to 1938 and the notion of truth in poetry. Different abstracts of texts published in the book "Regards et jeux dans l'espace," are quoted, and it is explained that Saint-Denys Garneau made several modifications to the original ones in order to erase any autobiographical themes. After 1938, the poet decided to stop producing any kind of poetry, criticizing the lack of authenticity of this art.

A literary criticism is presented for the book "The Memory Artists,' by Jeffrey Moore. The representation of memory, or hyper-memory, in the book's main character Noel Burun, including synaesthesia, is discussed. The book's portrayal of the relationship between art and science is also discussed. An overview of the depiction of the concept of truth within "Memory Artists" is provided.

A literary criticism of the book "Comment parler des lieux où l'on n'a pas été?" by French writer Pierre Bayard is presented. Topics discussed include the place and importance of truth as a concept within the literature, literary truth as opposed to empirical truth, and the relationship between literature and psychology.

The article discusses the generic status of the contemporary legend as it relates to rumors, urban myths, and local legends within the modern narrative repertoire. It considers the attempts to classify legends over time and the popularity of contemporary legends in society. Other topics explored include similarities between traditional and contemporary legends, jokes and gossip, and truth in legend.

The essay discusses the concept of truth in fiction, with particular focus given to the ways in which authors and readers conceive of truth and the potential of fictional "truth" to enhance life experience and understanding. Comments from authors including Peter Carey, Stephen Gray, and Nikki Gemmell regarding truth in fiction are presented, and the author's reflections on her attempts to create truth in her fiction are explored.

A literary criticism of the novel "Le Père Goriot" by Honoré de Balzac is presented. It examines concepts of realism and truth. The author also comments on the relationship between "Le Père Goriot" and the tragedy "King Lear" by William Shakespeare, drawing comparisons between the characters Goriot and King Lear.

An interview with African American poet Frank X Walker is presented. Topics discussed include Walker's poetry books "Affrilachia," as well as "Buffalo Dance: The Journey of York" and "When Winter Come: The Ascension of York" of the York series. Walker also discusses the inspiration for his poem "The Dozens," the poems that Walker has written on civil rights activist Medgar Evers, and the truth in Walker's poetry.

An essay is presented on the role played by the distrust on language in Larry McMurtry's novel "Lonesome Dove." The author explores the depiction of the enigmatic sign of Augustus McCrae, one of the book's characters, to show the relationship between language and moral truth. The author claims that McCurty shows his frustration with language by creating characters who think that they are unable to express themselves properly in words.

This article analyzes the ideological uprooting found in El otro, el mismo, where Borges reminds us of the impossibility of any totalizing discourse (whether philosophical, religious, scientific, etc.) that embraces Reality as a whole. However, Borges also reminds us that in an universe without absolute truths, man cannot escape his individual destiny and is forced to create these truths, to build realities, in order to survive as an individual and as a spicies. [ABSTRACT FROM AUTHOR]

The article discusses the political aspects of fables in the Netherlands during the seventeenth century, focusing on the Dutch merchant brothers and republican theorists Johan de la Court and Pieter de la Court. It examines their use of political allegories and their calls for parrhesia, or the frank telling of truth. The influence of Italian satirist Traiano Boccalini and Dutch poet Joost van den Vondel is analyzed. The author examines the de la Court brothers' books "Consideratien van Staat, ofte Polityke Weegschaal" ("Considerations of State, or Political Balance") and "Sinryke Fabulen" ("Meaningful Fables"). Other topics include the fables' anti-monarchism and denunciations of hypocrisy.

The author presents a poetics statement describing the influences and philosophies that have developed his approach to writing poetry. Specific attention is given to the impact his psychology has had, as he notes that he was diagnosed as bipolar as a young adult. Other topics covered include social integration, experience, and truth in literature.

This study analyses the Aramaic root and its derivatives in the Book of the Words of Noah and Second Temple Jewish Aramaic literature. In its basic meaning the root and its derivatives signify the straightness of a matter, but they oscillate semantically from a simple statement regarding the truth of a matter to the idea of a universe that is patterned by righteousness. In its broad and often highly philosophical range of meanings, the concept of qûštâ comes closest to the idea of Maat in ancient Egyptian thought. [ABSTRACT FROM AUTHOR]

A literary criticism is presented of the 1647 novella "Desengaños amorosos," by María de Zayas. The author examines the novella's undercurrent of truth and examines it within the hagiographic and literary tradition. The author explains that the novella's narrative is told as the fictional diary of Beatriz of Hungary. The novella's subversive ramifications within the frame narrative are also also examined.

I examine the radical contextualists’ two main arguments for the semantic underdeterminacy thesis, according to which all, or almost all, English sentences lack context-independent truth conditions. I show that both arguments are fallacious. The first argument, which I call the fallacy of the many understandings, mistakenly infers that a sentence S is semantically incomplete from the fact that S can be used to mean different things in different contexts. The second argument, which I call the open texture fallacy, wrongly concludes that a sentence S lacks context-independent truth conditions from the fact that there are circumstances in which the truth value of S would be indeterminate. I do however defend the claim that a certain class of sentences not containing any indexicals do lack context-independent truth conditions, and put forward an argument to that effect. But this argument, as I show, does not generalize to all sentences, and thus fails to support the semantic underdeterminacy thesis. [ABSTRACT FROM AUTHOR]

The article examines the qualities of truth and deception in New York society during the 1870s as portrayed in Edith Wharton's novel "The Age of Innocence." It mentions that the people are ruled by deception, vanity and borrowed splendor in a world that is moved by the language of social performance. An overview of the literary depiction of Friedrich Nietzsche in his novel "On Truth and Lies in a Nonmoral Sense," is also presented wherein he explains that most men presume that others already know though their thoughts and actions are like actors on stage.