Abstract The study represents a partial output of research on the culture of artificial neural networks, as the authors call the cultural complex, in which a number of different actants participate (technologies, their users, results of the generation process, their recipients, media, etc.) and which is constituted by language games that have a performative function. The aim of this study is to conduct a media-archaeological insight into the imaginative layer of these language games and to point out that one of the sources of neural network culture is precisely the deeply historically anchored technological imagination. The genealogy of this imagination is traced in the study from its ancient origins to the 1950s, when the idea of the artificial mind was transformed into a scientific theorem and founded the research field of artificial intelligence. In this way, the paper draws attention to the fact that when we think and talk about artificial intelligence, we are talking about a set of imaginations that should not be confused with reality, but rather treated as technological fictions.
{"title":"Technological imagination as a source of the culture of neural networks","authors":"Zuzana Husárová, Karel Piorecký","doi":"10.2478/aa-2023-0007","DOIUrl":"https://doi.org/10.2478/aa-2023-0007","url":null,"abstract":"Abstract The study represents a partial output of research on the culture of artificial neural networks, as the authors call the cultural complex, in which a number of different actants participate (technologies, their users, results of the generation process, their recipients, media, etc.) and which is constituted by language games that have a performative function. The aim of this study is to conduct a media-archaeological insight into the imaginative layer of these language games and to point out that one of the sources of neural network culture is precisely the deeply historically anchored technological imagination. The genealogy of this imagination is traced in the study from its ancient origins to the 1950s, when the idea of the artificial mind was transformed into a scientific theorem and founded the research field of artificial intelligence. In this way, the paper draws attention to the fact that when we think and talk about artificial intelligence, we are talking about a set of imaginations that should not be confused with reality, but rather treated as technological fictions.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"50 7","pages":"1 - 21"},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139014736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Samuel Beckett’s Come and Go (1965) is about three women whose conversations are both audible and inaudible due to each one’s whispering whenever two of them are alone and the other is out of sight. This paper focuses on the film version of Come and Go – directed by John Crowley in 2000 – as part of the Beckett on Film project, which transferred Beckett’s 19 stage-plays to the screen. Drawing upon Mladen Dolar’s theorization of the object voice, this paper aims to analyse how Crowley renders Beckett accessible for contemporary audiences in cinematic terms, with a specific focus on the whisper scenes.
{"title":"Shhh!: Whisper cycle in John Crowley’s rendition of Samuel Beckett’s Come and Go","authors":"Filiz Kutlu","doi":"10.2478/aa-2023-0009","DOIUrl":"https://doi.org/10.2478/aa-2023-0009","url":null,"abstract":"Abstract Samuel Beckett’s Come and Go (1965) is about three women whose conversations are both audible and inaudible due to each one’s whispering whenever two of them are alone and the other is out of sight. This paper focuses on the film version of Come and Go – directed by John Crowley in 2000 – as part of the Beckett on Film project, which transferred Beckett’s 19 stage-plays to the screen. Drawing upon Mladen Dolar’s theorization of the object voice, this paper aims to analyse how Crowley renders Beckett accessible for contemporary audiences in cinematic terms, with a specific focus on the whisper scenes.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"280 ","pages":"32 - 42"},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139014566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The paper deals with cultural phenomena – realia and precedent phenomena – in the novel by contemporary Slovak author Pavol Rankov: Svätý mäsiar zo Šamorína a iné príbehy z čias Malej dunajskej vojny [The Holy Butcher of Šamorín and Other Stories from the Time of the Lesser Danube War, 2016] and in its German translation Der Kleine Donaukrieg (2022). The novel depicts a fictional war between Slovakia and Hungary, with its specific feature being the clash of several cultures and linguo-cultural spaces (Slovak, Hungarian, Roma, Czech) on the linguistic and extra-linguistic levels. The paper presents an interpretative probe into the analysed novel as well as a theoretical definition of the types of cultural phenomena in translation communication, focusing on the ambiguity of the rendering and definition of the “own” and “foreign” in a literary text. In the comparative analysis of the original work and its German translation, we focus on the interpretative, receptive and translational specificities of realia and precedent phenomena reflecting the Roma and Slovak linguo-cultural space.
摘要 本文论述了斯洛伐克当代作家帕沃尔-兰科夫的小说中的文化现象--现实和先例现象：Svätý mäsiar zo Šamorína a iné príbehy z čias Malej dunajskej vojny [The Holy Butcher of Šamorín and Other Stories from the Time of the Lesser Danube War, 2016] 及其德文译本 Der Kleine Donaukrieg (2022)。小说虚构了斯洛伐克与匈牙利之间的战争，其特点是几种文化和语言文化空间（斯洛伐克、匈牙利、罗姆、捷克）在语言和语言外层面的冲突。本文对所分析的小说进行了解释性探究，并对翻译交流中的文化现象类型进行了理论界定，重点关注文学文本中 "本族 "和 "异族 "的渲染和定义的模糊性。在对原著及其德文译本的比较分析中，我们重点关注了反映罗姆和斯洛伐克语言文化空间的现实和先例现象在解释、接受和翻译方面的特殊性。
{"title":"The “own” vs the “foreign” in the German translation of Pavol Rankov’s novel Svätý mäsiar zo Šamorína a iné príbehy z čias Malej dunajskej vojny1","authors":"Andrej Zahorák","doi":"10.2478/aa-2023-0012","DOIUrl":"https://doi.org/10.2478/aa-2023-0012","url":null,"abstract":"Abstract The paper deals with cultural phenomena – realia and precedent phenomena – in the novel by contemporary Slovak author Pavol Rankov: Svätý mäsiar zo Šamorína a iné príbehy z čias Malej dunajskej vojny [The Holy Butcher of Šamorín and Other Stories from the Time of the Lesser Danube War, 2016] and in its German translation Der Kleine Donaukrieg (2022). The novel depicts a fictional war between Slovakia and Hungary, with its specific feature being the clash of several cultures and linguo-cultural spaces (Slovak, Hungarian, Roma, Czech) on the linguistic and extra-linguistic levels. The paper presents an interpretative probe into the analysed novel as well as a theoretical definition of the types of cultural phenomena in translation communication, focusing on the ambiguity of the rendering and definition of the “own” and “foreign” in a literary text. In the comparative analysis of the original work and its German translation, we focus on the interpretative, receptive and translational specificities of realia and precedent phenomena reflecting the Roma and Slovak linguo-cultural space.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"42 2","pages":"79 - 92"},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139018435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The prosaist Marek Vadas is a contemporary Slovak writer who has won several literary prizes. A unique part of his bibliography is represented by short stories inspired by African culture and environment. The main objective of this paper is to analyse via interpretation these stories and to prove the role of the African environment in the process of creating the magical as a quality of expression. Stories from the following collections are looked at: Liečitef’, Čierne na čiernom, and Zlá štvrt’. The methodological approach of the interpretation is based on the theory of František Miko and his system of expression categories. The portrayed image of Africa interpreted in this contribution proceeds from Vadas’s personal experience. We conclude that the unique African element in his work adds to the magical quality of expression, which is based on the coaction of several elements: different cultural experience, thematic scheme, blend of multiple qualities of expression and of compositional techniques. The final magical quality of expression represents the specificity of Vadas’s writing style.
摘要 平话作家马雷克-瓦达斯是斯洛伐克当代作家，曾多次获得文学奖。在他的作品中，非洲文化和环境启发下创作的短篇小说是一个独特的代表。本文的主要目的是通过对这些故事的解读进行分析，并证明非洲环境在创造神奇表达品质过程中的作用。本文研究了以下故事集中的故事：Liečitef', Čierne na čiernom 和 Zlá štvrt'。解读的方法论基于弗兰蒂谢克-米科（František Miko）的理论及其表达类别系统。这篇论文中对非洲形象的描绘源自瓦达斯的个人经历。我们的结论是，他作品中独特的非洲元素增加了表达的魔幻特质，而这种魔幻特质是基于多种元素的共同作用：不同的文化体验、主题方案、多种表达特质的融合以及作曲技巧。最终神奇的表达品质代表了伟德的写作风格的特殊性。
{"title":"The foreign atmosphere of Africa as part of magical expression in the fiction of Marek Vadas","authors":"Paula Píšová","doi":"10.2478/aa-2023-0011","DOIUrl":"https://doi.org/10.2478/aa-2023-0011","url":null,"abstract":"Abstract The prosaist Marek Vadas is a contemporary Slovak writer who has won several literary prizes. A unique part of his bibliography is represented by short stories inspired by African culture and environment. The main objective of this paper is to analyse via interpretation these stories and to prove the role of the African environment in the process of creating the magical as a quality of expression. Stories from the following collections are looked at: Liečitef’, Čierne na čiernom, and Zlá štvrt’. The methodological approach of the interpretation is based on the theory of František Miko and his system of expression categories. The portrayed image of Africa interpreted in this contribution proceeds from Vadas’s personal experience. We conclude that the unique African element in his work adds to the magical quality of expression, which is based on the coaction of several elements: different cultural experience, thematic scheme, blend of multiple qualities of expression and of compositional techniques. The final magical quality of expression represents the specificity of Vadas’s writing style.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"10 9","pages":"56 - 78"},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139015876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract From William Byrd’s 18th-century “lubbers” of the North Carolina backcountry through the deviant gun-toting hicks with missing teeth from John Boorman’s survival thriller Deliverance (1972) to Darlene Snell from Netflix’s recent crime drama series Ozark (2016), the stereotype of the “hillbilly” has been one of the most pervasive images in American popular culture. This image has been usually associated with mountaineers inhabiting either the Appalachians or the Ozarks, and it has portrayed them as dirty, lazy, ignorant, often mean, violent and dangerous. Since the beginning of the 20th century, it has been popularized by film, music, and, starting with the Depression Era, also by comic strips such as Al Capp’s Li’l Abner, which shaped all subsequent depictions of these mountain folk. This article considers the depiction of hillbillies in comics with a focus on horror comics published by EC in the early 1950s.
{"title":"The Hillbilly Stereotype in Horror Comics","authors":"Jozef Pecina","doi":"10.2478/aa-2023-0008","DOIUrl":"https://doi.org/10.2478/aa-2023-0008","url":null,"abstract":"Abstract From William Byrd’s 18th-century “lubbers” of the North Carolina backcountry through the deviant gun-toting hicks with missing teeth from John Boorman’s survival thriller Deliverance (1972) to Darlene Snell from Netflix’s recent crime drama series Ozark (2016), the stereotype of the “hillbilly” has been one of the most pervasive images in American popular culture. This image has been usually associated with mountaineers inhabiting either the Appalachians or the Ozarks, and it has portrayed them as dirty, lazy, ignorant, often mean, violent and dangerous. Since the beginning of the 20th century, it has been popularized by film, music, and, starting with the Depression Era, also by comic strips such as Al Capp’s Li’l Abner, which shaped all subsequent depictions of these mountain folk. This article considers the depiction of hillbillies in comics with a focus on horror comics published by EC in the early 1950s.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"65 ","pages":"22 - 31"},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139016199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article revisits two well-known novels in Indian diasporic writing, Anita and Me (1996) by Meera Syal and The Namesake (2003) by Jhumpa Lahiri, to examine the cultural agents behind the formation and sustenance of the Indian diaspora. The article first establishes the multivalence of food to understand Indian literature and culture and then contextualizes the novel into the tradition of Indian diasporic food writing. By focusing on the culinary discourses in the novel, the article argues that Indian women employ their culinary strategies and ingenuities to produce a cultural version of Indianness, central to the construction of the Indian diaspora. The article draws the theoretical framework from Anita Mannur’s postcolonial concept of “kitchen Indians” to unravel the structural working of gender roles that operate at the foundation of the Indian diaspora.
{"title":"(En)gendering diaspora: Negotiating food, culture and women in select Indian diasporic novels","authors":"Rajbir Samal, Binod Mishra","doi":"10.2478/aa-2023-0010","DOIUrl":"https://doi.org/10.2478/aa-2023-0010","url":null,"abstract":"Abstract This article revisits two well-known novels in Indian diasporic writing, Anita and Me (1996) by Meera Syal and The Namesake (2003) by Jhumpa Lahiri, to examine the cultural agents behind the formation and sustenance of the Indian diaspora. The article first establishes the multivalence of food to understand Indian literature and culture and then contextualizes the novel into the tradition of Indian diasporic food writing. By focusing on the culinary discourses in the novel, the article argues that Indian women employ their culinary strategies and ingenuities to produce a cultural version of Indianness, central to the construction of the Indian diaspora. The article draws the theoretical framework from Anita Mannur’s postcolonial concept of “kitchen Indians” to unravel the structural working of gender roles that operate at the foundation of the Indian diaspora.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"311 13","pages":"43 - 55"},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139019909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The paper seeks to explore the motif of blood, as it appears in various forms in all civilizational and cultural areas. Based on the genre- and culturally diverse texts from the material sample, the authors will present the basic and plot-motif stable forms of the blood motif in ancient culture-forming narratives and outline their archetypal significance.
{"title":"The blood motif in culture-forming narratives: Morphology and semantics","authors":"Nikola Danišová, Simona Klimková","doi":"10.2478/aa-2023-0004","DOIUrl":"https://doi.org/10.2478/aa-2023-0004","url":null,"abstract":"Abstract The paper seeks to explore the motif of blood, as it appears in various forms in all civilizational and cultural areas. Based on the genre- and culturally diverse texts from the material sample, the authors will present the basic and plot-motif stable forms of the blood motif in ancient culture-forming narratives and outline their archetypal significance.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"15 1","pages":"61 - 78"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46271513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Violence in William Shakespeare’s Hamlet follows stage-managed theatrics at the level of the language and images used, the construction of a theatre that comments on theatre, and of staged minds. The theatrics of images, sound, stage and mind are necessary steps for Hamlet to create a meta-self. Metatheatre and the grotesque are deeply connected to violence; their association makes what the research calls the meta-self. The article combines different theoretical concepts not commonly used simultaneously. The alliance between the carnivalesque and the metatheatrical reveals the theatrics of the stage while dealing with violence. The theatrics of violence are present at the level of performance, language and images. The dynamics of violence constructed upon theatrics and staging prove that the mind of Hamlet is staged. Baudrillard’s concepts of “hyperreality”, “traversing the self” and “holographic attempts” allow us to conclude that Hamlet reaches a “meta-self”. The Meta-self is a traversing self that challenges society and mocks over-confidence; it operates as a mirror, a crossing-thinking self in constant rehearsal and reassessment of the certitudes of humans.
{"title":"Staging violence in William Shakespeare’s Hamlet: From the theatrics of the mind, the image and the stage to the creation of the meta-self","authors":"Zied Ben Amor","doi":"10.2478/aa-2023-0003","DOIUrl":"https://doi.org/10.2478/aa-2023-0003","url":null,"abstract":"Abstract Violence in William Shakespeare’s Hamlet follows stage-managed theatrics at the level of the language and images used, the construction of a theatre that comments on theatre, and of staged minds. The theatrics of images, sound, stage and mind are necessary steps for Hamlet to create a meta-self. Metatheatre and the grotesque are deeply connected to violence; their association makes what the research calls the meta-self. The article combines different theoretical concepts not commonly used simultaneously. The alliance between the carnivalesque and the metatheatrical reveals the theatrics of the stage while dealing with violence. The theatrics of violence are present at the level of performance, language and images. The dynamics of violence constructed upon theatrics and staging prove that the mind of Hamlet is staged. Baudrillard’s concepts of “hyperreality”, “traversing the self” and “holographic attempts” allow us to conclude that Hamlet reaches a “meta-self”. The Meta-self is a traversing self that challenges society and mocks over-confidence; it operates as a mirror, a crossing-thinking self in constant rehearsal and reassessment of the certitudes of humans.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"15 1","pages":"39 - 60"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42637300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper examines the definition of the Victorian upper-class woman in the context of Oscar Wilde’s Lady Windermere’s Fan, in light of the prevailing gender roles and conventions of the late Victorian era. Drawing upon Judith Butler’s theories of sex and gender, this study investigates Victorian female subjectivity in terms of the power dynamics between men and women. Drawing upon Butlerian analyses of sex and gender, this paper has explored two divergent representations of upper-class female subjectivity in the Victorian period. The representation of intelligible-gendered identities in the Duchess of Berwick is a key point of consideration when examining Victorian upper-class female subjects. In contrast, Mrs. Erlynne serves as an example of an unintelligible-gendered character, allowing for an exploration of the ramifications of challenging the prevailing power structure. In this article, it is demonstrated that Wilde’s female ideal is neither definitively intelligible-gendered nor unintelligible-gendered; rather, she is a figure who resists power and reacts to any perceived threats to her social standing. This article posits that Wilde’s ideal woman is a semi-intelligible-gendered identity. Furthermore, it is suggested that, despite his advocacy of Women’s rights, Wilde still endorses certain gender roles and binary oppositions between the sexes, one of which is the role of motherhood. Wilde illustrates a scenario in which breaking away from these social conventions would lead to a tragic end which no woman is able to escape.
{"title":"Oscar Wilde’s ideal woman: Constructing Victorian upper-class female identity in Wilde’s Lady Windermere’s Fan","authors":"Younes Poorghorban","doi":"10.2478/aa-2023-0002","DOIUrl":"https://doi.org/10.2478/aa-2023-0002","url":null,"abstract":"Abstract This paper examines the definition of the Victorian upper-class woman in the context of Oscar Wilde’s Lady Windermere’s Fan, in light of the prevailing gender roles and conventions of the late Victorian era. Drawing upon Judith Butler’s theories of sex and gender, this study investigates Victorian female subjectivity in terms of the power dynamics between men and women. Drawing upon Butlerian analyses of sex and gender, this paper has explored two divergent representations of upper-class female subjectivity in the Victorian period. The representation of intelligible-gendered identities in the Duchess of Berwick is a key point of consideration when examining Victorian upper-class female subjects. In contrast, Mrs. Erlynne serves as an example of an unintelligible-gendered character, allowing for an exploration of the ramifications of challenging the prevailing power structure. In this article, it is demonstrated that Wilde’s female ideal is neither definitively intelligible-gendered nor unintelligible-gendered; rather, she is a figure who resists power and reacts to any perceived threats to her social standing. This article posits that Wilde’s ideal woman is a semi-intelligible-gendered identity. Furthermore, it is suggested that, despite his advocacy of Women’s rights, Wilde still endorses certain gender roles and binary oppositions between the sexes, one of which is the role of motherhood. Wilde illustrates a scenario in which breaking away from these social conventions would lead to a tragic end which no woman is able to escape.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"15 1","pages":"20 - 38"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42154832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Fantasy requires a probabilistic theory of reasoning to explore how it enables the observer to create mental images from uncertainty. This study proposes a quantum cognitive approach to fantasy used for disclosing mental models of the character in uncertainty. For the uncertain individual, there exists a multiplicity of mentally incompatible but equally valid and complete representations (mental pictures) of the world. Contextualizing fantasy within the quantum cognitive principles, the novel Sweet Whispers, Brother Rush (1982) by Virginia Hamilton has been taken into consideration. In this novel the hesitation between psychological and supernatural explanations interrupts the predictive power about the real and affects mental models or cognitive states of the young character of the novel as the observer. The process of representing fantasy through complementarity, one of the quantum cognitive principles, shows that fantasy is a mixed state with a familiar probabilistic combination of states which reflect incomplete knowledge. The quantum principle of superposition has been used to explain the way an introspective mental experiment is initiated by the observer but not completed. The decision made by the observer is not a deterministic process that converges to a single mental representation. Rather it can evolve forever. To sum up, this article marks how quantum cognition can describe the uncertainty principle both on an emotional-behavioural and structural level when the observer entangles themselves within the irreducible indeterminacy of reality within fantasy.
{"title":"Quantum cognition and interpretation of the fantastic in Virginia Hamilton’s Sweet Whispers, Brother Rush","authors":"Pegah Mashhadi","doi":"10.2478/aa-2023-0001","DOIUrl":"https://doi.org/10.2478/aa-2023-0001","url":null,"abstract":"Abstract Fantasy requires a probabilistic theory of reasoning to explore how it enables the observer to create mental images from uncertainty. This study proposes a quantum cognitive approach to fantasy used for disclosing mental models of the character in uncertainty. For the uncertain individual, there exists a multiplicity of mentally incompatible but equally valid and complete representations (mental pictures) of the world. Contextualizing fantasy within the quantum cognitive principles, the novel Sweet Whispers, Brother Rush (1982) by Virginia Hamilton has been taken into consideration. In this novel the hesitation between psychological and supernatural explanations interrupts the predictive power about the real and affects mental models or cognitive states of the young character of the novel as the observer. The process of representing fantasy through complementarity, one of the quantum cognitive principles, shows that fantasy is a mixed state with a familiar probabilistic combination of states which reflect incomplete knowledge. The quantum principle of superposition has been used to explain the way an introspective mental experiment is initiated by the observer but not completed. The decision made by the observer is not a deterministic process that converges to a single mental representation. Rather it can evolve forever. To sum up, this article marks how quantum cognition can describe the uncertainty principle both on an emotional-behavioural and structural level when the observer entangles themselves within the irreducible indeterminacy of reality within fantasy.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"15 1","pages":"1 - 19"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42885138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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