Putting ‘the real’ back into ‘the intelligible’: tracing the reality effect in Carlo Ginsburg’s ‘The Cheese and the Worms’ and Emma Rothschild’s ‘The Inner Life of Empires’

2021 ◽  
Author(s):  
Katarzyna Świerad-Redwood
Keyword(s):  
Inner Life ◽  
The Real ◽  
Reality Effect

Alternate-Reality Effects

PMLA ◽  
2019 ◽  
Vol 134 (5) ◽  
pp. 1136-1142
Author(s):  
Paul K. Saint-Amqur
Keyword(s):  
French Revolution ◽  
Speech Act ◽  
Literary Realism ◽  
Symbolic Function ◽  
The Real ◽  
History Of ◽  
Reality Effect ◽  
Alternate Reality ◽  
Narrative Function ◽  
Concrete Reality

If the poetics of fact had a dictionary, it would need to contain a long entry on the reality effect. The concept originates with Roland Barthes, whose 1968 essay by that name addresses literary details that can't be assimilated to character, atmosphere, or narrative function. Such “futile” or “useless” details (141, 142) — Barthes's examples are a barometer in Gustave Flaubert's novella A Simple Heart and a little prison-cell door in Jules Michelet's History of the French Revolution—seem to fall outside any symbolic function and refer directly to concrete reality. In the essay's key move, however, Barthes claims that such insignificant details possess a second-order significance in certifying the existence of a world “out there,” irreducible to narrative function. Far from denoting the real, Flaubert's barometer and Michelet's little door connote reality; they “finally say nothing but this: we are the real” (148). The reality effect achieved by this implied speech act is ideological, Barthes adds, in the way it consecrates the separation and opposition between what exists and what has meaning. This ideology, in turn, has been indispensable to a roughly coemergent set of modes, disciplines, and institutions “based on the incessant need to authenticate the 'real,'” from literary realism, photography, and reportage to “objective” history and its manifestations in museums and tourism sites (146).

scholarly journals Tatyana Tolstaya’s “Sleepwalker in a Fog” or “The Life is a Dream” in a Neobaroque manner

2020 ◽  
pp. 338-362
Author(s):  
Živa Benčić
Keyword(s):  
Short Story ◽  
Real World ◽  
Focal Point ◽  
External World ◽  
Inner Life ◽  
External Reality ◽  
Objective Reality ◽  
The Real ◽  
Late Socialism

The proposed analysis of the oneiric elements in the early prose writing by Tatyana Tolstaya, most notably in the short story “Sleepwalker in a Fog”, attributes the highest heuristic value to the traditional Baroque metaphor “life is a dream”, and attempts to close read the text by using this premise as a focal point. The stated metaphor which, as an impor-tant vehicle for construction of narrative reality, is present only implic-itly in the text, contains two distinct semantic aspects. The fi rst can be defi ned as the claim that the protagonist observes objective reality as a dream, with disintegrated and lessened attention, passively and absent-mindedly, since he is completely absorbed in his inner life. What con-stitutes reality for him is the activity of his spiritual sphere whereas the real world looks completely unreal, as if he were dreaming about it. The metaphor “life is a dream” has, however, another meaning which can be defi ned as an observation that reality can sometimes have a dreamlike character. Hence, the protagonist is not necessarily submerged into his inner life but rather observes the external world with sharp and vigilant perception, and has a strong feeling that what surrounds him is not real, i.e. that the external reality is objectively like a dream. There is no doubt that the reality of the late socialism as described in the short story “Sleepwalker in a Fog” has a quality of a chaotic, oneiric chronotope in which events evolve incoherently, illogically, and in a dreamlike manner.

Encountering Oneself

1981 ◽  
Vol 1 (1) ◽  
pp. 1-4
Author(s):  
Paul A. Girling
Keyword(s):  
Risk Taking ◽  
Cognitive Restructuring ◽  
Value Orientations ◽  
Inner Life ◽  
Inner Experiences ◽  
The Real ◽  
Personality Functioning ◽  
Self Image ◽  
Fluid Process ◽  
Real Self

To be and become the person we truly are is a pervasive theme in third force psychology. In this paper, I succinctly summarize how we become ourselves by focusing on 5 distinct dimensions of personality functioning. Freeing oneself from an idealized self-image and experiencing the real self is seen as a beginning phase. A cognitive restructuring involving modifying internalized value orientations is then stressed. Assuming responsibility for one's choices and initiating self-direction is encouraged to develop authentic personhood. The growing person is conceptualized as being open to inner experiences and viewing one's life as a fluid process involving change and risk taking. Finally, vitality is generated and sustained by receptivity to one's inner life.

scholarly journals A Case for Psychoanalytic Visual Dispositif? : Birdman after the “Cinematographic Capture”

KOME ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 85-100
Author(s):  
Constance Goh
Keyword(s):  
Film Theory ◽  
Comic Book ◽  
The Other ◽  
Subsequent Work ◽  
Popular Imagination ◽  
The Real ◽  
The Gaze ◽  
Reality Effect ◽  
Commercial Value ◽  
Live Action

This paper investigates how the notion of “superhero” in popular imagination, evident in the multiple live-action adaptations of Detective Comic’s and Marvel Cinematic Universe’s comic book heroes for their commercial value, has been debunked by Alejandro Inarritu’s 2014 Birdman. While the aforementioned dream factories affirm the fantasmatic “flight” inherent to these cinematic creations, especially symbolised by the aviating capacities of most of their superheroes, it is Inarritu’s Birdman, although not commercially comparable, that is theoretically significant here: the “flight” motif paradoxically gestures to the “capture” that is the very cinematic essence. Working with some key psychoanalytic theorists of the apparatus and later the suture, I shall argue that the messianic in this film, embodied by the male lead, whose waning career is resurrected from oblivion given Keaton’s subsequent work acknowledgement despite his Oscar nonsuccess, is revealed by this author to be ultimately the cinematographic apparatus that gives us Baudry’s transcendental subject, a concept arguably bound to his cinematic effect, a term with epistemological import. This paper will also redirect attention to the interpretative liberation associated with “flight", insisting that Baudry’s discussion of the cinematic dispositif is among the first to address the real, albeit with an emphasis on intelligibility, so that release from what I call the “cinematic capture”, a term that Todd McGowan defines as “uncritical subjectivity”, can be enacted. This thesis asserts that Birdman, proposed here as a case for psychoanalytic film theory, unintentionally exposes the traumatic real within the imaginary because of cinematic capture, thus leading to this discussion of the gaze, identification, narration, control and desire. In addition, it will appraise what Baudry calls the “knowledge effect” by responding to the following inquiries that encapsulate the critical stake here. How can one call this effect “knowledge” when the “subjective” of the transcendental subject becomes more pronounced with the other title of Baudry’s apparatus theory, which is suture theory? What can one say about the “reality effect” of the apparatus theory in an age of digitisation the emphasis of which is virtuality and, last but not least, can one argue that Inarritu’s Birdman is an illustrative intervention of the digitised post-cinematic?

scholarly journals Developing Interiority in Children and Teenagers: Difficulties Perceived by Workers and Strategies to Address Them

Religions ◽  
2021 ◽  
Vol 12 (9) ◽  
pp. 715
Author(s):  
Enric Benavent-Vallès ◽  
Oscar Martínez-Rivera ◽  
Lisette Navarro-Segura
Keyword(s):  
Social Workers ◽  
Qualitative Data ◽  
Fundamental Aspect ◽  
Childhood And Adolescence ◽  
Inner Life ◽  
Level Of Education ◽  
The Real ◽  
Low Level

Educating interiority is a fundamental aspect of development and is of the utmost importance in childhood and adolescence because it helps to develop the faculties that allow them to experience life to the fullest. In this project, we aimed to analyze the difficulties that social workers perceive when educating interiority and identify the main strategies that they use to face these difficulties. A mixed questionnaire, with quantitative and qualitative data, was designed to this end, and answered by 128 professionals who work with children and teenagers. The results showed that educators have restrictive beliefs regarding difficulties, which do not always correspond to the real difficulties, which limit their attempts to educate the interior dimension. The difficulties found include those related to the characteristics of the group of children and teenagers and others linked to the low level of education on interiority, the absence of a personal inner life, and the lack of methodological tools to approach this matter.

scholarly journals Mimesis, Murakami and Multimedia Art: Parallel Worlds in Performance

2019 ◽  
Vol 29 ◽  
pp. 31-36
Author(s):  
Chaz Underriner
Keyword(s):  
Video Art ◽  
Literary Analysis ◽  
The Novel ◽  
Artistic Practice ◽  
Everyday Experience ◽  
The Real ◽  
Field Recording ◽  
Multimedia Art ◽  
Reality Effect

The artistic techniques of mimesis—the representation of reality in art—make it possible to “render the unreal familiar or the real strangely unfamiliar.” The author, a composer and intermedia artist, uses mimetic techniques in acoustic composition, video art and field recording to reimagine everyday experience, as in his multimedia piece Landscape: Home. The author analyzes passages from the novel Sputnik Sweetheart by Haruki Murakami to understand Murakami’s use of “parallel worlds” and the “reality effect.” This literary analysis aims to highlight the potential of mimetic techniques for artistic practice in sound and image, particularly in the author’s Landscape series.

Scanning electron microscopy of human iliac bone by a simple preparation method

1990 ◽  
Vol 48 (3) ◽  
pp. 226-227
Author(s):  
Toshihiko Takita ◽  
Tomonori Naguro ◽  
Toshio Kameie ◽  
Akihiro Iino ◽  
Kichizo Yamamoto
Keyword(s):  
Electron Microscopy ◽  
Scanning Electron Microscopy ◽  
Preparation Method ◽  
Specimen Preparation ◽  
Real Surface ◽  
Public Attention ◽  
Preparation Methods ◽  
The Real ◽  
Simple Preparation ◽  
Scanning Electron

Recently with the increase in advanced age population, the osteoporosis becomes the object of public attention in the field of orthopedics. The surface topography of the bone by scanning electron microscopy (SEM) is one of the most useful means to study the bone metabolism, that is considered to make clear the mechanism of the osteoporosis. Until today many specimen preparation methods for SEM have been reported. They are roughly classified into two; the anorganic preparation and the simple preparation. The former is suitable for observing mineralization, but has the demerit that the real surface of the bone can not be observed and, moreover, the samples prepared by this method are extremely fragile especially in the case of osteoporosis. On the other hand, the latter has the merit that the real information of the bone surface can be obtained, though it is difficult to recognize the functional situation of the bone.

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