Notion Of Reality Research Articles

Forensic Psychiatry Analysis and Methods for Assessing The Mental Health of A Serial Killer.

Psychosis is a mental illness that causes an alteration in the notion of reality, where a world of its own is formed in the mind of the psychotic, in other words, he lives in a delirium and suffers hallucinations, hearing voices and having bizarre visions. Objectives: To carry out a literature review on Forensic Psychiatry and how to assess the mental health of a serial killer. Method: The methodology used was a literature review. The research was carried out by means of an electronic search for scientific articles published on the Scielo (Scientific Electronic Library Online) and Lilacs (Latin American Health Sciences Literature) and Pubmed websites. The health terminologies consulted in the Health Sciences descriptors (DeCS/BIREME) were used; regarding Forensic Psychiatry and how to assess the mental health disorder of a serial killer.The inclusion criteria were: original article, published in Portuguese and English, freely accessible, in full, on the subject, in electronic format and published in the last years (2010 to 2024), totaling 26 articles. Results and Discussion: While antisocial personality disorder is a medical diagnosis, the term “psychopathy”, which belongs to the psychiatric-forensic sphere, can be understood as a “legal diagnosis”. There is still no effective treatment for so-called “serial killers”. Conclusion: Personality disorders, especially the antisocial type, still represent a real challenge for forensic psychiatry today. The most appropriate and fair place for its sufferers, as well as homogeneous treatment recommendations, are still unanswered questions.

Understanding reality and presence in dreams through imagery

Abstract It is generally said that dreams are experienced as real. But the notion of reality is often used, in the philosophical literature, along with that of presence. A big problem, in this respect, is that both these terms may assume different meanings. So understanding the nature of presence and reality in dreams depends on the way we conceive these two notions. This paper contributes to the literature on dreaming by describing the experience of presence and reality in dreams in a very specific sense. I consider the experience of presence as related to the experience of possibility of motoric interaction, and the experience of reality as related to the experience of mind-independence. Then, endorsing that dream experiences are different from perception, and similar to imagery, I suggest that the dreamer can experience reality but not presence, with three lines of argument, concerning visual determinacy, stereopsis and peripersonal localization.

Does a Bell inequality violation imply irrealism?

Abstract Seminal for the raising of the quantum information age and quintessential for a deep understanding of nature, Bell inequality violations are known for having provided a profound disruption to classical models of the physical world. Yet, their meaning is still debatable nowadays. An important point under dispute in this context concerns the relevance of realism. While some believe that a Bell inequality violation implies the manifestation of nonlocal aspects, others defend that it is the notion of realism that should be abandoned. The purpose of the present work is to shed some light on the matter by employing a formal definition of (ir)realism. Our strategy consists of (i) rephrasing Bell’s assumption of local causality in terms of more primitive hypotheses and (ii) assessing where the fundamental difficulties emerge when using the quantum formalism. We analyze the question posed in the title using two distinct approaches and assert that a positive answer is justifiable. Nevertheless, even in this scenario, it becomes evident that violations of locality cannot be avoided. As a byproduct of our approach, the connections of (ir)realism with both quantum steering and entanglement are also discussed.

Representations of Non-Being in David Lynch’s Eraserhead, Edmund Elias Merhige’s Begotten, and Darren Aronofsky’s Pi: A Comparative Analysis from Indian Philosophy Perspectives

Abstract Cinema, as an artistic medium, has often explored profound existential questions and deeply inquired themes such as the relationship between Being and Non-Being. This study centers on three enigmatic films: Eraserhead, Begotten, and Pi, known for their surreal and contemplative nature. I investigate how these films convey representations of Non-Being and examine their potential ties to Indian philosophical perspectives on existence. The discussion will encompass various elements such as narrative, cinematography, symbolism, and motifs which contribute to the exploration of Non-Being. I explore common threads and distinct approaches to the theme, providing a broader understanding of how filmmakers use their art to grapple with existential questions. The analysis deals with the notions of reality, illusion, emptiness, and the interconnectedness of all existence. Exploring how these films offer unique insights into ontological themes and the nature of existence through a comparative approach, I aim to elucidate the filmmakers’ creative depictions of Non-Being and their potential connections to Eastern philosophical thought, either aligning with or challenging Indian philosophical perspectives (such as Advaita Vedanta, Buddhism, and Jainism) on the human experience and the nature of reality.

Considerations on the Relativity of Quantum Irrealism

The study of quantum resources in the relativistic limit has attracted attention over the last couple of decades, mostly due to the observation that the spin-momentum entanglement is not Lorentz covariant. In this work, we take the investigations of relativistic quantum information a step further, bringing the foundational question of realism to the discussion. In particular, we examine whether Lorentz boosts can affect quantum irrealism-an instance related to the violations imposed by quantum mechanics onto a certain notion of realism. To this end, we adopt as a theoretical platform a model of a relativistic particle traveling through a Mach-Zehnder interferometer. We then compare the quantum irrealism assessed from two different inertial frames in relative motion. In consonance with recent findings in the context of quantum reference frames, our results suggest that the notion of physical realism is not absolute.

Contact and Conflict: Integral Experience in Classical Chinese and Reformational Philosophies

Abstract This essay offers a comparative analysis of aspects of classical Chinese philosophy with those of Reformational (Neo-Calvinist) philosophy. Such aspects form a shared root in prioritizing temporal experience (over abstract reasoning) and conceptualizing the entirety of reality as contingent and relationally dependent. At the same time, however, what marks the divergence between the two philosophies is the underlying assumptions as to what this integral reality points toward – a directionality that is critical to meaning and being. For classical Chinese philosophy, the source and meaning of reality is found within reality itself, not beyond it, construing such reality not as independent and self-contained but necessary and sufficient. This conflicts with the notion of reality as contingent and dependent. From a Reformational perspective, on the other hand, reality (i.e., all of creation) is constituted as it stands in relation to an independent and necessary Creator. The crux of Reformational philosophy is that the origin and meaning of all reality must point outside of itself to its origin in God.

Realism’s Gender Wars: Masculinity Effects in Late Realist Fiction and Contemporary Reality TV

Abstract Who owns The Real in realism, and what difference does gender make? Countering monolithic (and often dismissive) notions of realism, this article recognizes divergent signifiers of the real. Its particular concern is the war between realisms coded as feminine and those coded as masculine—between what Frank Norris belittled as “the drama of a broken teacup” and the drama of a man battling to survive in the wild. Juxtaposing Jack London’s Klondike fiction with today’s survival reality TV shows, I see these as similar efforts to put a masculine stamp on the real. In my reading of the History Channel’s Alone (2015–present), however, a Londonesque realism of moose-killing is challenged by a realism of the daily, non-dire, and domestic. Alone’s oscillation between these modes recalls that Ur-text of literary realism in which a violent, shipwrecked man sets about reinventing the household arts.“A realism of the nondire is just as authentic—its sociable, homemaking women and men just as credible and worthy—as a realism of men in mortal danger.”

‘The Golden Thread of Freedom’: Impulses for Considerations on the Relations between the Trinitarian Ontology and Social Reality in the Work of D. C. Schindler

The article presents the founding elements of the social and political thought of American philosopher and theologian David C. Schindler. The main aim of the article is to examine possible relations between Schindler’s work and the philosophical concept of ‘Trinitarian ontology’. It focuses on Schindler’s approach towards liberalism and analyses his critique of the modern conception of freedom. It suggests that the main pillars of his idea of the social order might be found in the notion of reality as the symbolical order, the conception of human beings as fundamentally relational, and the renewal of the traditional notion of freedom as rootedness in goodness. It concludes with the suggestion that the proper understanding of social reality requires certain ‘social ontology’, the metaphysical interpretation of social life as a part of a broad cosmological order which symbolically manifest the beauty of the source of being. And it is the social ontology based on the notion of freedom and relationality which analogically reflects the main principles of Trinitarian ontology.

LA CONSOLIDACIÓ DE LA NARRATIVA CATALANA DE GÈNERE EN LA POSTMODERNITAT: BIOKO I FARISHTA, DE MARC PASTOR

This article presents an in-depth reading of the novels Bioko (2013) and Farishta (2017) by Marc Pastor (Barcelona, 1977). The reading connects them to Pastor’s whole oeuvre, and to the development of Catalan genre narrative and postmodern fiction. The article thus examines the role that this key writer has played in the establishment of literary forms, uncommon in the Catalan tradition, that originally belonged to mass culture, such as the adventure novel, the fantasy novel and, especially, the science-fiction novel. Taking as a starting point some typical aspects of these genres, Bioko and Farishta reformulate the traditional notions of space and time, which Pastor links to others essential to the human condition. This leads Pastor to offer a complex treatment of the themes, resources, and motifs of the narrative of his time, such as the relationship between fiction and reality, intertextuality, the reflection on identity, and the existence of a stable notion of reality.

An instant world: truth and reality

Today, technology allows us to capture reality in an extremely crude way. Consider, for instance, the images derived from micro cameras that invade our inter bodies for medical diagnosis. In this context, there is no valuable argument against the truth. Back in the Architecture PhD freshman year, a group of students were asked to conceive an idea of a chair for an art class. It was a rather free proposal; yet all of them constructed a small, scaled model, and the objective was to photograph it on different urban sites. One of the proposals chose to use no software tricks in the pictures, based on the conviction that the truth was, like in Pilate’s view, something one might question buy cannot antagonize. In due course, this issue of SOPHIA gives us a chance to review this true story, based on real events in light of other perspectives, coming across with the notion of how ‘true’ it is that the specialised architectural journals, schoolbooks themselves, including those of a high scientific level, are (...) channels that tend to transform the spatiotemporal notion of architecture and landscape into that of signs, the notion of reality into that of a photographic representation of reality. (...)

Render or Reality? Virtuality and the Crysis of Distinction in Contemporary Philosophy

Modern philosophy tends to consider human reality in more and more interdisciplinary contexts. Thanks to that, at first traditional, and now new media as well as IT, attract philosophers’ attention and provide material for thinking over a lot of so-called “eternal philosophical questions”. Among them, there are some of the broadest questions: a) catching the margins of the real; b) understanding, which phenomena and objects to constitute human might be called real. The key goal of this article is to research one of the crucial concepts, which brings us to understanding reality, – the notion of virtuality. The author of this paper outlines background of this notion, describes its characteristics and usage in modern philosophical discourse. First of all, virtual is described in its connotations to all three dimensions of time being: past, present, and future. It is argued that the notion of virtuality at first used to be “rediscovered” by Gilles Deleuze, but then it has experienced crucial changes in philosophy of the XXth and XXIst centuries. By means of that, virtual is discussed as a counterpart of the concept of reality. In particular, this article touches upon a variety of connotations between the notions of virtuality, reality and actuality. It also shows the context of juxtaposition of the aforementioned notions. What is more, this paper reveals moral aspects of virtuality both in transcendental and as immanent senses. This article shows the background of indistinguishability for “real” and “virtual”. Finally, it is stated that in the situation of so-called “substituted reality” the multiplicity of connotations of the notion of virtuality ought to be used to rediscover the notion of reality itself.

The Radical Unreal

Much of the critical response to the post-truth condition has been to idealize the real and to call for the defense of reality against the corrosive effects of the unreal. To counter this tendency, Toby Lee offers up two recent nonfiction films that deploy what she calls the “unreality effect” as a vital strategy of political resistance. INAATE/SE/ (2016, Adam Khalil and Zack Khalil) spars with settler colonial history through a contemporary re-imagining of an ancient Ojibway prophecy, while Layer (2015, Ruth Jenrbekova and Maria Vilkovisky) tells a tale of human oviparity as an allegory for transgender life. Looking at how each film not only presents an alternative reality, but actually pushes back on the notion of reality itself, Lee argues that these works demonstrate the radical potential of the unreal—as experiential category, as representational strategy, and as a politics—and the necessity of reclaiming it as a strategy, both historically and today.

Aristotle's dream: Evolutionary and neural aspects of aesthetic communication in the arts.

Art in general perception is something that transcends our notion of reality. In view of the earliest findings in Paleolithic sites, their abstract appearance and sometimes ceremonial context increased their status of a secret language. Even the first figurative cave paintings remained in a context of an encoded semantic whole. The highly symbolic value of art seemed invulnerable. It was just the claim for "mimesis" in Greek antiquity (Plato) that urged artists to "realistically" depict what can be seen-as to stay in track of eternal messages behind. This devaluated the artistic oeuvre to a purely imitating craft and had to overcome at once several inherent obstacles. First, that reality (the phenomenal world) is in general only a pale reflection of what lays behind (Platonic ideas) and second, that the human eye, unlike the human mind, cannot penetrate to more than ephemeral impressions. Moreover, it mixed up reality with what we are able to see (i.e. visual perception), thus supposing a pinpoint representation of the world by our senses. Aristotle was the first to qualify art as picturing more than we usually are meant to see, filling the gap between the sensual and the spiritual world. Aristotelian aesthetics includes concepts of reduction and selection of composition and emotion, thus a summarized view within any performance of poetics or painting. And it took centuries to close the gap between natural and aesthetic perception or art. Life sciences in the 20th century discovered the evolutionary basis of sensory perception as being highly biased and organized, concept as emotion-driven and thus, mentally equipped as well. This sets a new approach in our understanding of perception, art, and aesthetics as an ongoing communication in process on common bases. Art may cooperate or disagree, but never can cut the nexus with its perceptual prejudices and substrate.

Apontamentos sobre realismo imersivo: imagem e som em Gravidade

Atraves da analise das estrategias estilisticas de composicao de imagem e som do longa-metragem Gravidade (2013), o artigo tem como objetivo analisar a nocao de imersao diegetica como uma modalidade de realismo na producao audiovisual contemporânea. Considerando ser a imersao diegetica uma caracteristica importante de estilo do cinema contemporâneo, discutiremos se a nocao de realismo pode ser atribuida a projetos audiovisuais que associam o conceito ao uso de tecnologias tridimensionais. Palavras-chave: Realismo. Imersao. 3D. Sound design . Alfonso Cuaron.

Truth as Literature: Ethics of Journalism and Reality in the Digital Society

Modern journalism emerged in the XIX century based on truth and reality. The rise of Romanticism in that century proposed an approach against the Enlightenment and its pillars: objectivity, positivism and realism. Unlike it, Romanticism claimed subjectivity and the self as the more authentic reality. Thus, it took beauty out of the base of aesthetics and put in its place communication and expression. With the arrival of Postmodernism, the notions of reality and truth have been in crisis too and so it proposes a moral and epistemological relativism. This view has been a permanent attack on journalism. This paper vindicates reality and truth, and so journalism as one of the main institutions based on those concepts, besides science. Therefore, journalism can be seen as the most necessary and genuine aesthetic in the current digital era because it takes and melts objectivity and realism from Illustration, communication and subjectivity from Romanticism, and impact from Postmodernism. In current network societies, journalism has rehabilitated a new narrative and is increasingly more based on stories than on news. That is creating a genuine literature of reality, which gathers both the ethic and the aesthetic project of the Enlightenment, Romanticism and Postmodernism.

The Question of Literary Realism


 
 The aim of this paper is to investigate the notion of literary realism both in contemporary debate and in aesthetic reflection of nineteenth Century. What I intend to show, in fact, is the possibility to exploit some conceptual tools developed during the last century in the context of German literary aesthetics in order to give an answer to a set of problems deeply bounded to the contemporary discussion. Therefore, I intend to present Theodor Wiesengrund Adorno’s notion of “literary realism” as a possible solution to some problematic refrains in the philosophical investigation of literature. To this aim, I’ll divide my argument in three steps: first of all, I’ll sketch out the basic lines of the historical debate about realism in novels; secondly, I’ll outline Adorno’s notion of realism; thirdly, I’ll try to show to what extent Adorno’s definition could provide an answer to recurring issues in current debates.
 

The Question of Literary Realism

The aim of this paper is to investigate the notion of literary realism both in contemporary debate and in aesthetic reflection of nineteenth Century. What I intend to show, in fact, is the possibility to exploit some conceptual tools developed during the last century in the context of German literary aesthetics in order to give an answer to a set of problems deeply bounded to the contemporary discussion. Therefore, I intend to present Theodor Wiesengrund Adorno’s notion of “literary realism” as a possible solution to some problematic refrains in the philosophical investigation of literature. To this aim, I’ll divide my argument in three steps: first of all, I’ll sketch out the basic lines of the historical debate about realism in novels; secondly, I’ll outline Adorno’s notion of realism; thirdly, I’ll try to show to what extent Adorno’s definition could provide an answer to recurring issues in current debates.

Conflicting realisms: animated documentaries in the post-truth era

ABSTRACT This article explores the relation between the rise of animation in digital culture to shifting notions of realism in animated documentaries. Realism is addressed as a representational choice as well as a political goal and is defined as the believable articulation of reality. By placing issues of credibility and the viewer’s role as arbiter of the work’s truth value in relation to contemporary notions of ‘truthiness’ (that are based on the viewer’s belief system rather than on fact) the article analyzes animated documentaries in the wider atmosphere of post-truth. I focus on two conflicting theorizations of realism: realism as the familiar and easily read vs. realism as de-familiarization. Whereas only a decade ago animated documentaries were deemed oxymoronic by many, as the sub-genre of animated documentaries proliferates it risks losing its critical potential and becoming an easy way to promote misinformation for viewers who cease to question the representation that becomes ‘invisible’ due to common use. That said, animated documentaries that creatively combine varied visual styles and intentionally disrupt viewing have the potential to de-familiarize by accentuating the representational choices made, which is crucial for engaging, critically evaluating information and creating counter narratives in a post-truth era.

경쟁적 현대성: 경제, 인식론 그리고 포스트모던 문화

This paper argues that postmodernism is not the end of something, as many theorists would have it, a cultural formation that follows something called modernism; rather, postmodernism is the early articulation of a new era of contested modernity. The paper seeks to advance this argument by analyzing the intertextual relation between Edward Hopper’s “The Nighthawks” (1942) and Ridley Scott’s “Blade Runner” (1982). Furthermore, this intertextual relationship is reflected epistemologically in a discussion of Lukacs’s notion of realism and Ricoeur’s notion of utopia. The era of multiple or contested modernity is a consequence of the rapid economic modernization of Japan, South Korea, Taiwan, Hong Kong, Singapore, China, and other countries in the region. It signals a new era, in which being advanced or modern is not the monopoly of the West. The paper outlines a three-level model of cultural analysis, where an economic development (contested modernity) is reflected in epistemology (realism and utopia), which informs the cultural domain (postmodern culture). The relationships between the three levels are fluid, dynamic, and multidirectional.

Problematización de las apariencias y discursividad de la verdad en las novelas "La huella del crimen" (1877) Y "Clemencia" (1877), de Raúl Waleis

Raúl Waleis (anagrama de Luis V. Varela) escribió las dos primeras novelas policiales en español: La Huella del Crimen (1877) y Clemencia (1877). Ambos textos están recorridos por la idea de realidad como conjunto de entes aparenciales. En este trabajo demostramos la pertinencia de dicha afirmación, partiendo de la hipótesis de que existe una relación entre el género policial y lo que entendemos por «problema de las apariencias». A lo largo de la exposición hacemos referencias a tres elementos extratextuales, de tipo contextual: el positivismo, la generación del 80 y Buenos Aires; el resto de los datos proviene, prioritariamente, de elementos textuales de índole narratológica, sobre los cuales esbozamos algunas interpretaciones posibles.