Bibliography: leaves 58-62. / To meet the requirements for the Master of Fine Art degree at the University of Cape Town my intention was to develop a series of sculptural assemblages which address a sense of subjective or poetic reality, using symbolically resonant found and fabricated objects. The body of work is to be understood as a sculptural parallel to (but not illustrative of) Magical Realist literature, in which arcane phenomena are incorporated into a narrative in order to achieve just such a sense of subjective reality.

The focus of this thesis is a certain family of ontological positions. These positions say that there is some class of objects and properties, to which both physical objects and properties reduce and which are the kinds of things we confront in perceptual experience. Though largely absent from contemporary discussions of ontology, there are various reasons to think they deserve consideration. Species of this family, and similar views, have a prominent role in early analytic philosophy. Though endorsement of these views has been systematically de-emphasized in historical work on the period, Ernst Mach, William James, and Bertrand Russell are among philosophers who endorse such views in their work. Their views were motivated by a number of different considerations. Here, I set to the side the issue of what has motivated these views in the past. I bring them up only for the purpose of giving attribution. I make no claim to ontological novelty nor will I be giving them an all-out defense. Accordingly, many considerations relevant to choice of ontology are bracketed. Instead of an all-out defense, what I offer here is an explanation of how adopting such a view allows us to solve two related problems. This amounts to two related reasons for taking a view like this seriously. One is for those who think that intuitions of a certain sort are a guide to what we should believe is ontologically the case. The other is for those who find merit in a disjunctive theory of perception. / Master of Arts

Indiana University-Purdue University Indianapolis (IUPUI) / Scientific realism and antirealism are two main views in the philosophy of science regarding the status of unobservable entities in science and whether we have good epistemic reasons to believe that our current successful scientific theories are (approximately) true. Briefly, the former claims that our scientific theories are (approximately) true and unobservable entities these scientific theories postulate exist. On the other hand, the latter claims that we do not have good epistemic reasons to believe that our scientific theories are (approximately) true and that unobservable entities our scientific theories postulate exist. The scientific realism has two primary tenets, one axiological (i.e., science should seek truth) and the other epistemological (namely, our current successful theories are (approximately) true). In this thesis, the issue has been examined from standpoint of the account of Peirce’s philosophy of science, more accurately based on his understanding of reality, truth and basic idealism. In the first chapter, I outline the main points of the debate from the perspectives of both sides. In the second chapter, I give reasons why the scientific realists’ argument is not convincing. In the third chapter, I attempt to draw an accurate picture of the account of Peirce’s views on the nature of scientific theories. In the last chapter, I make a case for scientific realism from the Peircean account of philosophy of science. I have claimed why the current debate cannot be settled without accepting a kind of Peirce's basic idealism and his understanding of reality. I think both scientific realists and antirealists accept a kind of naïve realism. This is the main reason why it is not possible to settle the debate from their standpoints. In order to overcome this issue, I attempt to develop a more sophisticated realism based on Peirce’s understanding of reality, truth and basic idealism.

Through the diffractive examination of modern neuroscience, posthuman philosophy, and composition studies, this transdisciplinary research focuses on intrinsic motivation via homeostatic integration of self to initiate organic exploration of the powers involved in the creation of self and agency, and the ongoing making of meaning. Through this homeostatic integration, composition students connect their own goals and desires within the composition environment, and through a creative production model sustain curiosity in self-examination, achieving the following: increased motivation and positive affect, further integration of self in the classroom, improved cognition and long-term memory, and evaluation of human and nonhuman factors involved in ongoing self-formation. This further develops modern composition studies’ emphasis on equality, diversity, and social justice in the classroom, providing a framework through which students of all backgrounds and discourses can find emotional value in meaning-making that transfers to other classrooms, and to the world at large.

After the end of the Vietnam War, the Hus family struggles with the mysterious disappearance of their eldest son, Charlie. This collection of interrelated stories chronicles the life of Margie, the mother, Harold, the father, and Charlie as they each try to cope with different forms of separation and isolation. The collection is preceded by an introduction discussing realism as a means and an end in the crafting of believable characters in short fiction.

The American Dream and Other Fiction is a collection of four magical realism short stories focusing on the idea of revealing the human condition through the ridiculous. Although the four stories are written independently of each other, they all carry the similar motif of entrapment. This collection also remarks on the growing absurdity of American capitalism and political correctness. The critical introduction analyzes techniques of verisimilitude in magical realism by traditional authors as well as the techniques of more contemporary magical realists. The collection focuses specifically on the techniques of frontloading and authoritative voice.

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<p>This was a creative endeavor undertaken to understand what it is to “create” literature. Stories vary in both theme and style. Each one attempts to engage the reader’s understanding of their own world.  </p>