Versions of naturalized epistemology that overlook or reject apriority ignore innate belief-forming processes that provide much of the grounding for epistemic warrant. A rigorous analysis reveals that non-experiential ways of viewing apriority, such as innateness, establish the domain for a plausible naturalistic theory of a priori warrant. A moderate version of naturalistic epistemology that embraces the non-experiential feature of apriority and motivates future cognitive scientific research is the preferred account.

Efter Shirley Jacksons död år 1965 verkade allmänhetens uppmärksamhet gentemot hennes litterära produktion avta. Idag kan vi däremot observera ett kraftigt ökat intresse för hennes författarskap och de tematiker som behandlas, det vill säga kvinnans isolering, de sociala normernas inflytande på den mänskliga erfarenheten och ödets obarmhärtighet. Denna uppsats fokuserar på den postumt utgivna novellen med titeln ”The Honeymoon of Mrs Smith (Version II): The Mystery of the Murdered Bride”. Syftet med denna uppsats är att belysa hur narratologiska strukturer återspeglar mönster och regelbundenheter som kan tolkas utifrån ett genusperspektiv. Här finns först ett intresse för att analysera den valda novellen utifrån Monika Fluderniks (1996, 2009) definition av berättelse och hennes teori om experientiality, vilket resulterar i en analys av novellens narratologiska struktur. Uppsatsens andra mål är att åskådliggöra hur berättelsens narratologiska struktur påvisar tecken av interna, fiktiva samhällsstrukturer som kan analyseras utifrån Yvonne Hirdmans (1988, 2001) genusteori. Denna kombinerade analys har slutligen som mål att belysa hur den mänskliga erfarenheten och dess agerande inom berättelsen påverkas av mönstereffekter och regelbundenheter som styr relationen mellan könen. Slutsatsen som dras här är att Fluderniks (1996, 2009) teori agerat som effektiv ingång till hur de olika elementen som formar den analyserade berättelsen samverkar för att ge upphov till de samhälleliga mönster och regelbundenheter som Hirdman (1988, 2001) beskriver och kritiserar. Kombinationen av narratologisk analys och genusteoretisk analys visade sig i slutändan vara effektiv för att belysa hur de samhälleliga dynamiker som styr relationen mellan könen inom berättelsen påverkar hur människorna inom den agerar.

Poetics of space in The Alexandria Quartet is created by multilevel structures. This poetics is closely connected to the main space of the story - Alexandria, which is at the same time one of the novel's topics. Each level is suggested in connection to various theoretical conceptions which are subsequently used for my own analysis. Alexandria is initially an aesthetic coulisse of the story which is portrayed by descriptive passages. Strongly subjective and lyrical descriptions of the city establish overall impression of the story and potentially support reader's experiential illusion. Alexandria and its specificity is further modulated and thematised by its special macroscopic conditions which border Alexandria as an autonomous fictional space with its own rules within the novel's fictional world. Part of poetics of the space in this novel is also portraying spatio-temporal aspect of the reality (chronotope) no only on the level of the story, but also on the level of storytelling. Alexandria is further explicit rhetoric and also through semantic indexation personified and enters semantic relations with the main characters and events. Each level is complementary to another and all are part of the semantic gesture of the novel. Alexandria becomes a separate symbol, mythical entity which importance is...

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2019-03-07T16:23:45Z No. of bitstreams: 1 Ery Clovis Petry Jardim Junior_.pdf: 2380676 bytes, checksum: 3228458de9103b7053a9136b5d67eb55 (MD5) / Made available in DSpace on 2019-03-07T16:23:45Z (GMT). No. of bitstreams: 1 Ery Clovis Petry Jardim Junior_.pdf: 2380676 bytes, checksum: 3228458de9103b7053a9136b5d67eb55 (MD5) Previous issue date: 2018-02-28 / Nenhuma / Em diferentes subculturas de projeto, arquitetos, engenheiros e designers transitam entre dois caminhos para decidir quais serão os próximos passos a serem dados no design e projeto de produtos: o caminho do raciocínio e o caminho da intuição. Estes dois caminhos são fundamentados na teoria de Epstein (1999, 2003), denominada de teoria do processamento duplo de informações (CEST - Cognitive-Experiential Self-Theory of Personality). O caminho do raciocínio ou da racionalidade é o caminho das decisões baseadas na lógica das metodologias, métodos, ferramentas e processos que o designer utiliza para avançar na projetação na medida em que as informações sobre os problemas de design vão se estruturando. O caminho da intuição ou da experiencialidade é o das decisões baseadas nas experiências ou nas vivências pessoais que o designer acumulou em processos heurísticos, nos quais as metodologias, métodos, ferramentas e processos utilizados para dar um certo próximo passo na projetação não são claras o suficiente, pois não se dispõe de todas as informações sobre o problema de design e necessita-se ‘preencher as lacunas’ para avançar na projetação. Estes dois caminhos trilhados pelos arquitetos, engenheiros e designers no design e projeto de produtos serão analisados nesta dissertação, tendo como base os estudos sobre racionalidade limitada (Simon, 1969, 1996) e intuição limitada (Kahneman 2003), contando com o Inventário Racional- Experiencial (Rational-Experiential - REI, Pacini e Epstein, 1999, 2003) como instrumento de pesquisa. O estudo foi realizado na modalidade online com 156 participantes, revelando que na análise sobre formação os Engenheiros tendem a pensar de forma mais racional e tem mais confiança ao agirem assim, e, arquitetos e designers tendem a pensar de forma mais experiencial com mais capacidade de pensar com sentimentos e intuições. Na análise sobre tempo de experiência em design e projeto de produtos os designers tendem a pensar de forma mais racional e tem mais capacidade e confiança para agirem assim. Na análise sobre nível de formação os designers tendem a pensar tanto de forma racional, como experiencial e tem mais confiança e capacidade para agirem assim. / In different project subcultures, architects, engineers, and designers move between two paths to decide what are the next steps to be taken in product design and design: the path of reasoning and the path of intuition. These two paths are grounded in Epstein's theory (1999, 2003), called the CEST (Cognitive-Experiential Self-Theory of Personality). The path of reasoning or rationality is the path of decisions based on the logic of the methodologies, methods, tools and processes that the designer uses to advance the design as the information about design problems is structured. The path of intuition or experientiality is that of the decisions based on the experiences or personal experiences that the designer accumulated in heuristic processes, in which the methodologies, methods, tools and processes used to take a certain next step in the design are not clear enough, because all the information about the design problem is not available and it is necessary to 'fill in the gaps' to advance the design. These two paths, traced by architects, engineers and designers for the design and design of products, will be analyzed in this dissertation, based on studies of limited rationality (Simon, 1969, 1996) and limited intuition (Kahneman 2003) Rational- Experiential (Rational-Experiential - REI, Pacini and Epstein, 1999, 2003) as a research tool. The study was conducted online with 156 participants, revealing that in training analysis engineers tend to think more rationally and have more confidence in doing so, and, architects and designers tend to think in a more experiential way with more ability to think with feelings and intuition. In the analysis of experience time in product design and design the designers tend to think more rationally and have more ability and confidence to do so. In the analysis of the level of training, designers tend to think in a rational, experiential way and have more confidence and ability to act in this way.

Vår utforskning av fiktionens världar kan fördjupa vår förståelse för oss själva, varandra och vår omvärld. Syftet för denna litteraturstudie är att nå en förståelse för hur narrativa datorspel kan ge upphov till dessa identitetsutvecklande insikter och hur litteraturundervisningen kan stödja elevernas vägar till att nå fram till dem. För att illustrera textgenrens lärandepotential används det narrativa datorspelet The Last of Us (2013) som ett studieobjekt. Med basis i kognitiv litteraturteori kring termerna immersion och narrativ experientialitet kan man utifrån denna litteraturstudie uttyda att de narrativa datorspelens upphov till identitetsutvecklande insikter bygger på ett slags fiktivt experientiellt lärande. Det inledande steget i detta lärande är spelarens inlevelse i spelets berättelse, den så kallade narrativa immersionen. Då datorspelsnarrativet etablerar ett känslomässigt engagemang gentemot spelarkaraktären möjliggörs ett delat erfarande inom fiktionsvärlden. Detta interaktiva och förkroppsligade tillstånd stimulerar spelaren att projicera sina egna kunskaper och erfarenheter för att förstå sina intryck av sin inlevelse i fiktionsvärlden. I en kognitiv simulation tillåts spelare reflektera hur de skulle reagera om de vore i samma situation. De kulturellt medierade erfarenheter spelare således tar till sig har potentialen att expandera deras befintliga förståelsebakgrund. De litteraturdidaktiska överväganden som nödvändiggörs för att stödja detta lärande bygger på att främja elevernas inträde i fiktionsvärlden och uppmuntra dem att knyta an sina individuella bakgrunder till sitt fiktiva erfarande. / Our explorations of the possible worlds of fiction help increase our understanding of each other, the world around us, and ourselves. The purpose of this study is to examine how narrative computer games may provide identity-defining insights and which literary teaching methods are beneficial to facilitate students’ access to them. To illustrate the learning potential of the genre this study examines the narrative computer game The Last of Us (2013). On the basis of cognitive literary theories relating to the concepts of immersion and narrative experientiality this study finds that the identity developmental potential of narrative computer games relies on a sense of fictional experiential learning. The inaugurating move in this learning is the player’s immersion in the story of the game, the so-called narrative immersion. As the players therein become emotionally involved in the player-characters’ lives they are exposed to a sense of shared experience with said characters. As this shared embodied experience within the storyworld is accompanied by the medium-specific interactive nature of computer games, players are also stimulated to project their own prior knowledge and experiences as they form assessments based on their subjective impressions of the storyworld. In a cognitive simulation, this interaction between the players’ prior experiential background and the experiences of the protagonists provides an avenue for players to reflect on how they would react if they were faced with a similar situation. The culturally mediated experiences the players thus gather may influence, redefine and expand the players’ current world of knowledge. In order to pave the students’ way to acquire these identity-defining insights, this study finds that pedagogical practices that favour a climate where students are encouraged to immerse themselves in the storyworld and attribute their prior experiential backgrounds to their fictive experiences therein are key factors that help unlock the full learning potential of narrative computer games.

THIS THESIS IS IN THE EXAMINATION PROCESS Christian Frederik Louis Leipoldt was born in on 28 December 1880 in the Rhenish House in Worcester, Cape Province, the fourth child of the Reverend Christian Friedrich Leipoldt and Anna Meta Christina Leipoldt (born Esselen). His father left the mission field to take up the position of the dominee in the Dutch Reformed Church in Clanwilliam where the Leipoldt family went to live, from 1884. Leipoldt received his education from his father at home, on a broad range of subjects, including several languages and also in the natural sciences. He became interested in writing from a very young age and sent pieces of his writing for publication when still a boy. When he was fifteen he began sending dried plant specimens to Professor McOwan in Cape Town, from Clanwilliam. It was through his interest in botany that Leipoldt met Dr Harry Bolus, a life-long friend. Leipoldt wrote the Civil Service examinations in 1897 after which he went to Cape Town to work as a journalist. Living in Cape Town he served on the staff of the pro-Boer newspaper, The South African News from 1898 until it was closed down by the British authorities in 1902, when he travelled to Britain to look for work as a journalist in London. Soon after arriving there he took up the offer from Bolus who would lend him money to study medicine at Guy’s Hospital. It was more or less at this time that some of his early literature on the South African War was written, for instance, his well-known poem, Oom Gert Vertel (published in 1911). After successfully obtaining his MRCS medical qualification in 1907, winning gold medals for medicine and surgery in the process, he briefly served as Acting House Surgeon at Guy’s until 1908 when he travelled to Europe to work in a number of hospitals to receive further training. Later the same year he took up a post as medical adviser to J D Pulitzer, the American newspaper owner. Thereafter he worked as a doctor in London except for the time he proceeded on a four month visit to the East in 1912, the experience of which he penned in a manuscript entitled ‘Visit to the East Indies.’In 1914 he returned to South Africa to take up a post as Medical Inspector of Schools with the Transvaal Education Department. During the First World War in South Africa, he was drafted into the army as the personal medical doctor to the Prime Minister at the time, Genl Louis Botha. He resigned from his post as Medical Inspector in 1923 to take up an offer from Dr F V Engelenburg to serve on the editorial staff of the pro-Smuts newspaper De Volkstem,. He worked there until 1925 when he and the newly appointed editor Gustav Preller did not see eye to eye and it was then that he decided to return to Cape Town. His second Cape Town period (1925 – 1947) was characterized by the most prolific writing, during which he published a great many works across a broad range of topics. Furthermore, though he never married, he adopted Jeffrey Leipoldt, and took in a number of boys as boarders in his home ‘Arbury’ in Kenilworth, Cape Town. At the same time as he wrote most prolifically for a wide range of publications including many novels, he taught pediatrics at the University of Cape Town Medical School and practised as a pediatrician in the city. C Louis Leipoldt was a versatile person who published across a wide range of fields, to include literature, medical studies, letters to friends and associates, the history of wine and cookery, and what few seem to be aware of, his three English historical novels that make up The Valley, written in English between 1928 and 1932. Whilst Leipoldt’s early work such as Oom Gert Vertel gave voice to the suffering of the Afrikaner people, in The Valley, his voice is one of protest against the isolationist policies of the National Party of the 1920s.</p/> Whilst Leipoldt will be known for his work as the inaugural medical inspector of schools of the Transvaal Education Department, the inaugural lecturer in pediatrics at the University of Cape Town and Cape Town’s first practising pediatrician, he will also be known for his wide oeuvre as a writer. For example, he served as the Medical Association of South Africa’s first editor of its South African Medical Journal, a post he held for 18 years. Leipoldt never married and died on 13 April 1947 in Cape Town. His ashes were scattered in the Pakhuis Pass near Clanwilliam, where there is a memorial to his life. / Thesis (DPhil)--University of Pretoria, 2012. / Historical and Heritage Studies / unrestricted

The South African author C Louis Leipoldt is known as an Afrikaans poet and as one of the ‘Driemanskap’ with Celliers and Totius. Together with Eugene Marais, they wrote the first serious Afrikaans literary poetry in the early decades of the Twentieth Century. The ‘Driemanskap’, grouped together for its clear national(ist) thrust, is well-known as part of the Tweede Afrikaanse Taalbeweging not only for celebrating the universal effects of nature but also for extolling the virtues of forgiveness after the South African War. Apart from his extensive canon of Afrikaans literature and a sizable discourse in the culinary field, not much is known about The Valley, Leipoldt’s so-called ‘English’ novels written in the late 1920s and early 1930s in English, a language he was equally at home in. The titles of these novels making up The Valley trilogy are Gallows Gecko, Stormwrack and The Mask. Despite several efforts to have the novels published with leading publishing houses in both Britain and the United States of America, both during and after his lifetime, the three ‘English’ novels of C Louis Leipoldt remained unpublished for 69 years. It was in 2001 that for the first time they appeared unedited in a compendium volume. Prior to 2001, two of the novels were published −in 1980, the year of the centenary of Leipoldt’s birth, an abridged edition of Stormwrack appeared, edited by Stephen Gray and published by David Philip, Cape Town. It was re-published by Human&Rousseau in 2000. An abridged edition of Gallows Gecko appeared in 2001, under the title Chameleon on the Gallows which the editor Stephen Gray explains he changed for stylistic reasons. Leipoldt uses the form of historical fiction in his trilogy as a way of conveying historical meaning by relating the chronicle (1820 – 1930) of the place he calls the Valley, recognizable as Clanwilliam. Initially, the Valley is at peace and is sketched in its idyllic state. After the Jameson Raid of 1895, the prospects of the South African War become a reality for the inhabitants of the Cederberg as they are torn apart by their emotions, feelings and loyalties. The course of events drastically changes when war finally comes to the District. Discontinuity and change is a strong theme in the novels. Eventually the inhabitants ofthe Valley find that the former, respectful relations, based on tradition and tolerance, have given way to sectarian interests. This changes the social fibre of the once idyllic environment. The Valley is a lamentation of lost opportunities for a culturally unified South Africa. Its voice is one of moderateness and is inclusive for all South Africans, addressing race relations as a theme as well as decrying sectionalism. In the light of this, it is argued that Leipoldt is revealed as a political liberal and cultural pluralist. This can be heard through the voices of the characters in The Valley and seen by the way Leipoldt meant the events in his fiction to serve as an allegory for the way he saw South Africa emerging at the time. He was writing against the Nationalists, particularly against the narrative of Gustav S Preller, who spent his working life constructing a volksgeskiedenis that resulted in a significant public history that dominated Afrikaner historical thinking from circa 1905 to 1938. In this sense, it is argued, The Valley is an alternative history to the dominating Preller historiography, and because it is in the form of narrative/historical fiction, it can also be seen as an alternative form of history, to be read against certain theoretical texts, without in any way detracting from the voices of criticism against deconstructivist history. / Thesis (DPhil)--University of Pretoria, 2012. / Historical and Heritage Studies / unrestricted

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