My artwork represents the playful and imaginative phase of life I went through as a young child. My cluttered bedroom floor doubled as a castle courtyard for a princess and her ladies-in-waiting. The unused space in my parent’s garage operated as a gourmet restaurant open to serve the finest cuisine. The fancy skirts, jewelry, and shoes that filled my mother’s closet were the tools for creating my ultimate fantasyland, in which I was already a successful grown up. My work is meant to convey the make-believe mindset from my childhood. To this day, I am inspired by the fluttering excitement that ignites and builds up in my stomach and ends in tickling my brain. The adventure begins when I think of constructing pieces of a magical world - a place where your mind molds a simple item into a sacred, irreplaceable thing of beauty and importance. I hope the viewer is inspired to slip away to a playful spot in their imagination that enchantingly transforms everyday objects into something rare.

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Le but de cette thèse est de clarifier le concept de « fiction » tel qu’il apparaît dans ses usages ordinaires et techniques, en en explicitant les présupposés et les effets. Dans un premier temps sont étudiées les théories de la fiction formulées par les philosophes analytiques, de Frege à Walton ; ces analyses aboutissent à une définition mentaliste en termes de conditions nécessaires et suffisantes, comme attitude prescrite de croyance feinte (make-believe), caractérisation dont on mesure les mérites et les limites. Contre une approche essentialiste, nous proposons, dans un deuxième temps, une analyse contextualiste du jugement de fictionalité, de ses motifs et motivations. Pour ce faire, un appareillage semi-formel est introduit, qui articule les sept règles du jugement, ainsi que les métarègles requises et les standards à partir desquels nos attributions de fictionalité sont variables, dépendantes d’enjeux externes ontologiques, épistémiques et éthiques. Afin d’éviter le risque de relativisme excessif, nous nous focalisons enfin sur les actes d’invention qui interviennent autant dans la genèse que dans la réception des œuvres dites de fiction, et en particulier, des œuvres romanesques. Une approche pragmatiste, entée sur une grille conceptuelle tripartite (Information, Interprétation, Invention), et couplée à une étude de quelques théories littéraires de la fiction, permet alors d’esquisser des réponses cohérentes aux principales questions concernant ces expressions issues de l’imagination et de la créativité humaine. / The goal of this thesis is to clarify the concept of “fiction” as it appears in its ordinary and technical uses, by making explicit its presuppositions and effects. First, we study several theories of fiction given by analytical philosophers, from Frege to Walton; these analyses lead to a mentalist definition in terms of necessary and sufficient conditions, as a prescribed attitude of make-believe, a characterization for which we appreciate the merits and limits. Then, against an essentialist approach, we offer a contextualist analysis of the judgment of fictionality, its patterns and motivations. So we introduce a semi-formal apparatus which articulates the seven rules of judgment, their meta-rules and standards that make variable our attributions of fictionality, depending on external ontological, epistemical and ethical issues. Finally, in order to avoid the risk of excessive relativism, we focus on the acts of invention which are at play in the genesis and reception of so-called works of fiction, especially, novels. A pragmatist approach, together with a ternary conceptual framework (Information, Interpretation, Invention) and a study of some literary theories of fiction, allow us to sketch coherent answers to central questions about these expressions coming from our imagination and human creativity.

Orientador: Márcia Maria Strazzacappa Hernandez / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-26T07:22:05Z (GMT). No. of bitstreams: 1 Silva_ReynaldoOteroda_M.pdf: 7391562 bytes, checksum: 19c2606460903c75b28a6a6104145605 (MD5) Previous issue date: 2014 / Resumo: O objetivo geral desta dissertação é o de analisar a proposta do trabalho original da Kinderstadt - A cidade das crianças -, por sua relevância como instrumento transformador da realidade em seus múltiplos aspectos. A Cidade das Crianças, realizada bianualmente desde 1990 na cidade de Bolzano, Itália, se caracteriza como um espaço de educação não-formal e terão destaque no trabalho atividades realizadas no setor Tanzshule - Escola de dança. Dentre os objetivos específicos, busca-se compreender (i) a relação entre a simulação do real, pela brincadeira, e os processos de aprendizagem; (ii) como se desenvolvem valores culturais, psicológicos, políticos e éticos, que começam a ser formados na infância e que orientam a vida dos cidadãos na fase adulta e (iii) contribuir para a reflexão crítica acerca de metodologias que possam tornar a escola um espaço que aproxima o ensino à vida real, por meio de atividades que sejam significativas para as crianças / Abstract: This study aims to analyze the conception of the original work of Kinderstadt ¿ Children¿s City ¿ due to its relevance as an instrument capable to transform the reality in its multiple aspects. The Children¿s City, biannually held since 1990 in the city of Bolzano, Italy, is characterized as a non-formal education environment and also highlights the work and activities in Tanzshule sector - Dance School. Among the main goals, aims to understand (i) the relation between the simulation of the reality and learning by games; (ii) how cultural, psychological, political and ethical values, which begin to be formed in childhood and that guide the lives of citizens in adulthood, develops and (iii) to contribute to the critical analysis of methodologies that can make the school an environment that brings education to real life, through activities that are meaningful to children / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Don’t eat the yellow snow—Urine in art: events of interpretationUrine seams to evoke feelings. Through four different lenses, this bachelor’s thesisexamines urine in four different works of art. The works of art are Three Grazes bySally Mann, Manneken Pis by Hieronymus Duquesnoy the younger, Fideicommissumby Ann-Sofie Sidén and Bad Bad Boy by Tommi Toija, all of which in some waycontains urine as part of their motif. The four perspectives are The body as abject, Thebody as observed, The body as communication and The body as phenomenon. Thethesis reaches the conclusion that urine must be regarded as part of a syntagm and thissyntagm is interpreted in the light of a culturally conditioned resonance, part of amake-believe culture that can and, as it were, also interpret water as urine. To interpretwater as urine depends on where the water is pouring from in an overall body syntagm.Furthermore, depending on what gender the body is interpreted as (male or female) theurine will carry different value connotations. Interpreting art is thus reverberating aMake-Believe regime as a recursive process. A Make-believe regime in itself containsa phenomenological intention.

This study investigates how the members of four different role-playing communities on the online platform Second Life perform social as well as dramatic roles within their community. The trajectories of power influencing these roles are my main focus. Theoretically I am relying primarily on performance studies scholar Richard Schechner, sociologist Erving Goffman, and post-structuralists Michel Foucault, Gilles Deleuze and Felìx Guattari. My methodological stance has its origin primarily within literature studies using text analysis as my preferred method, but I also draw on the (cyber)ethnographical works of primarily T.L. Taylor, Celia Pearce, and Mikael Jakobsson. In this dissertation my focus is the relationship of the role-player to their chosen role especially in terms of the boundary between being in character, and as such removed from ”reality,” and the popping out of character, which instead highlights the negotiations of the social, sometimes make-belief, roles. Destabilising and problematising the dichotomy between the notion of the online as virtual and the offline as real, as well as the idea that everything is ”real” regardless of context, my aim is to understand role-play in a digital realm in a new way, in which two modes of performance, dramatic and social, take place in a digital context online — or inworld as many SL residents call it.

Depuis le XIXe siècle en France, l’opposition entre agrément et utilitaire détermine nos représentations du jardin. Ainsi, le potager s’inscrirait avant tout dans une logique de production, à l’opposé du plaisir créatif et distingué propre au jardin d’agrément. L’observation de nombreux jardins vivriers et des manières de faire de leurs jardiniers, montre que ces jardins sont chargés d’intentions et de symboles dépassant la seule préoccupation de produire de la nourriture. C’est le cas des jardins éloignés du domicile, tels les jardins collectifs, familiaux ou partagés, mais aussi d’autres jardins, vivriers en Papouasie et en Amazonie, transitoires à New York. L’intimité du jardin, la mémoire du lieu, le « contact » avec la terre, l’autoproduction de nourriture, la dimension collective et l’exposition au regard des autres sont sources d’un fort investissement symbolique, suscitant des formes particulières d’appropriation, de sociabilité et d’expression ; unefaçon de concrétiser sa présence au monde, sa relation au temps, à « l’environnement », aux autres et à soi-même. Sans doute le mythe paradisiaque se construit-il sur ces aspects, dont se saisissent aussi les philosophes et les poètes. Cette recherche a également pour objet de souligner le hiatus entre la conception des jardins proposés par les collectivités publiques et les pratiques quotidiennes des jardiniers / Since the 19th century, the image we have of gardens has depended on the purpose of whether it is for pleasure or utility. Thus gardening would be aimed, above all at producing, in opposition to growing his own garden for fancy. The study of numerous food gardens and their gardeners ’way of doing shows that these places are full of will and symbols far beyond the mere preoccupation of growing food. This is the case of those gardens away from home such as collective, family orcommunal gardens, but also others such as food gardens in Papua New Guinea and Amazonia, or transitory gardens in New York. The intimacy of a garden, the memory of the place, the “relationship” with the soil, the growing of one’s own food, the collective dimension and the exposure to people’s eyes are incentives for a strong and symbolic commitment. This generates approbation, sociability and expression; a way of making his presence real to the world, his relationship with time, the environment, the others and with himself. The heavenly myth may be built on these aspects which are seized by philosophers and poets as well. This study aims also at highlighting the hiatus between the conception of the gardens proposed by the councils and the gardeners’ daily practices.

Les fictions posent problème en philosophie, que l'on soit porté sur les considérations ontologiques, épistémologiques, logiques ou esthétiques. Dans un livre important nommé Mimesis as Make-Believe (1990), Kendall Walton proposa une théorie de la représentation qui révolutionna notre compréhension des fictions. En résumé, elle met en avant la notion de fictionalité, ou vérité dans la fiction, qu'elle définit en termes de prescription imaginative. La présente étude porte sur la philosophie de Walton, sur la théorie de Mimesis, sur les critiques qu'elles ont reçues. La première partie est une présentation de la méthodologie philosophique de Walton et d'un de ses articles les plus influents, "Categories of Art" (1970). La seconde partie est un commentaire détaillé de Mimesis, construit sur une opposition entre la théorie de la représentation de Nelson Goodman (1968) et celle de notre philosophe. La troisième partie concerne les critiques reçues par la théorie. Une partie d'entre elles proviennent de philosophes qui admettent les principes fondamentaux de sa théorie : ce sont les critiques intentionnalistes de Gregory Currie (1990), Peter Lamarque et Stein Olsen (1994), ou encore Jerrold Levinson (1993). Je défends que ces critiques sont inopérantes. Une autre partie d'entre elles proviennent de philosophes qui cherchent à miner ces principes fondamentaux : ce sont les critiques de Stacie Friend (2008), Derek Matravers (2014), voire de Walton (2015) lui-même. Je défends que, bien comprises, ces critiques ne sont pas décisives, mais qu'elles sont importantes. Elles devraient nous orienter vers une meilleure compréhension des aspects sémiotiques de la fictionalité. / The ordinary concept of fiction raises ontological, epistemological, logical and aesthetical questions. Kendall Walton's Mimesis as Make-Believe (1990) introduced a groundbreaking theory on fiction and representation. According to his main claim, the practice of appreciating representational works of art shares significant similarities with the practice of playing games of make-believe. According to Walton, both activities rely on the concept of fictionality, the fact of being true in the fiction, which is understood in terms of prescriptions to imagine. My dissertation consists of an introduction to Walton's philosophy, a commentary of Mimesis' theory of make-believe and a defense against their critics. The first part provides a presentation of Walton's philosophical methodology and discusses one of his most famous articles, "Categories of Art" (1970). The second part provides a detailled commentary of Mimesis, based on a confrontation between Nelson Goodman's theory of representation and Walton's one. The third part is dedicated to analyse the criticisms that are encountered by the theory. A first set of criticisms comes from philosophers admitting the fundamental principles of the theory : those are Gregory Currie (1990), Peter Lamarque and Stein Olsen (1994), or Jerrold Levinson (1993). I argue that those objections are groundless. Another set of criticisms comes from philosophers attempting to undermine the fundamental principles of the theory : those are Stacie Friend (2008), Derek Matravers (2014), or even Walton himself (2015). According to me, those objections are on the right tracks if correctly understood, but fall short from being decisive. Nevertheless, I argue they should lead us to develop a research on the semiotic aspects of fictionality.

This thesis will illustrate how pretend play can be used in the home for educational purposes. The major emphasis of the work will be emergent literacy, however, application principles can be applied in all subject areas. Parents who desire to expand their child's literacy skills while exposing the child to an arts enriched home environment need ideas and tools developed with supportive research to strengthen and focus their efforts. These tools will greatly expand parental resources by offering several principles as a guide for adapting existing classroom materials for home use. The following Seven Components form the core foundation for adapting pretend play materials to aid the home learning environment curricula: (1) Child as Active Participant (Vygotsky; Piaget). (2) Parent as Role Model for Dramatic Play and Literacy, serves as Facilitator, and Co-player (Haight and Miller; Vygotsky). (3) Physical environment could be anywhere: car, office, or bedroom. (4) Resource material: should be able to use common found objects in home, with limited preparations or expense. (5) Play Content needed to provide elements of literacy: cognitive learning, symbol representation, oral language, self-expression, listening and comprehension (Goodman). (6) Promote creative and fun learning experience with a relaxed, informal atmosphere. (7) Play should be process and discovery oriented, and not for performance (Brown and Pleydell; Tuge). This thesis will also examine the preliminary results of a study for parents and children who applied a curriculum developed with the core components and explored the participants' interest level in such activities. Recommendations for further research will also be made.

This study is comprised of two parts: an unauthorised biography of the South African musician David Kramer, as well as a reflective look at the process of writing this biography. In this regard the following aspects were looked at closely: finding an appropriate style, biography versus propaganda, conjecturing, the bilingual nature of the text, problems of research, ethics, influences, make-believe, approach to the subject, intertextuality, and fictionalisation. The central question of the biography is to highlight the success of a fellow Worcester (the author’s hometown) boy. The central research questions of the thesis are the fictionalisation of the nonfiction text, intertextuality, and the question of a text written in both English and Afrikaans. With regard to the aforementioned fictionalisation, a biographical text is classified as “nonfiction”, because it deals with a real person and real events. However, a text such as David Kramer – an unauthorised biography presents an alternative perspective, in that the narrative often moves into fiction, or “creative nonfiction”. Written texts are traditionally divided into two fields: fiction or nonfiction. Nonfiction is deemed to be fact, truth, whereas fiction is the fruit of an author’s imagination. But perhaps the notion of truth versus untruth is too limited, and one should include the words “objectivity” and “subjectivity”. Some texts incorporate both elements, be they newspaper editorials which are mostly opinion, advertisements which are highly subjective, or biographies such as Taraborrelli’s Madonna – An Intimate Biography, which often reads as a novel. This doctoral thesis looks at David Kramer – an unauthorised biography, which is at times “faction”, to illuminate the sections where the text fell somewhere between fiction or nonfiction. In attempting this exercise, intertextuality was useful in two ways. Firstly, to ground the text in a reality the reader could believe, as it brought “real” things to the text, such as song lyrics, photographs, et cetera, all things which brought some credibility to the truth of the text, and secondly to place the events being described in a certain timeframe. The use of English and Afrikaans in the biography was to reflect that Kramer uses both languages in his songs, and furthermore, to give an idea of the South Africa at the time of Kramer’s early success: the divides of English/Afrikaans, white/black, liberal/conservative. / Thesis (PhD)--University of Pretoria, 2011. / Unit for Creative Writing / Unrestricted