Os sistemas Q1 e Q2, desenvolvidos por Andréa Lopari?, perfazem três principais modificações na semântica clássica: primeiramente, o universo do discurso pode não estar limitado aos objetos que pertencem ao domínio de uma dada estrutura; em segundo lugar, a relação de identidade é determinada como a diagonal desse domínio (assim, tal relação pode não ser aplicável a todas as coisas sobre as quais a linguagem possa falar); em terceiro lugar, o quantificador existencial, em Q1, bem como o universal, em Q2, podem alcançar valores que estejam fora do domínio da estrutura. Como consequência, embora definida classicamente, a negação apresenta alguns comportamentos não clássicos - a negação de um predicado numa fórmula atômica, por exemplo, pode caracterizar algo maior que, e não tão bem definido quanto, o complemento da extensão desse predicado relativamente ao domínio. [...]. / The systems Q1 and Q2, developed by Andréa Lopari?, make up three main changes in classical semantics: first, the universe of discourse can be not limited by the objects that belongs to the domain of a given structure; second, the relation of identity is fixed as a diagonal of this domain (so, it may be not applicable to all things about what the language can speak); third, the existential quantifier in Q1, as well as the universal in Q2, may capture values out of the domain of the structure. As a consequence, although classically defined, the negation presents some non-classical behavior - a negated predicate in an atomic formula, for instance, may characterize something larger and not as well defined as the complement of the extension of this predicate relatively to the domain. [...].

En prenant comme point de départ l'interprétation de l'épopée homérique par Erich Auerbach, ce mémoire se consacre à la notion d'immersion fictionnelle, non sous son versant psychologique de phénomène contingent de la conscience imageante, mais sous son versant imaginaire, en tant que mythe sociétal d'immédiateté déterminant des stratégies esthétiques et médiatiques concrètes, que j'articule autour des poétiques contemporaines de construction de mondes (world building). L'enjeu est de saisir les répercussions esthétiques de ce fantasme d'une représentation qui occulterait à la fois sa médiateté et le réel-sensible, à une époque où la transfictionnalité et la transmédiaticité s'élèvent tranquillement comme modes narratifs dominants de notre culture occidentale contemporaine. Avec cette conviction que le terme d'immersion doit être replacé dans le cadre de ses effets, le premier chapitre s'affairera à démêler quelques difficultés théoriques que pose la notion en la problématisant sous l'égide des questions ontologiques de vérité et de la position phénoménologique de Sartre sur l'imaginaire. Tout en posant les outils théoriques nécessaires aux analyses subséquentes, le deuxième chapitre approfondit cette problématisation en empruntant aux théories modales des mondes possibles un cadre conceptuel opératoire, qui amènera, notamment grâce au concept formalisé de «~monde~», à concevoir la fiction comme un mouvement de distanciation. Appuyé par la lecture du roman tolkienien, le troisième chapitre tourne le fantasme d'immersion du côté d'une pulsion encyclopédique de complétude, concrétisée par des stratégies textuelles d'accumulation informationnelle et de virtualisation de données diégétiques laissées en suspens -- effets d'actualité que je qualifie d'extra-narratifs en les présentant en contraste des principes prescriptifs du \emph{muthos} aristotélicien formant une chaîne causale téléologique fondée sur une loi d'économie narrative. Le quatrième et dernier chapitre, articulé autour de la notion encore trop peu étudiée de canonicité, observe les poétiques de construction de mondes telles qu'elles se désamorcent elles-mêmes, dans le contexte des univers partagés, en engendrant des incohérences logiques donnant lieu à la tenue d'un discours auctorial-éditorial régissant les vérités fictionnelles comme moyen de maintenir l'immersivité de la représentation. L'analyse générique des comic-books de superhéros et une enquête sur la gestion éditoriale de l'univers de Star Wars permettront d'identifier les multiples modalités de délimitation de la frontière entre canon et apocryphe. En conclusion, je reviens brièvement sur la notion d'immersion, ainsi exemplifiée, en la resémiotisant comme une médiation compétitive de mise en présence de l'être. / Starting from Erich Auerbach's interpretation of the Homeric epic, this master's dissertation studies the notion of fictional immersion, not in its psychological aspect of a contingent phenomena of human consciousness, but rather in its collective imaginary sense, as a societal myth of immediacy generating concrete aesthetic and media strategies that I investigate from the standpoint of contemporary poetics of world building. The objective is to apprehend the aesthetic repercussions of this desire for a mediation that would conceal both the real and its own mediacy, in a time where transfictionality and transmedia storytelling are becoming more and more the dominant narrative modes of our contemporary western culture. Under the conviction that immersion must be looked at as a set of cultural strategies, the first chapter unravels some theorical difficulties bounded to the term by problematizing it towards ontological questions of truth and Sartre's phenomenological stance on the imaginary. While laying a necessary theorical toolset for subsequent analyses, the second chapter examines these problems by borrowing to possible worlds modal theories a set of working concepts, which will lead to the assumption that fiction is a movement of distanciation, notably with the aide of the formal concept of ``world''. Through a reading of the tolkienian novel, the third chapter directs the desire for immersion towards an encyclopedic impulsion for completeness, embodied by textual strategies such as informational proliferation and allusion to virtual diegetic data -- strategies leaving an impression of the actual that I describe as extra-narrative in contrast to Aristote's \emph{muthos} forming a teological causal chain based on a principle of an unitary narrative. The fourth and final chapter, articulated around the still too little studied notion of canonicity, observes poetics of world building as they neutralize themselves, particularly with shared universes, by generating logical inconsistencies giving birth to authorial and editorial discourses stating fictional truths as a way of maintaining the mediation's immersivity. The analysis of the superhero comics genre and an inquiry of the editorial management of the Star Wars universe will exemplify the multiple modalities of this delimitation between the canon and the apocryphal. As a conclusion, I briefly come back to the notion of immersion itself by redescribing it as a competitive mediation of presence.

Any society is by nature coercive and its institutions are no exception. This was true of mission institutions in South Africa. While acknowledging the invaluable contribution of mission education to the development of black South Africans predominantly, it is clear that Lovedale Missionary Institution exemplifies the concept and reality of a ‘total institution’ which was as susceptible to the problems of power relations as any institution, secular or religious. Idris Shah’s concept of ‘coercive agency’ is apposite for this study. Lovedale’s foundation was laid and developed by the first two Principals. In a very real sense, it was perfected by the third Principal of Lovedale, James Henderson who, like his predecessors, emphasised the ultimate aim of conversion through a thorough process of character formation which infiltrated every aspect of life at Lovedale, especially discipline and the programme of industrial education. Those who studied there internalised its ethos in a manner which could not simply be discarded on leaving the Institution for it had become part of their identity, their indigenous personality and traditional life-style having been largely obliterated and reconstructed according to the ideological ideals of western Christian civilisation and European colonialism. Coercive agency was successful in that it effectively encouraged adaptation to missionary ideology. However, this was not an irreversible process for many Lovedale students came to reject the mores of the religion and education they received both during their stay at Lovedale and in later life in a variety of ways as they challenged and resisted the effects of the coercive agency of internalisation. Institutionalisation is, by nature, resistant to change as can be seen in the policies of the respective Principals. Yet, Henderson was able to initiate change while maintaining essential continuity of purpose. Consequently, black people were alienated by a process of ‘exclusion’. The Christian principles of justice, love and peace have a universal application and are appropriate tools for the development of a new model of education in South African society whose mission is to work towards reconciliation between individuals, within society and with the God who wishes to ‘embrace’ the totality of creation. / Christian Spirituality, Church History and Missiology / D. Th. (Missiology)

Any society is by nature coercive and its institutions are no exception. This was true of mission institutions in South Africa. While acknowledging the invaluable contribution of mission education to the development of black South Africans predominantly, it is clear that Lovedale Missionary Institution exemplifies the concept and reality of a ‘total institution’ which was as susceptible to the problems of power relations as any institution, secular or religious. Idris Shah’s concept of ‘coercive agency’ is apposite for this study. Lovedale’s foundation was laid and developed by the first two Principals. In a very real sense, it was perfected by the third Principal of Lovedale, James Henderson who, like his predecessors, emphasised the ultimate aim of conversion through a thorough process of character formation which infiltrated every aspect of life at Lovedale, especially discipline and the programme of industrial education. Those who studied there internalised its ethos in a manner which could not simply be discarded on leaving the Institution for it had become part of their identity, their indigenous personality and traditional life-style having been largely obliterated and reconstructed according to the ideological ideals of western Christian civilisation and European colonialism. Coercive agency was successful in that it effectively encouraged adaptation to missionary ideology. However, this was not an irreversible process for many Lovedale students came to reject the mores of the religion and education they received both during their stay at Lovedale and in later life in a variety of ways as they challenged and resisted the effects of the coercive agency of internalisation. Institutionalisation is, by nature, resistant to change as can be seen in the policies of the respective Principals. Yet, Henderson was able to initiate change while maintaining essential continuity of purpose. Consequently, black people were alienated by a process of ‘exclusion’. The Christian principles of justice, love and peace have a universal application and are appropriate tools for the development of a new model of education in South African society whose mission is to work towards reconciliation between individuals, within society and with the God who wishes to ‘embrace’ the totality of creation. / Christian Spirituality, Church History and Missiology / D. Th. (Missiology)

Mirrors and Vanities is a multi-modal collection which showcases the diversity of working in long and short storytelling forms. Featured in this thesis are fiction, nonfiction, graphic narrative, and screenplay. Using unconventional approaches to storytelling in order to achieve emotional resonance with the audience while maintaining high standards for craft, these stories and essays explore the costs inherent to the subtle nuances of interpersonal relationships. The fiction focuses on the complications of characters keeping secrets. A husband discovers the truth behind his wife’s miscarriage. A girl visits her fiancé in purgatory. A boy crosses a line and loses his best friend. Meanwhile, the nonfiction centers on self-discovery and gender roles associated with power struggles. A schizophrenic threatens to ruin my mother’s wedding. I rediscover my relationship with my father through food writing. Sword-work teaches me to fail and succeed at making martial art. The title work of the thesis is a collaged story highlighting the tribulations of a physicist fixated on recovering his lost love by manipulating the multiverse. The multi-modal format implicates the nebulosity of physics theories and how different aspects of the narrative can be presented in various formats to best suit the nature of the storytelling. Through the interactions of characters in mundane and extraordinary circumstances, the works in this thesis examine the consequences of choice, the contrast between reality and expectation, coming of age, and the Truth of narrative.