Referential density is a concept of ficto-narrative theory put forward by Thomas G. Pavel in his 1986 book, Fictional Worlds. [1] The concept refers to the referential relationship of a text to a fictional world, the ontology of which can be established by a possible worlds approach. [2] A large text that refers to a small fictional world is said to have low referential density, whereas a small text referring to a large fictional world has high referential density. The size of the text is measured in abstract terms as amplitude, which in most cases will correspond to its physical length; exceptions to this may arise in cases of embedded discourses, such as metanarratives (or imaging digressions), which refer to the actual world. For this reason, the form and genre of a fictional work provide only an approximate indication of its size; by the same token, it is possible to refer to the size and referential density of part of a fictional work. The size of a fictional world, in turn, is measured in terms of the sum total of properties applicable to the objects and agents inhabiting the fictional world. [3]
Relative (referential) density builds upon the abstract definition of referential density by including context sensitive factors such as the degree of external information the reader has to import to his reconstruction of the fictional world, the text's narrative crowding, the ratio between action and description, and the epistemic paths chosen by the text. These factors will usually have more impact on the number of references in a text than its amplitude.
Referential density and relative (referential) density account for much of what makes fictional texts 'thick' or 'easy' reads. All other factors being equal, high density will make for difficult reading in that the reader is required to reconstruct the fictional world in a short space, whereas low density is characteristic of a high degree of action. An author may, however, focus on psychology and thereby have a static plot with low density. On the other hand, certain authors and genres make the reader's reconstruction of the fictional world the very point of the text's enjoyment, which is the case with most works of science-fiction, fantasy, and historical fiction.
Nonfiction or non-fiction is content that purports in good faith to represent truth and accuracy regarding information, events, or people. Nonfiction content may be presented either objectively or subjectively, and may sometimes take the form of a story. Nonfiction is one of the fundamental divisions of narrative writing— in contrast to fiction, which offers information, events, or characters expected to be partly or largely imaginary, or else leaves open if and how the work refers to reality.
Suspension of disbelief, sometimes called willing suspension of disbelief, is an intentional avoidance of critical thinking or logic in examining something surreal, such as a work of speculative fiction, in order to believe it for the sake of enjoyment. Aristotle first explored the idea of such a concept as it relates to the principles of theater; the audience ignores the unreality of fiction in order to experience catharsis.
Pragmatics is a subfield of linguistics and semiotics that studies the ways in which context contributes to meaning. Pragmatics encompasses speech act theory, conversational implicature, talk in interaction and other approaches to language behavior in philosophy, sociology, linguistics and anthropology. Unlike semantics, which examines meaning that is conventional or "coded" in a given language, pragmatics studies how the transmission of meaning depends not only on structural and linguistic knowledge of the speaker and listener but also on the context of the utterance, any pre-existing knowledge about those involved, the inferred intent of the speaker, and other factors. In that respect, pragmatics explains how language users are able to overcome apparent ambiguity since meaning relies on the manner, place, time, etc. of an utterance.
A sequel is a work of literature, film, theatre, television, music or video game that continues the story of, or expands upon, some earlier work. In the common context of a narrative work of fiction, a sequel portrays events set in the same fictional universe as an earlier work, usually chronologically following the events of that work.
A narrative or story is an account of a series of related events, experiences, or the like, whether true or fictitious. The word derives from the Latin verb narrare, which is derived from the adjective gnarus. Along with argumentation, description, and exposition, narration, broadly defined, is one of four rhetorical modes of discourse. More narrowly defined, it is the fiction-writing mode in which the narrator communicates directly to the reader.
Metafiction is a form of fiction that emphasizes its own constructedness in a way that continually reminds the reader to be aware that they are reading or viewing a fictional work. Metafiction is self-conscious about language, literary form, and storytelling, and works of metafiction directly or indirectly draw attention to their status as artifacts. Metafiction is frequently used as a form of parody or a tool to undermine literary conventions and explore the relationship between literature and reality, life, and art.
In quantum mechanics, a probability amplitude is a complex number used in describing the behaviour of systems. The modulus squared of this quantity represents a probability or probability density.
Hypertext fiction is a genre of electronic literature, characterized by the use of hypertext links that provide a new context for non-linearity in literature and reader interaction. The reader typically chooses links to move from one node of text to the next, and in this fashion arranges a story from a deeper pool of potential stories. Its spirit can also be seen in interactive fiction.
Postmodern literature is a form of literature that is characterized by the use of metafiction, unreliable narration, self-reflexivity, intertextuality, and which often thematizes both historical and political issues. This style of experimental literature emerged strongly in the United States in the 1960s through the writings of authors such as Kurt Vonnegut, Thomas Pynchon, and John Barth. Postmodernists often challenge authorities, which has been seen as a symptomatic of the fact that this style of literature first emerged in the context of political tendencies in the 1960s. This inspiration is, among other things, seen through how postmodern literature is highly self-reflexive about the political issues it speaks to.
Intertextuality is the shaping of a text's meaning by another text. It is the interconnection between similar or related works of literature that reflect and influence an audience's interpretation of the text. Intertextuality is the relation between texts that are inflicted by means of quotations and allusion. Intertextual figures include: allusion, quotation, calque, plagiarism, translation, pastiche and parody. Intertextuality is a literary device that creates an 'interrelationship between texts' and generates related understanding in separate works. These references are made to influence the reader and add layers of depth to a text, based on the readers' prior knowledge and understanding. The structure of intertextuality in turn depends on the structure of influence. Intertextuality is a literary discourse strategy utilised by writers in novels, poetry, theatre and even in non-written texts. Examples of intertextuality are an author's borrowing and transformation of a prior text, and a reader's referencing of one text in reading another.
Fiction writing is the composition of non-factual prose texts. Fictional writing often is produced as a story meant to entertain or convey an author's point of view. The result of this may be a short story, novel, novella, screenplay, or drama, which are all types of fictional writing styles. Different types of authors practice fictional writing, including novelists, playwrights, short story writers, radio dramatists and screenwriters.
An object of the mind is an object that exists in the imagination, but which, in the real world, can only be represented or modeled. Some such objects are abstractions, literary concepts, or fictional scenarios.
Fiction Theory is a discipline that applies possible world theory to literature. Fiction theory scholars and critics have articulated various theses rooted in Saul Kripke’s application of modal logic to semantics. Drawing on concepts found in possible world theory, theorists of fiction study the relationships between textual worlds and the world outside the text. The overarching idea in fiction theory is that the relationships between the imaginary worlds of fiction and the actual world in which we live are complicated, and that one ought not dismiss fiction as simply stories that are not “true.” Theorists of fiction pose challenging questions about, and offer constructive ways of exploring, the often complex relations between the worlds of fiction and the “real” world in which we live.
Verisimilitude is the "lifelikeness" or believability of a work of fiction. The word comes from Latin: verum meaning truth and similis meaning similar. Language philosopher Steve Neale distinguishes between two types: cultural verisimilitude, meaning plausibility of the fictional work within the cultural and/or historical context of the real world, outside of the work; and generic verisimilitude, meaning plausibility of a fictional work within the bounds of its own genre.
Thomas Pavel is a literary theorist, critic, and novelist currently teaching at the University of Chicago.
Megatext is a term used by scholars of speculative fiction that describes the elaborate fictional background, tropes, images, and conventions that science fiction or fantasy narratives share.
Fiction generally is a narrative form, in any medium, consisting of people, events, or places that are imaginary—in other words, not based strictly on history or fact. It also commonly refers, more narrowly, to written narratives in prose and often specifically novels. In film, it generally corresponds to narrative film in opposition to documentary.
Literature, most generically, is any body or collection of written works. More restrictively, literature refers to writing considered to be an art form or any single writing deemed to have artistic or intellectual value, and sometimes deploys language in ways that differ from ordinary usage.
Size is the magnitude or dimensions of a thing. Size can be measured as length, width, height, diameter, perimeter, area, volume, or mass.
In linguistics, psychology, and literary theory, the concepts of deictic field and deictic shift are sometimes deployed in the study of narrative media. These terms provide a theoretical framework for helping literary analysts to conceptualize the ways in which readers redirect their attention away from their immediate surroundings as they become immersed in the reality generated by the text.
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