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	Fictional universe - Wikipedia, the free encyclopedia
		A fictional universe is a cohesive imaginary world that serves as the setting or backdrop for one or (more commonly) multiple works of fiction or translatable non-fiction.
		Fictional universes are most common in, but not exclusive to, the science fiction and fantasy genres.
		A fictional universe may even concern itself with more than one interconnected universe through theoretically viable devices such as "parallel worlds" or universes, and a series of interconnected universes is called a multiverse.
	en.wikipedia.org /wiki/Fictional_world (1115 words)

	Possible-Worlds Theory, by Marie-Laure Ryan
		The theory of possible worlds (henceforth PW), a modern adaptation of a Leibnizian concept, was originally developed by philosophers of the analytic school (Kripke, Lewis, Rescher, Hintikka) as a means to solve problems in formal semantics.
		A statement referring to a fictional world may be compared to an ‘if p then q’ statement in which the text specifies p and the reader provides q as an interpretation of p.
		From the point of view of the ‘actual actual world’ the worlds of fiction are discourse-created non-actual possible worlds, populated by incompletely specified individuals; but to the reader immersed in the text the TAW is imaginatively real, and the characters are ontologically complete human beings.
	www.log24.com /log05/saved/050822-PossWorlds.html (2517 words)

	Virtual Recentering: Computer Games and Possible Worlds Theory by Jan Van Looy
		Fictional recentering is the move by which a reader is invited to step into a possible world where a substitute speaker narrates events that have taken or are taking place in the fictional world.
		While in fiction the world described by the text is always different from the actual world (as opposed to non-fiction), it will generally be indistinguishable from the world to which it refers (the third system).
		Starting from fiction as a speech act of assertion she identifies an actual speaker (author) and an actual hearer (reader) who decide to pretend that they are two people (substitute speaker and substitute hearer) having a real communication about real facts (in the textual world).
	www.imageandnarrative.be /tulseluper/vanlooy.htm (6854 words)

	Marie-Laure Ryan - Immersion vs. Interactivity: Virtual Reality and Literary Theory - Postmodern Culture 5:1
		Players project themselves as members of the world in which the prop is a bear, a ship or a text of nonfiction, and they play the game by "generating fictional truths." This activity consists of imagining the fictional world according to the directives encoded in the prop.
		As authors strip themselves of their real world identity to enter the fictional world, they have at their disposal the entire range of conceivable roles, from the strongly individuated first person narrator (who can be any member of the fictional world) to the pure consciousness of the third person narrator.
		Immersion in a virtual world is viewed by most theorists of postmodernism as a passive subjection to the authority of the world-designer--a subjection exemplified by the entrapment of tourists in the self-enclosed virtual realities of theme parks or vacation resorts (where the visitor's only freedom is the freedom to use his credit card).
	www.humanities.uci.edu /mposter/syllabi/readings/ryan.html (7060 words)

	Medievia as a Work of Fiction - Written by Almetis
		Works of fiction are able to generate alternate possible worlds by using literary markers (or phrases) such as 'imagine,' 'pretend' or 'suppose' to indicate a cognitive exercise of considering a deviation from the status quo.
		The incompleteness of textual worlds, however, does not undermine the premise that the differences between a particular fictional world, on the one hand, and the real world, on the other, must be explicitly specified by the text.
		Fiction or non-fiction is a status that is assigned to a text as a whole, and is not determined by the accuracy with which the text's component propositions correspond to the actual conditions of the real world.
	www.medievia.com /ms/medfic.html (4549 words)

	Perceiving the fictional world of Nesmrtelnost through Kundera's "I" Canadian Slavonic Papers - Find Articles (Site not responding. Last check: 2007-11-03)
		Since Milan Kundera's emigration to France, much of his fiction has explored such struggles through a dialogical split between youthful characters who live in the fragile world of lyrical self-expression and definition, and a cynical narrator, a literary representative of the author, who resides in a world of political realities and external definition of individuals.
		The second, the world of the characters, is avowedly artificial, though it is born out of familiar elements brought from the first world.
		Immorality's third possible world is the amorphous realm of the "immortals" where the likes of Hemmingway and Goethe meet to discuss their fates, i.e., images of them constructed out of popular opinion.
	www.findarticles.com /p/articles/mi_qa3763/is_199803/ai_n8786371 (816 words)

	Modal Fictionalism > A Persisting Problem For Fictionalism About Possible Worlds (Stanford Encyclopedia of ...
		The point of fictionalism about possible worlds is that if it is successful, it enables one to use the conceptual resources of possible-world semantics without needing the ontological baggage that realism about such worlds carries.
		Now, it is not true of the actual world that there is a king of France, and it is not true of any of the (supposedly fictional) possible worlds that PW is false there (after all, in the Lewis story, the Lewis story (or PW) holds at every world).
		One way of avoiding the problem of "modal danglers" is to restrict fictionalism so that it does not consider the modal status of the theory itself, but that the theory functions as some sort of "metalanguage" immune to the modal interpretation available for all other areas of discourse.
	plato.stanford.edu /entries/fictionalism-modal/supplement1.html (1531 words)

	pwtheory (Site not responding. Last check: 2007-11-03)
		Critics of the PW approach to narrative (Ronen) have argued that literary worlds are not the PWs of semantic logic in any rigorous technical sense; but this objection ignores the heuristic value of cross-disciplinary metaphorical transfers.
		According to Lewis, ‘the actual world’ means ‘the world where I am located’, and all PWs are actual from the point of view of their inhabitants.The other theory, defended by Rescher, states that the actual world differs in ontological status from merely possible ones in that this world alone presents an autonomous existence.
		Following this interpretation, narrative worlds can be classified as realistic or fantastic, depending on whether or not the events they relate could physically occur in the real world.
	lamar.colostate.edu /~pwryan/pws.htm (2402 words)

	wo's weblog: Truth at a Fictional World
		A sentence is true in a fiction iff it is true at certain worlds, say, at the closest worlds where the pretense which the narrator and the audience engage in is not only pretense.
		That is, when we engage in a fiction F, the subjective probability we pretend to assign to a statement S more or less equals our conditional subjective probability of S given the relevant F-facts established by the pretense.
		If fictional worlds were to be considered as actual, the impossibility solution to imaginative resistance would be in trouble.
	www.umsu.de /wo/archive/2004/06/30/Truth_at_a_Fictional_World (348 words)

	Jungian Novel Writing - Fictional World
		The author creates an entirely fictional world through suggestion, and the reader agrees not only to believe it, but to recreate it, or the illusion of it, in his own mind.
		You can tell a reader that your character is a little girl and show her pigtails and the sprinkle of freckles across the bridge of her nose, but until you smell the peanut butter on her breath and feel the heat of her little hands, she won’t be fully alive.
		In fiction the senses must have an impact on the character, produce a reaction.
	greek-myth.com /Novel_Writing/creating_the_fictional_world.htm (2256 words)

	Phyllis Sternberg Perrakis- Touring Lessing's Fictional World
		Two recent introductory studies of Doris Lessing's fiction attempt to present the full range of her novels to date.
		To King it seems to indicate Lessing's "surrender of her belief in individuality, in a subjectivity privileged by its uniqueness, whereas we expect the resolutions of a Bildungsroman to provide the central character with a highly developed sense of self" (34-35).
		Furthermore, she misreads the time sequence in the last half of the novel, claiming that the Canopean Johor is incarnated into Shikastan reality following "a nuclear catastrophe [which] wipes out civilization, leaving only one percent of the population alive on a polluted planet" (144).
	www.depauw.edu /sfs/review_essays/perrak56.htm (2147 words)

	Hearing Fictional Worlds in Electro-acoustic Music (Site not responding. Last check: 2007-11-03)
		Works made from "sound alone" may also feature an alternation between sounds that come from a dramatic fictional world and sounds that are better understood as issuing from the ether, as a kind of narration.
		In this excerpt, as in much literary fiction, diegetic dialog alternates with narration, that is, with a narrator's description, directed to the audience, of the scene or action.
		The office environment is our first glimpse of a fictional world; and only a glimpse it is. It is only in existence for about ten seconds before the stereo telephones are joined by a very similar trilling sound in the center of the stereo field.
	www-personal.umich.edu /~alicyn/HFWEA.html (1716 words)

	Fiction Factor - World Building
		This section is devoted to articles about creating a realistic fictional world.
		When creating a fictional world, it is sometimes easy to take a few liberties with reality.
		World Creation Column, spanning 52 articles on creating and maintaining a believable fictional world.
	www.fictionfactor.com /worlds.html (145 words)

	Malign Fictional World by Tom Engelhardt
		Their resolve is as strong as my resolve."); and he presented for the umpteenth time his Manichaean vision of a world of good and evil in which he and his administration are unhesitatingly the representatives of all goodness.
		In fact, the "human rights and human liberties" President and his men have created such an ungodly mess at home and in the world that trying to tackle any of his tightly held fantasies point by point is a nearly impossible task, the equivalent of cleaning out the Augean stables.
		They believe no less than our President in their fictional version of reality and are no less eager to impose it on the rest of us.
	www.lewrockwell.com /engelhardt/engelhardt94.html (2984 words)

	How To Play (Site not responding. Last check: 2007-11-03)
		When both "persons," the real and the fictional, agree to the terms of a contract, there is a connection, intercourse, dealings, there is a communication, an exchange.
		But there is another way for fictional government to deal with the real man and woman: through the use of a representative, a liaison, the go-between.
		A presentment from fictional government -from traffic citation to criminal charges -is a negative, commercial "claim" against the Strawman.
	www.worldnewsstand.net /law/PLAY_BALL.htm (2716 words)

	The Self as a Center of Narrative Gravity
		A litmus test for this bizarre view is the principle of bivalence: when our imagined critic speaks of a fictional world he means a strange sort of real world, a world in which the principle of bivalence holds.
		This process does change the "fictional" character, the character that you are, in much the way that Rabbit Angstrom, after Updike writes the second novel about him as a young man, comes to be a rather different fictional character, determinate in ways he was never determinate before.
		And, of course, since Sybil was a sort of living novel, she went out and engaged in the world with these new selves, more or less created on demand, under the eager suggestion of a therapist.
	ase.tufts.edu /cogstud/papers/selfctr.htm (5199 words)

	A Critical Matrix
		To speak about a text is already to place it in the human world; to access its symbolic meaning is possible only through a series of complex cognitive acts.
		The meaning that should properly be attributed to the author, however, cannot be equated with his conscious intentions; since major aspects of meaning-making are cognitively impenetrable, the author can never have conscious or reflective knowledge of the full complexity of what he is communicating.
		Within these two sets of cognitive acts, the fictional world can emerge--a framed world to which is applied the whole range of inferences that apply to the real world.
	www.sscnet.ucla.edu /comm/steen/cogweb/Culture/Critical.html (804 words)

	Creating Fictional Holidays
		The easiest and simplest way to create fictional holidays for fantasy and SF worldbuilding is to draw them from real holidays and integrate them with your fictional world’s cultures.
		Somewhere in your SF world's history are plenty of secular holidays made up by someone for the purpose of selling products or ideas.
		For a fictional world, this is a chance for you, the author, to decide what principles your fictional religion expresses and highlight them with customs that make the reader recognize how much your characters believe their religion’s core values.
	fmwriters.com /Visionback/issue6/Creatingfictional.htm (2442 words)

	Wrestling In The Fictional World (Site not responding. Last check: 2007-11-03)
		Wrestling is in the fictional world regardless of who believes it is real.
		The wrestlers often wear outfits that encourage the fiction, yet the moves are choreographed.
		The wrestlers are told what to say prior to saying anything in the ring; however, some wrestlers come up with their own ideas in the rings, which lead to a new fictional airing.
	www.grabthebasics.com /wrestling/wrestling_in_the_fictional_world.asp (683 words)

	FrontPage magazine.com :: The Fictional World of Arundhati Roy by Jon Sanders
		America, the war on terror, and industry, but Roy "has often suggested that she sees no distinction between her fiction writing and her journalism." If that is the approach of the artist, then we would be wrong to apply such distinctions gratuitously.
		A pity for Pathak, as his title is better suited for the new Roy, who has now created an entire fictional world in which to spin her fantastic tales.
		To contemplate its girth and circumference, to attempt to define it, to try and fight it all at once, is impossible." Unlike Non Sequituria's hapless inhabitants, Roy and her readers have the ability to witness the conspiracies evolve, but they are strangely powerless to stop the oppressors.
	www.frontpagemag.com /Articles/ReadArticle.asp?ID=11575 (1850 words)

	The Fictional 100: A Tour of the Top 10
		Characters can change the world: Witness the impact of Solzhenitsyn’s Ivan Denisovich, in exposing the conditions of the Soviet Gulag, or Harriet Beecher Stowe’s Uncle Tom, in arousing sympathies (however patronizing and belated) for those oppressed by slavery in America.
		I did say fictional persons: to be eligible, a character has to be regarded both as fictional (no historical folks such as Julius Caesar, Richard III, or Napoleon, even when they appear in fictional contexts) and as a person, thus excluding animals, machines, and gods (sorry, no Mickey Mouse, HAL the computer, or Apollo).
		Seemingly fictional candidates sometimes turn out to be historical (Faust, for example, or Dracula—Vlad the Impaler) and sometimes the boundaries are fuzzy (Hercules is not a god but has one divine parent).
	www.fictional100.com /top10.html (1123 words)

	The John William Pope Center for Higher Education Policy : The fictional world of Arundhati Roy
		Roy may also be a more brilliant writer of fiction than even her fans in faculties worldwide know.
		In Roy's world, the possibility of empire is more to be feared than the reality of terrorists striking civilians, because the latter — when not providing the unhealthy, nihilistic detonation of living men, women and children, of course — also, and more importantly, provide the "healthy opposition" to hegemony.
		But in Roy's world, it cannot be done by war, or by spying (including eavesdropping, phone tapping, intercepting mail, or Internet surveillance), or by freezing bank accounts, let alone by violence or humanitarian aid.
	www.popecenter.org /features/article.html?id=1395 (2978 words)

	Amazon.ca: Imagined London : A Tour of the World's Greatest Fictional City: Books: Anna Quindlen (Site not responding. Last check: 2007-11-03)
		Finally, a book tour sends her to this fabled place, and she does revel in London's evocative complexity as she undertakes pilgrimages to literary landmarks.
		Deftly contrasting "the London frozen in the amber of great fiction" with today's city, Quindlen discerns the key lesson of English literature: the "unvarying nature both of social problems and personal dramas." The continuity that links, for instance, characters and predicaments in Monica Ali's Brick Lane (2003) to those in Dickens' works.
		A consistently enlightening and enjoyable writer, Quindlen presents a smart, bookish, wry, and stimulating portrait of the most literary of cities.
	www.amazon.ca /Imagined-London-Worlds-Greatest-Fictional/dp/0792265610 (618 words)

	deseretnews.com \| Writer transports herself, readers into fictional world
		It takes about an hour and a half for her to transport herself into "a fictional world," she says, but once she does, the characters speak to her, and she is "good for 10,000 words or so."
		And if the phone rings and she is interrupted, she must start all over again.
		Gruen incorporated most of those gems into her fictional account.
	deseretnews.com /dn/view/0,1249,640189301,00.html (667 words)

	Church of Reality
		That is what is happening now, but we aren't aware of it because when time goes backwards we remember the future instead of the past so it all seems the same.
		We can tell we are getting near the time of the Big Crunch because fictional deities are becoming more and more real as more people turn away from reality in preparation for the great moment of reality inversion.
		Likewise the fictional universe makes up our reality and controls our universe with their books and stories.
	www.churchofreality.org /wisdom/flying_spaghetti_monster (777 words)

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