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Books by Alexander Bareis
Daniel Kehlmann. Die Vermessung der Welt, 2019
A major question in studies of aesthetic expression is how we can understand and explain similari... more A major question in studies of aesthetic expression is how we can understand and explain similarities and differences among different forms of representation. In the current volume, this question is addressed through the lens of make-believe theory, a philosophical theory broadly introduced by two seminal works – Kendall Walton’s Mimesis as Make-Believe and Gregory Currie's The Nature of Fiction, both published 1990. Since then, make-believe theory has become central in the philosphical discussion of representation. As a first of its kind, the current volume comprises 17 detailed studies of highly different forms of representation, such as novels, plays, TV-series, role games, computer games, lamentation poetry and memoirs. The collection contributes to establishing make-believe theory as a powerful theoretical tool for a wide array of studies traditionally falling under the humanities umbrella.
Papers by Alexander Bareis
Despite fiction film arguably being the privileged object of film theory the notion of "fiction" ... more Despite fiction film arguably being the privileged object of film theory the notion of "fiction" has been undertheorised by film scholars in general and those working in German in particular. Perhaps the most important exception to this trend has been Gertrud Koch and Christiane Voss' (2009) edited volume on fiction on the intersection of philosophy, film, and media studies. This paper tackles two of the most notable film scholarly contributions to the volume-Koch's and Vinzenz Hediger's-and their attempts to define fiction in terms of medium properties as well as their efforts to articulate all photographic films as simultaneously fictional and nonfictional. In the first case, I demonstrate that medium underdetermines whether something is fictional or not. In the second, I argue that although fiction is a temporally unstable category, it is possible to distinguish between fiction and nonfiction at a given moment in time. I conclude with a call to applying Kendall L. Walton's (1990) transmedial theory of fiction to film, by listing a number of its advantages over competing proposals and by emphasising its suitability for investigating the change in films' fictional status over time.
Vorwort zur Ausgabe 8 Der Fiktionsbegriff in Theorie und Praxis in Zentral- und Osteuropa . Cover... more Vorwort zur Ausgabe 8 Der Fiktionsbegriff in Theorie und Praxis in Zentral- und Osteuropa . Cover-Bild von Emil Doepler Walhall , 1905. Gemeinfrei.
Daniel Kehlmann. Die Vermessung der Welt, 2019
A major question in studies of aesthetic expression is how we can understand and explain similari... more A major question in studies of aesthetic expression is how we can understand and explain similarities and differences among different forms of representation. In the current volume, this question is addressed through the lens of make-believe theory, a philosophical theory broadly introduced by two seminal works – Kendall Walton’s Mimesis as Make-Believe and Gregory Currie's The Nature of Fiction, both published 1990. Since then, make-believe theory has become central in the philosphical discussion of representation. As a first of its kind, the current volume comprises 17 detailed studies of highly different forms of representation, such as novels, plays, TV-series, role games, computer games, lamentation poetry and memoirs. The collection contributes to establishing make-believe theory as a powerful theoretical tool for a wide array of studies traditionally falling under the humanities umbrella.
Despite fiction film arguably being the privileged object of film theory the notion of "fiction" ... more Despite fiction film arguably being the privileged object of film theory the notion of "fiction" has been undertheorised by film scholars in general and those working in German in particular. Perhaps the most important exception to this trend has been Gertrud Koch and Christiane Voss' (2009) edited volume on fiction on the intersection of philosophy, film, and media studies. This paper tackles two of the most notable film scholarly contributions to the volume-Koch's and Vinzenz Hediger's-and their attempts to define fiction in terms of medium properties as well as their efforts to articulate all photographic films as simultaneously fictional and nonfictional. In the first case, I demonstrate that medium underdetermines whether something is fictional or not. In the second, I argue that although fiction is a temporally unstable category, it is possible to distinguish between fiction and nonfiction at a given moment in time. I conclude with a call to applying Kendall L. Walton's (1990) transmedial theory of fiction to film, by listing a number of its advantages over competing proposals and by emphasising its suitability for investigating the change in films' fictional status over time.
Vorwort zur Ausgabe 8 Der Fiktionsbegriff in Theorie und Praxis in Zentral- und Osteuropa . Cover... more Vorwort zur Ausgabe 8 Der Fiktionsbegriff in Theorie und Praxis in Zentral- und Osteuropa . Cover-Bild von Emil Doepler Walhall , 1905. Gemeinfrei.
Kate Hamburger Kontexte Theorie Und Praxis, 2014
