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An example of this paradox in eastern thought can be found in the origin of the Chinese word for contradiction (Chinese: 矛盾; pinyin: máodùn; lit. 'spear-shield'). This term originates from a story (see Kanbun § Example) in the 3rd century BC philosophical book Han Feizi. [2]
In literature, the paradox is an anomalous juxtaposition of incongruous ideas for the sake of striking exposition or unexpected insight. It functions as a method of literary composition and analysis that involves examining apparently contradictory statements and drawing conclusions either to reconcile them or to explain their presence.
Some of the earliest examples of postmodern literature are from the 1950s: William Gaddis' The Recognitions (1955), Vladimir Nabokov's Lolita (1955), and William Burroughs' Naked Lunch (1959). [25] It then rose to prominence in the 1960s and 1970s with the publication of Joseph Heller 's Catch-22 in 1961, John Barth's Lost in the Funhouse in ...
For example, the statement "If Joseph Swan had not invented the modern incandescent light bulb, then someone else would have invented it anyway" is a counterfactual, because, in fact, Joseph Swan invented the modern incandescent light bulb. The most immediate task concerning counterfactuals is that of explaining their truth-conditions.
Reductio ad absurdum, painting by John Pettie exhibited at the Royal Academy in 1884. In logic, reductio ad absurdum (Latin for "reduction to absurdity"), also known as argumentum ad absurdum (Latin for "argument to absurdity") or apagogical argument, is the form of argument that attempts to establish a claim by showing that the opposite scenario would lead to absurdity or contradiction.
This is a partial list of works that use metafictional ideas. Metafiction is intentional allusion or reference to a work's fictional nature. It is commonly used for humorous or parodic effect, and has appeared in a wide range of mediums, including writing, film, theatre, and video gaming.
A rhetorical question is a question asked for a purpose other than to obtain information. [1] In many cases it may be intended to start a discourse, as a means of displaying or emphasizing the speaker's or author's opinion on a topic. A simple example is the question "Can't you do anything right?"
Vladimir Nabokov, writing in his Lectures on Russian Literature, gave the following appraisal of Gogol and his most famous story: "Steady Pushkin, matter-of-fact Tolstoy, restrained Chekhov have all had their moments of irrational insight which simultaneously blurred the sentence and disclosed a secret meaning worth the sudden focal shift. But ...