Possible Worlds — Text Worlds — Discourse Worlds and the Semiosphere

Abstract

This article analyses the notion of possible world, which was developed in American analytical philosophy and modal logic in the 1960s and 1970s (Kripke, Hintikka, Lewis, Rescher) but was soon adapted to the needs of literary linguistics. The adaptation, due to L. Doležel, N. E. Enkvist and U. Eco, among others, led to the emergence of the concept of text world, a much richer (contextualized) world-model. The cognitive turn in textual studies (Werth, Stockwel, Gavins) expanded the notion of text world into the most comprehensive formation called discourse world, which brings into focus the readers' dependence on their actuality in the process of reconstructing a text world. The author of this article argues that text/discourse worlds possess a dialogical nature and thus can be studied within the framework of game-theory. Accordingly, she postulates a typology of textual games (semantic games of the author, pragmatic games of the reader, games of the text itself, games of critics, games of translators) in order to show how the creation and recreation of text/discourse worlds is a gamesome enterprise. Her second claim is that text/discourse worlds as semiotic construals are immersed in the semiosphere as the all-encompassing space of culture. In this way she tries to bridge the gap between the Western studies on possible/ text/discourse worlds and the semiotic model of Yu. M. Lotman and B. Uspensky.

Transmedial Creation of Text Worlds. Pictorial Narration in Response to Verbal Texts

“…Temporality emerges as a foundational but not exclusive property of text worlds in the verbal and pictorial arts. This study is a continuation of the author's previous research (Chrzanowska -Kluczewska, 2009) that points to an incremental growth of possible worlds into text worlds into discourse worlds in verbal and visual media.…”

“…Text worlds and narrativity takes up the issue of transmedial character of narrativity and text worlds in the situation when literary texts find their reflection in pictorial representations. Its first part is devoted to a brief description of three incrementally growing types of worlds -from logically constructed possible worlds of analytical philosophers and modal logicians (Kripke, 1963(Kripke, /1971Hintikka, 1989;Rescher, 1975Rescher, , 1999 to their applications to literary fictions in the garb of text worlds (Doležel, 1989(Doležel, , 1995Werth, 1999;Stockwell, 2002) and, ultimately, to cognitively and pragmatically enriched discourse worlds (Werth, 1999;Stockwell, 2002;Chrzanowska -Kluczewska, 2009). In particular, the focus of our attention will go to the building blocks of such imaginary worlds postulated for literary fiction.…”

“…A limited scope of this article allows for only a very succinct summary of the development of this theory (cf. Ryan, 1991Ryan, , 2005bChrzanowska -Kluczewska, 2009 for more details).…”

Terminologia związana z tłem konwersacyjnym w opisie modalności językowej oraz propozycja jej przekładu na język polski

“…Świat możliwy to możliwy stan rzeczy, sposób, w jaki rzeczywistość mogłaby wyglądać w danych okolicznościach, czyli stan rzeczy odmienny od zaistniałego (zob. także: Chrzanowska-Kluczewska 2009;Hintikka 1962;Lewis 1973;Pruss 2001czy Sendłak 2017.…”

Autochthonous synergy of Russian literary discourse

“…trans -'изменение' и finis -'конец') природы восприятия текста. Иначе говоря, трансфинитное восприятие текста безгранично и бесконечно, обусловленно изменениями языкового сознания (Людвиг, 2003: 14-37;Миллер, 2000;Филипс, Йоргенсен, 2004;Chrzanowska-Kluczewska, 2017;McCarthy, Goldman, 2019;Hirsch, 2005), например под влиянием аффективного фона восприятия текста.…”