The Reality Effect: Emerson's Speakers and the Phenomenon of Personality

2005 ◽  
Vol 18 (1) ◽  
pp. 67-86
Author(s):  
Rachel Cole
Keyword(s):  
Reality Effect

scholarly journals Inventing the Past, Re-Writing the Present

2020 ◽  
Vol 31 (2) ◽  
pp. 61-72
Author(s):  
Jurgita Staniškytė
Keyword(s):  
Current Understanding ◽  
Historical Events ◽  
The Past ◽  
Hybrid Approaches ◽  
Reality Effect ◽  
The Subject ◽  
The Baltic ◽  
Historical Past

In recent years an increasing number of performances on the Baltic theatre stage attempt to escape the dominant understanding of “performing history” as a repetition or reinforcement of the monumental representations of the historical past or as a (re)production of “mythistory” (Joseph Mali). Lithuanian creators of performances about history increasingly choose hybrid approaches of representation, merging memorialization and critique, imagination and fact, documents and speculative inventions as forms of engagement with the past. This playful re-imagination of the historical past serves as a creative laboratory, where audience ability to recognize and/or resist historical manipulations as well as to embrace plural and polyphonic nature of memory are tested. In some cases, however, Lithuanian theatre creators are interested in “truthful” or “authentic” representations of personal memories, rather than a performative investigation ofmechanisms of production of the “reality effect” in historiography and their impact on audience perception. This article examines the ways in which historical events are represented on the contemporary Lithuanian theatre stage and, at the same time, addresses the larger issues around the implications of particular theatricalstagings of the past on the current understanding of the subject of history.

scholarly journals L’effet de réel revisited: Barthes and the affective image

2008 ◽  
Vol 36 (1) ◽  
pp. 113-136
Author(s):  
Sirkka Knuuttila
Keyword(s):  
Social Neuroscience ◽  
Reading Practice ◽  
Collège De France ◽  
Wu Wei ◽  
Bodily Feelings ◽  
Reality Effect ◽  
Embodied Self ◽  
Zen Buddhist

This article addresses Barthes’s development from a structuralist semiotician towards an affectively responding reader in terms of ‘postrational’ subjectivity. In light of his whole oeuvre, Barthes anticipates the understanding of emotion as an integral part of cognition presented in contemporary social neuroscience. To illustrate Barthes’s growing awareness of the importance of this epistemological move, the article starts from his textual ‘reality effect’ as a critical vehicle of realist representation. It then shifts to his attempt at conceptualising an affective reading which resists the universalising idea of one ideologically determined signified. Barthes’s progress towards embracing the actual reader’s embodied self-feeling is prompted by two conceptual milestones: the obtuse meaning found in cinematic stills, and the experience of punctum felt in photos. In light of his lectures in the Collège de France, Barthes substitutes the Husserlian disembodied method of introspection with the Chinese wu-wei as a reading practice. As a result, his Zen-Buddhist concentration on bodily feelings elicited by visual/verbal images becomes a method capable of creating a fruitful link between language and wordless cognition. Finally, the article proposes an idea of the ‘embodied reality effect’ by reading affectively two similar scenes interpreted by the early and late Barthes himself.

Virtual Reality effect on upper limb Motor function paretic in post stroke

2015 ◽  
Vol 23 (04) ◽  
pp. 493-498 ◽  
Author(s):  
Maria Luiza Galvão ◽  
Príscila Gouvêa ◽  
Gabriela Ocamoto ◽  
Adriana Silva ◽  
Luciana Reis ◽  
...  
Keyword(s):  
Virtual Reality ◽  
Motor Function ◽  
Upper Limb ◽  
Post Stroke ◽  
Reality Effect

Film Theory in the United States and Europe

2017 ◽  
Author(s):  
Warren Buckland
Keyword(s):  
United States ◽  
Academic Discipline ◽  
Rapid Development ◽  
Film Theory ◽  
The United States ◽  
Avant Garde ◽  
Reality Effect ◽  
The Subject ◽  
The 1960S ◽  
The University

Since the 1960s, film theory has undergone rapid development as an academic discipline—to such an extent that students new to the subject are quickly overwhelmed by the extensive and complex research published under its rubric. “Film Theory in the United States and Europe” presents a broad overview of guides to and anthologies of film theory, followed by a longer section that presents an historical account of film theory’s development—from classical film theory of the 1930s–1950s (focused around film as an art), the modern (or contemporary) film theory of the 1960s–1970s (premised on semiotics, Marxism, feminism, and psychoanalysis), to current developments, including the New Lacanians and cognitive film theory. The second section ends with a very brief overview of film and/as philosophy. The article covers the key figures and fundamental concepts that have contributed to film theory as an autonomous discipline within the university. These concepts include ontology of film, realism/the reality effect, formalism, adaptation, signification, voyeurism, patriarchy, ideology, mainstream cinema, the avant-garde, suture, the cinematic apparatus, auteur-structuralism, the imaginary, the symbolic, the real, film and emotion, and embodied cognition.

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