The functionality of aesthetic illusion and epistemic relativism in Grace Ogot’s The Strange Bride (1989)
Keywords:Temporal conception, Metaphysic of time, Relativism, Aesthetic dimensionality, Connectionism, Dematerialization of potentiality
Throughout a dimensional analysis of rationality and a factual relativism justification, The Strange Bride upholds a temporal perspective and a neo-experience of present within which Grace Ogot methodic metafiction, defines a differential relational model regarding the Be-, the There-ness and norms of belief. This vigorous realm of interaction impels the inflection of alethic modality to stand as a meromorphic function; then, the illusion of time and the spacetime dimension dive the cosmological time, the metaphysic of time, the linguistic conception of time and contemporary cultural theory in a combinatorial set of a pluricellular function and a multifactorial understanding. Through the temporal structure and the representation of the continuum of spacetime, Ogot circumscribes a connectionism transformation; therefore, the form and the content of the Be-ing, the relationalism between space-time continuum and the there-ness dimension of creative imagination become an aesthetic and functional performance. In this dynamic, the problematic of the Be-ing object from the quantitative nominal properties of time characterizes, in this model of narrative, the metaphysic of presence and the cultural theory of time.
Currie, M. (2007). About Time: Narrative, Fiction and the Philosophy of Time. Edinburgh University Press.
Diallo, S. (2021). The Psychological Sensualism and the Cognitive Structure of Creativity and Creation in Nawal El Saadawi’s a Daughter of Isis. Global Journal Of Human-Social Science Research. Retrieved from https://socialscienceresearch.org/index.php/GJHSS/article/view/3788
Lattuada, P. L., & Hess, R. U. (2015). Towards an organismic-dynamicepistemology and research methodology: The further mode of knowing ofinner experiences of states of consciousness. Integral Transpersonal Journal, 7, 12-48.
Mcphail, J. C. (1995). Phenomenology As Philosophy and Method: Applications to Ways of Doing Special Education. Remedial And Special Education, 16(3), 159-165. .
Mihalache, G. (2019). Heuristic Inquiry: Differentiated From Descriptive Phenomenology and Aligned With Transpersonal Research Methods. American Psychological Association, 47(2), 136-157. http://dx.doi.org/10.1037/hum0000125.
Netzer, D. (2009). From Linear to Imaginal: Choosing Research Methods to Inform Art Therapy Practice. Art Therapy: Journal of the American Art Therapy Association, 26(1), 38-41. http://dx.doi.org/10.1080/ 07421656.2009.10129314.
Netzer, D. (2013). Awareness of Spiritual Freedom through Imaginal Response to Mystical Poetry: An Intuitive Inquiry. SAGE Research Methods Cases, 1-20. http://dx.doi.org/10.4135/978144627305013505060.
Ogot, G. (1989). The Strange Bride. Translated from Dholuo by Okoth Okombo. First Published as Miaha. (1983). Nairobi: East African Educational Publishers.
Ricoeur, P. (1984). Translated by Kathleen McLaughlin and David Pellauer. Originally Published as Temps et Récit. Éditions du Seuil. (1983). The University of Chicago Press.
Shrestha, M. M. (2021). Dimensions of Creation of the Universe and the Living Worlds. European Journal of Theology and Philosophy,1(4), 1-8.
Somers, M. R. (1994). The Narrative Constitution of Identity: A Relational and Network Approach. Theory and Society, 23, 605-649.
How to Cite
Copyright (c) 2022 Souleymane Diallo
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
This open-access article is distributed under a Creative Commons Attribution (CC-BY) 4.0 license.
You are free to: Share — copy and redistribute the material in any medium or format. Adapt — remix, transform, and build upon the material for any purpose, even commercially. The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms: Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
No additional restrictions You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.