irreality

The stories are out of place and interpellate the city's inhabitants into varying planes of irreality, whether as a form of escapism or as an effort to challenge the state's hegemony over narrative.

As biographer Lawrence Sutin reminds us, the PKD hero is "one who saves the world, not with blazing Uzis, but through empathic awareness of its suffering and perceptive insight into its ultimate irreality" (xi).

(2) The ontology of nonexistent objects is addressed in my Imagining Irreality: A Study of Unreal Possibilities (Chicago: Open Court, 2003), which provides an extensive bibliography of the subject.

In a society devoid of transcendence, poets, painters, and musicians sought to express what was inexpressible, to capture emotions that escaped concrete description, and self-protectively retreat into a world of suggestion and irreality.

Echoing the way "Cervantes mocks the chivalric romances for their sexual exploitativeness, their predictability, and their ludicrous irreality" (Stam, Literature 28), what theologians and humanists criticized about the genre, Craven uses this opening scene to give minority characters a stage on which to criticize part one by commenting not only on its unpardonable mistakes but also on their own exclusion from it (in criticizing Stab the characters are not only commenting on Craven's original Scream but also the genre in general).

We can accommodate ourselves to this irreality and Macron's newly installed representatives, so preternaturally smooth and remote as to suggest that they might have been elected while Leviathan was sleeping.

With such variety on the horizon, no wonder that the debate over the reality or irreality of the ghost phenomenon continues to "haunt" the minds of specialists and and non-specialists alike, with a final answer being nowhere near in view, while the human fascination for the phenomenon proper giving no sign of having its power exhausted in any way.

While the "Dreamland" subtitle for this season would suggest a certain irreality, it fits perfectly with the instinctual, improvised way the show has always evolved.

The quintessentially postmodern ideas of the irreality of the real, or of the world as a representation, are not exclusive to the latter period; rather, they inform some of the early Ossi, as in 'I limoni' and 'Forse un mattino...' Even if expressed in a different way, the compositional and thematic constants of the previous period survive in the latter: the poetry of the object in 'Xenia II, 14' (Montale, 1980: 310) intensifies the writing process of 'Carnevale di Gerti' (Montale, 1980: 120) and 'Ballata scritta in una clinica' (Montale, 1980: 209); the notion of a love that never ends but in fact grows stronger upon the departure of the beloved, that had prompted the cycles of Annetta and Clizia, is intensified in the two sections of 'Xenia'.

Hence the greater irreality and many banal thrills of Didion's nonfiction, filled with things that should be or must be but are not necessarily being done.

All of these media transformations of a viewer's engagement with the lifeworld--amplification, reduction, irreality, and space-time disjunctions--change the total perceptual situation and become part of the viewer's reality.