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"Honesty Fiction."
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Authenticity and Autofiction: John Updike’s “The Bulgarian Poetess”
This article provides an innovative perspective on John Updike’s visit to Eastern Europe in the 1960s, including Bulgaria, as reflected in his short story “The Bulgarian Poetess” first published in The New Yorker on March 13, 1965. The inspiration for this interpretation is as much academic as it is anthropological. It comes from Updike’s use of my own surname, Glavanakova, which is not a common Slavic one, for the fictional character of the real-life Bulgarian poetess he met, whom researchers have established to be Blaga Dimitrova. Many have delved into the text aiming at a detailed and, more significantly, an authentic reconstruction of events, places and people appearing in the story (Katsarova 2010; Kosturkov 2012; Briggs and Dojčinović 2015). A main preoccupation of these analyses has been to establish the degree of factual distortion in Updike’s representation of the people and places behind the Iron Curtain. The pervasive imagery of the mirror, implying both its reflecting and doubling function, and the repetitive use of cognates associated with truth and honesty in the story suggest the focus of this article, which falls on the dynamics between authenticity and artifice from the perspective of autofiction by way of illustrating how one culture translates into another “at the opposite side[s] of the world” (Updike, “The Bulgarian Poetess”). In my interpretation, autofiction opens ample spaces for representations and discussions of identity and self-/reflexivity in a transcultural context.
Journal Article
Big whopper
When Destiny Washington cannot think of a discovery during Discovery Week at school, she makes up a story, but finds that she cannot keep on pretending it is true.
Book
Tall Tales—Myth and Honesty in Tim Burton’s Big Fish (2003)
Questions about the relationship between truth and fiction have a long history in philosophical thinking, going back at least as far as Plato. They re-emerge in more recent philosophical debates on cinema and are powerfully illustrated in Tim Burton’s 2003 film Big Fish, which narrates the story of Edward and his son Will, who tries to uncover the truth behind his father’s tall tales. Will’s desire for honesty—for facts rather stories—has led to a considerable rift between them. While the film extols the beauty of storytelling and the power of myth, it also raises questions about the relationship between honesty and myth, fact and fiction. This article explores these themes from a multidisciplinary perspective by drawing on diverse sources, including Friedrich Nietzsche’s Vom Nutzen und Nachteil der Historie für das Leben/On Truth and Lies in an Nonmoral Sense (1873), contemporary philosophical writings on fiction, the virtues of truthfulness, honesty and sincerity, as well as ideas on memoir and creative life writing drawn from literary studies. Overall, it argues for the positive, creative potential of storytelling and defends the idea that larger truths may often be found behind embellished facts and deceptive fictions. The final section expands this discussion to explore cinema’s power to create what Nietzsche called ‘honesty by myth’. Through the variety of background sources, the article also aims to demonstrate how ideas from multiple disciplinary contexts can be brought together to stimulate fruitful conversations on cinema, myth and the power of storytelling.
Journal Article
Hippo owns up
This funny, charming story is the perfect way to introduce young children to what honesty is, and help them understand the importance of owning up to your mistakes. Also included are suggestions for activities and ideas to talk through together to help children fully understand how their behaviour can impact on others. Hippo is having a bad day. It all started when he missed his breakfast. He can't concentrate in class and his tummy won't stop rumbling. And when he sees Mrs Croc's special chocolate cake, he can't resist. Now somebody else is getting the blame for eating it. Will Hippo do the right thing and tell the truth and make amends for what he's done?
Book
Structural Fear and the Ways to Resist It
The article approaches the concept of structural violence by elaborating on the idea of fear as an indicator of social or individual self-destruction. It argues that learning to read fear is an important skill for individuation and, therefore, a part of resistance to oppressive practices. Based on Tolstoy’s political thought, the article draws attention to honesty, gratefulness, love, trust, creative act and responsibility as essential conditions for developing sensibility to read fear and the social structures. Likewise, the article looks at several popular series and literary pieces in each other’s context as an existing intellectual or even social discourse with a special emphasis on the science fiction and fantasy genres in the context of spiritual anti-hierarchical thought. A distinction is made between organic fear –a natural emotion with a function of developing self-recognitio– and structural fear –a tool for manipulation and control over individuals employed by social institutions. The natural character of the emotion, in other words, the experience of fear common to every person, makes it a convenient mechanism of control over the Other. The article uses the findings to support the qualitative turn in the social studies and particularly the tendency towards the holistic or ecological approach to data selection and data interpretation.
El artículo despliega el concepto de violencia estructural mediante la idea del miedo como indicador de la auto-destrucción social o individual y plantea que aprender a leer el miedo hace parte de la resistencia a las prácticas opresivas. Con base en el pensamiento político de Tolstoi, el artículo llama la atención sobre la honestidad, el amor, la confianza, el acto creativo y la responsabilidad como condiciones esenciales para desarrollar la sensibilidad a la opresión. Asimismo, el artículo analiza varias series populares y piezas literarias en el contexto de cada una como parte del discurso intelectual y social existente. Se hace una distinción entre el miedo orgánico, una emoción natural con la función de desarrollar el auto-reconocimiento, y el miedo estructural, una herramienta de manipulación y control. El artículo pretende contribuir al giro cualitativo en los estudios sociales y, particularmente, la tendencia hacia el enfoque holístico o ecológico al conocimiento y a la investigación social.
Journal Article
Nina, Nina, star ballerina
Nina creates a problem for herself when she tells her friends that she will be a star in the upcoming ballet performance and they misunderstand her.
Book
The Berenstain bears and the truth
Brother and Sister Bear learn how important it is to tell the truth after they accidentally break Mama Bear's most favorite lamp.
Book
AQUINAS ON TESTIMONIAL JUSTIFICATION: FAITH AND OPINION
[...]Aquinas, like Augustine, argues that human society could not function without a horizontal epistemic division of labor. Even competence on a topic can be compelled by hypnosis, and could conceivably be compelled in science fiction cases by brain lesions or brain-controlling devices. Because speakers compelled in these ways do not speak the truth responsibly out of a virtuous motivation, they are not worthy of the audience's faith.
Journal Article