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In literature, the paradox is an anomalous juxtaposition of incongruous ideas for the sake of striking exposition or unexpected insight. It functions as a method of literary composition and analysis that involves examining apparently contradictory statements and drawing conclusions either to reconcile them or to explain their presence.
A paradox is a logically self-contradictory statement or a statement that runs contrary to one's expectation. [1] [2] It is a statement that, despite apparently valid reasoning from true or apparently true premises, leads to a seemingly self-contradictory or a logically unacceptable conclusion.
The term paradox is often used to describe a counter-intuitive result. However, some of these paradoxes qualify to fit into the mainstream viewpoint of a paradox, which is a self-contradictory result gained even while properly applying accepted ways of reasoning.
The paradox of fiction has also been investigated under the framework of affective neuroscience. Several studies reported a decreased emotional response for emotional stimuli believed to be fictional (e.g., involving actors and stuntmen, movie makeup or CGI), suggesting a quantitative, rather than qualitative, modulation of emotion by fiction.
Wikipedia also contains paradoxes. In Wikipedia, there are a number of paradoxes. This is intended to be a high-level overview of the major conceptual paradoxes within our project. Paradox 1: Immutable change Authoritative writing strives for perpetual immutability, or "perfection." Wikis facilitate dynamic change that negates immutability and ...
The paradox of analysis (or Langford–Moore paradox) [1] is a paradox that concerns how an analysis can be both correct and informative. The problem was formulated by philosopher G. E. Moore in his book Principia Ethica, and first named by C. H. Langford in his article "The Notion of Analysis in Moore's Philosophy" (in The Philosophy of G. E. Moore, edited by Paul Arthur Schilpp, Northwestern ...
The barbershop paradox was proposed by Lewis Carroll in a three-page essay titled "A Logical Paradox", which appeared in the July 1894 issue of Mind. The name comes from the "ornamental" short story that Carroll uses in the article to illustrate the paradox.
Polanyi's paradox, named in honour of the British-Hungarian philosopher Michael Polanyi, is the theory that human knowledge of how the world functions and of our own capability are, to a large extent, beyond our explicit understanding.