Thematische Bibliographien / Fiction / Bücher
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Bücher zum Thema „Fiction“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 31. Juli 2024

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1

Lardreau, Guy. Fictions philosophiques et science-fiction: Récreation philosophique. [Le Paradou]: Éditions Actes Sud, 1988.

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2

Paul, West. The universe, and other fictions: Short fiction. Woodstock, N.Y: Overlook Press, 1988.

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3

Lardreau, Guy. Fictions philosophiques et science-fiction: Récréation philosophique. Arles: Actes Sud, 1988.

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4

Zamaron, Alain. Récits et fictions des mondes disparus: L'archéologie-fiction. Aix-en-Provence: Publications de l'université de Provence, 2007.

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5

Talbot, Mary M. Fictions at work: Language and social practice in fiction. London: Longman, 1995.

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6

Dietz, Steven. Fiction. New York: Samul French, Inc., 2005.

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7

Gilou, Le Gruiec, und Caujolle Christian, Hrsg. Fiction. Munich, Germany: Kehayoff, 2001.

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8

Jenise, Williamson C., Alvarez Rafael und Minot George, Hrsg. Fiction. Baltimore, Md. (1101 N. Calvert St. #1605, Baltimore 21202): Damascus Works, 1990.

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9

Dietz, Steven. Fiction. New York, NY: Samuel French, 2006.

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10

Ackerman, Michael. Fiction. Paris: Delpire, 2001.

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11

S, Gwynn R., Hrsg. Fiction. 2. Aufl. New York: Longman, 1998.

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12

Elish, Dan. Fiction. New York: Marshall Cavendish Benchmark, 2012.

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13

Leggett, Jane. Fiction. London: ILEA English Centre, 1986.

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14

Thomas, P. L., Hrsg. Science Fiction and Speculative Fiction. Rotterdam: SensePublishers, 2013. http://dx.doi.org/10.1007/978-94-6209-380-5.

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15

1946-, Hottois Gilbert, Hrsg. Science-fiction et fiction spéculative. [Bruxelles]: Editions de l'Université de Bruxelles, 1985.

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16

Lamarque, Peter. Fiction. Herausgegeben von Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0021.

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The concept of fiction is not identical to that of literature, and the discussion that follows concentrates on the former alone. Not only do the terms ‘fiction’ and ‘literature’ have different extensions — not all fictions are literary and not all literary works are fictional — but their meanings differ too, not least because the latter has an evaluative element lacking in the former. Of course, many of the great works of literature are also fictional, so an analysis of fiction will shed light on one aspect of them. But it should not be supposed that an analysis of fiction will exhaust all there is to say about literature, nor that such an analysis will encompass distinctively literary qualities.
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17

Stock, Kathleen. The Nature of Fiction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798347.003.0006.

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Drawing upon extreme intentionalism, a theory of fiction is built, arguing that a fiction is a set of instructions to a reader, instructing her to imagine various things. Call this ‘the basic claim’. This view is defended against those, such as Gregory Currie, Peter Lamarque and Stein Olsen, and David Davies, who would agree with the basic claim as one condition of fiction, but who would argue that a theory of fiction also needs additional conditions. It is also defended against those, such as Stacie Friend and Derek Matravers, who would reject even that basic claim. Finally there is a consideration of what to say about less straightforward cases, such as split narrative, ‘ambiguous fictions’, ‘fictions within fictions’, unreliable narration, and those cases where a fictional character appears as such in a fiction.
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18

Abell, Catharine. Fiction. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198831525.001.0001.

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The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences identify their contents, or to identify the norms governing the correct understanding and interpretation of works of fiction. This book answers a wide range of both metaphysical and epistemological questions concerning fiction in a way that clarifies the relations between them. The metaphysical questions include: what distinguishes works of fiction from works of non-fiction; what is the nature of fictive utterances; what determines the contents of works of fiction; what kinds of fictive content are there; how broad in scope is fictive content; and what kinds of things are fictional entities? The epistemological questions include: how do audiences identify the contents of authors’ fictive utterances; how does understanding a work of fiction differ from interpreting it; and what role do thinking and talking about fiction from an external perspective play in enabling communication through fiction? This book develops the first single theory that provides answers to all these questions.
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19

Jones, John Beauchamp. Wild Fiction Scenes: A Narrative of Fictions in the Fiction Wilderness,. BiblioBazaar, 2007.

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20

Fictional Immorality and Immoral Fiction. Lexington Books/Fortress Academic, 2021.

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21

e Fictions: Eng 322-01: Writing Fiction. Cambridge: Heinle & Heinle, 2002.

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22

Iberian Crime Fiction Cymru European Crime Fictions. University of Wales Press, 2011.

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23

McGregor, Rafe. A Criminology Of Narrative Fiction. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529208054.001.0001.

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This book answers the question of the usefulness of criminological fiction. Criminological fiction is fiction that can provide an explanation of the causes of crime or social harm and could, in consequence, contribute to the development of crime or social harm reduction policies. The book argues that criminological fiction can provide at least the following three types of criminological knowledge: (1) phenomenological, i.e. representing what certain experiences are like; (2) counterfactual, i.e. representing possible but non-existent situations; and (3) mimetic, i.e. representing everyday reality in detail and with accuracy. The book employs the phenomenological, counterfactual, and mimetic values of fiction to establish a theory of the criminological value of narrative fiction. It begins with a critical analysis of current work in narrative criminology and current criminological work on fiction. It then demonstrates the phenomenological, counterfactual, and mimetic values of narrative fiction using case studies from fictional novels, graphic novels, television series, and feature films. The argument concludes with an explanation of the relationship between the aetiological and pedagogic values of narrative fiction, focusing on cinematic fictions in virtue of the vast audiences they reach courtesy of their place in global popular culture.
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24

Leacock, Stephen. Frenzied Fiction: Fiction. Independently published, 2018.

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25

Jean Michel, et al. Alberola. Fiction? Non-Fiction? Editions Florence Loewy, 1995.

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26

Jones, John Beauchamp. Wild Fiction Scenes (Large Print Edition): A Narrative of Fictions in the Fiction Wilderness,. BiblioBazaar, 2007.

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27

Fictions of Language and the Languages of Fiction. Routledge, 1993.

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28

Fictions of Dreams: Dreams, Literature, and Fiction Writing. Karnac Books, 2017.

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29

Thought X: Fictions and Hypotheticals (Science-into-fiction). Comma Press, 2017.

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30

Fludernik, Monika. Fictions of Language and the Languages of Fiction. Taylor & Francis Group, 2003.

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31

Broderick, Damie. Reading by Starlight: Postmodern Science Fiction (Popular Fictions). Routledge, 1994.

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32

Rheinschmiedt, Otto M. Fictions of Dreams: Dreams, Literature, and Fiction Writing. Karnac Books, 2017.

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33

Fludernik, Monika. Fictions of Language and the Languages of Fiction. Taylor & Francis Group, 2003.

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34

Fludernik, Monika. Fictions of Language and the Languages of Fiction. Taylor & Francis Group, 2003.

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35

Fictions of Dreams: Dreams, Literature, and Fiction Writing. Taylor & Francis Group, 2017.

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36

Koenigs, Thomas. Founded in Fiction. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691188942.001.0001.

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What is the use of fiction? This question preoccupied writers in the early United States, where many cultural authorities insisted that fiction reading would mislead readers about reality. This book argues that this suspicion made early American writers especially attuned to one of fiction's defining but often overlooked features—its fictionality. The book shows how these writers explored the unique types of speculative knowledge that fiction could create as they sought to harness different varieties of fiction for a range of social and political projects. Spanning the years 1789 to 1861, the book challenges the “rise of novel” narrative that has long dominated the study of American fiction by highlighting how many of the texts that have often been considered the earliest American novels actually defined themselves in contrast to the novel. Their writers developed self-consciously extranovelistic varieties of fiction, as they attempted to reform political discourse, shape women's behavior, reconstruct a national past, and advance social criticism. The book features original discussions of a wide range of canonical and lesser-known writers, including Hugh Henry Brackenridge, Royall Tyler, Charles Brockden Brown, Leonora Sansay, Catharine Maria Sedgwick, Edgar Allan Poe, Robert Montgomery Bird, George Lippard, Harriet Beecher Stowe, Frederick Douglass, and Harriet Jacobs. By reframing the history of the novel in the United States as a history of competing varieties of fiction, the book shows how these fictions structured American thinking about issues ranging from national politics to gendered authority to the intimate violence of slavery.
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37

Augustine, Ayanna. No Laughing Matter... . A Fictional Non Fiction. Lulu Press, Inc., 2010.

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38

Augustine, Ayanna. No laughing Matter... A Fictional Non Fiction. Lulu Press, Inc., 2010.

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39

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman und Stephanie Sandler. Prose Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0019.

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This chapter considers the prose genres that developed in the period and their relative artistic success and limitations, recognizing that poetry had been much more open to innovation than prose. Forms such as the memoir (fictional as well as real), autobiography, letter writing, the allegorical novel, and the short story conform to the general pattern of literary norms adapted from European models. The chapter explains that a gap opened between literary fiction in translation and novels written in Russia, arguing that Russian writers chose not to emulate the contemporary European novel, revising instead picaresque and quixotic fictions associated with the seventeenth century and the romance tradition.
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40

Maier, Emar, und Andreas Stokke, Hrsg. The Language of Fiction. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846376.001.0001.

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The Language of Fiction brings together new research on fiction from philosophy and linguistics. Fiction is a topic that has long been studied in philosophy. Yet recently there has been a surge of work on fictional discourse in the intersection between linguistics and philosophy of language. There has been a growing interest in examining long-standing issues concerning fiction from a perspective informed both by philosophy and linguistic theory. The Language of Fiction contains fourteen essays by leading scholars in both fields, as well as a substantial Introduction by the editors. The collection is organized in three parts, each with their own introduction. Part I, “Truth, reference, and imagination”, offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, “Storytelling”, deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, “Perspective shift”, zooms in on an alleged key characteristic of fictional narratives, viz. the way we get access to the fictional characters’ inner lives, through a variety of literary techniques for representing what they say, think, or see.
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41

Fiction and Non-fiction. Rigby Educational Publishers, 2007.

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42

Fiction South-Fiction North. Ridgefield Press, 1992.

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43

Talbot, Mary M. Fictions at Work: Language and Social Practice in Fiction. Taylor & Francis Group, 2014.

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44

Talbot, Mary M. Fictions at Work: Language and Social Practice in Fiction. Taylor & Francis Group, 2014.

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45

Fludernik, Monika. The Fictions of Language and the Languages of Fiction. Routledge, 2014.

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46

Karmakar, Indrani. Maternal Fictions: Writing the Mother in Indian Women's Fiction. Taylor & Francis Group, 2022.

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47

Karmakar, Indrani. Maternal Fictions: Writing the Mother in Indian Women's Fiction. Taylor & Francis Group, 2022.

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48

Karmakar, Indrani. Maternal Fictions: Writing the Mother in Indian Womens Fiction. Routledge, 2022.

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49

Hanrahan, Mairéad. Cixous's Semi-Fictions: Thinking at the Borders of Fiction. Edinburgh University Press, 2014.

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50

Crime Fiction in the City Cymru European Crime Fictions. University of Wales Press, 2013.

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