Journal articles on the topic 'Authors and readers – Fiction'
To see the other types of publications on this topic, follow the link: Authors and readers – Fiction.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Authors and readers – Fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Askarova, V. Ya. "To Understand, to Guess, to Feel the Reader." Observatory of Culture, no. 3 (June 28, 2015): 119–21. http://dx.doi.org/10.25281/2072-3156-2015-0-3-119-121.
Full textAbstract:
To Understand, to Guess, to Feel the Reader (by Violetta Askarova) gives review of the book “Typology of Fiction Reading and Fiction Readers” by M. Y. Serebryanaya and G. N. Shevtsova-Vodka. This publication includes an analysis of fiction reading. The process of reading is displayed; the theory of reading and the scientific approaches to the classification of fiction readers are examined. Some basic concepts of the typology of reading are described. The authors analyze the typifications of fiction readers. Results received by different researchers in this field are summarized. The publication will help with the choice of literary and fictional works to read, with their most complete perception.
2
Carroll, Joseph. "Minds and Meaning in Fictional Narratives: An Evolutionary Perspective." Review of General Psychology 22, no. 2 (June 2018): 135–46. http://dx.doi.org/10.1037/gpr0000104.
Full textAbstract:
This article presents a theoretical framework for an evolutionary understanding of minds and meaning in fictional narratives. The article aims to demonstrate that meaning in fiction can be incorporated in an explanatory network that includes the whole scope of human behavior. In both reality and fiction, meaning consists of experiences in individual minds: sensations, emotions, perceptions, and thoughts. Writing and reading fiction involve 3 sets of minds, those of authors, readers, and characters. Meaning in the minds of authors and readers emerges in relation to the experiences of fictional characters. Characters engage in motivated actions. To understand minds and meaning in fiction, researchers need analytic categories for human motives. A comprehensive model of human motives can be constructed by integrating ideas from evolutionary biology, anthropology, and psychology. Motives combine in different ways to produce different cultures and different individual identities, which influence experience in individual minds. The mental experiences produced in authors and readers by fictional narratives have adaptive psychological functions. By encompassing the minds of authors, characters, and readers within a comprehensive model of human motives, this article situates the psychology of fiction within the larger research program of the evolutionary social sciences.
3
Benedict, Barbara M. "Print into Fiction, Readers into Authors." Eighteenth Century 55, no. 4 (2014): 455–59. http://dx.doi.org/10.1353/ecy.2014.0033.
Full text
4
Mackey, Margaret. "Formative Young Adult Literature: Negotiating the Terms of Reading." Jeunesse: Young People, Texts, Cultures 14, no. 2 (December 1, 2022): 180–95. http://dx.doi.org/10.3138/jeunesse-2022-0004.
Full textAbstract:
Joshua Landy says “formative fictions” help us fine-tune our mental capacities. This article looks at how novels for young adults may challenge readers to fine-tune their capacities as readers of more complex fiction. Three sample titles ( I Capture the Castle by Dodie Smith, The Tricksters by Margaret Mahy, and Slay by Brittney Morris) make use of character-authors to invite readers to negotiate the terms of reading. Young readers normally have extensive childhood experience in the social negotiation of the terms of make-believe games (“You be the daddy”) and can apply this expertise to the challenge of these novels as they interact with the explicit observations of the heroines about the making of stories. This article takes up Aidan Chambers’ challenge to analyze materials for youth as a separate literature. By exploring the work of three novels published over a 70-year span, (the titles were published in 1948, 1986, and 2019), it meets his demand to include the history of youth literature in our considerations. In these sample texts, young readers are invited to turn back to early childhood in order to make use of the skills and experience of fictional engagement as first developed in pretend games; as a consequence, they develop more subtle capacities as interpreters of complex fiction, thus addressing a major challenge of what Chambers calls “the age between.”
5
Sari, Winda Setia, Faruk Faruk, and Ursula Hurley. "Reading stories for pleasure: An insight into Indonesian university students' practice in online reading platforms." Indonesian Journal of Applied Linguistics 13, no. 2 (September 30, 2023): 430–42. http://dx.doi.org/10.17509/ijal.v13i2.63076.
Full textAbstract:
Reading motivation has been extensively studied in online reading settings. However, little is known about what makes people want to read fiction online, especially in a foreign-language setting. As part of the growth of digital literature and cybernetics, online fiction is gaining popularity among young Indonesians. This research sought to explore Indonesian student-readers’ motivations and preferences as they practiced and were engaged in reading online stories in English. One hundred twelve university students responded to a survey, and 14 were randomly selected for in-depth interviews to learn more about their reading motivations, preferences, and cybernetic literary practices. Analysis of data from the survey showed that most participants chose Wattpad and Webtoon as their favorite online platforms, with romance and fantasy as their favorite genres. They devoted many hours to reading novels on these platforms to seek enjoyment and improve their English vocabulary and language. Nevertheless, data from the interviews further revealed that readers read solely to seek enjoyment and pleasure. Also, readers were primarily silent, unwilling to participate in online conversations between readers and reader-authors but actively rating the novels after reading. Findings contribute to establishing views on online reading motivation and cybernetic literary practices for EFL fiction readers; reading for pleasure is the intrinsic motivation that triggers Indonesian university student-readers to stay online on the platform.
6
Šporčič, Anamarija. "The (Ir)Relevance of Science Fiction to Non-Binary and Genderqueer Readers." ELOPE: English Language Overseas Perspectives and Enquiries 15, no. 1 (June 25, 2018): 51–67. http://dx.doi.org/10.4312/elope.15.1.51-67.
Full textAbstract:
As an example of jean Baudrillard’s third order of simulacra, contemporary science fiction represents a convenient literary platform for the exploration of our current and future understanding of gender, gender variants and gender fluidity. The genre should, in theory, have the advantage of being able to avoid the limitations posed by cultural conventions and transcend them in new and original ways. In practice, however, literary works of science fiction that are not subject to the dictations of the binary understanding of gender are few and far between, as authors overwhelmingly use the binary gender division as a binding element between the fictional world and that of the reader. The reversal of gender roles, merging of gender traits, androgynous characters and genderless societies nevertheless began to appear in the 1960s and 1970s. This paper briefly examines the history of attempts at transcending the gender binary in science fiction, and explores the possibility of such writing empowering non-binary/genderqueer individuals.
7
Serebryanaya, M. Ya, and G. N. Shvetsova-Vodka. "Fiction Readers Typing at the Stage of Pre-reading." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (June 28, 2014): 63–69. http://dx.doi.org/10.25281/0869-608x-2014-0-3-63-69.
Full text
8
Gittel, Benjamin, Robert Deutschländer, and Martin Hecht. "Conveying moods and knowledge-what-it-is-like through lyric poetry." Transdisciplinary Approaches to Literature and Empathy 6, no. 1 (December 14, 2016): 131–63. http://dx.doi.org/10.1075/ssol.6.1.07git.
Full textAbstract:
A very influential idea in western aesthetics is that poems convey multifaceted affective states (moods). This interdisciplinary study compares the moods aroused by the poems with the moods the reader thinks the poem expresses. Further, aroused and expressed mood are compared to the mood the professional authors of the poems had intended. An experimental design with a total of 234 participants was employed. Main results are: (1) Readers’ expressed and aroused moods differ on average and between-person variation is somewhat higher in aroused mood. (2) Authors’ intended moods differ from readers’ expressed moods as well as from readers’ aroused moods. (3) Some readers acquire a special kind of experiential knowledge (knowledge-what-it-is-like to be in a specific mood) through the reception of a poem. In an exploratory fashion, the effects of literary education, classification as fiction, ascription of mood to a situation described in the poem, and reading time were investigated.
9
Sobihah Rasyad, Abdul Rozak. "POLA AKHIR EMPAT CERITA PENDEK (The Ending Pattern of Four Short Stories)." METASASTRA: Jurnal Penelitian Sastra 7, no. 2 (March 11, 2016): 127. http://dx.doi.org/10.26610/metasastra.2014.v7i2.127-142.
Full textAbstract:
Cerita pendek sebagai karya fiksi memberikan berbagai kemungkinan pembacaan dan pemaknaan kepada para pembacanya. Pengarang yang cerdas selalu memberikan peluang kepada para pembaca dengan menyusun peristiwa secara beruntun dan berlogika. Pengarang menyadari kecerdasan para pembacanya. Kualitas cerita pendek ditentukan oleh cara pengarang memosisikan para pembacanya. Logika cerita fiksi tidak dirasakan sebagai pembohongan oleh pembaca. Atas dasar logika cerita fiksi itu penulis menelusuri gaya pengarang dalam melibatkan pembaca untuk berpikir setelah cerita dalam cerpen itu diselesaikan pengarang. Gaya pengarang menyelesaikan cerpen pada umumnya mempunyai kesamaan dalam hal memosisikan pembaca sebagai orang yang cerdas. Dari empat buah cerpen yang dianalisis pada intinya pengarang menyisakan peristiwa yang harus dilanjutkan oleh pembaca dengan meninggalkan petunjuk yang berarti. Pembaca dimungkinkan menyusun cerita berdasarkan bagian penutup cerpen. Pengarang telah menyelesaikan ceritanya dan pembaca memulai ceritanya. Tentu saja muncul keragaman gaya akhir yang disajikan pengarang.Abstract:Short story as a fiction gives various possible interpretations to its readers. A smart author always gives opportunity to his readers by constructing structured events. He realizes that his readers are smart. The quality of a short story is determined by how the author puts his readers. A logical fiction is the story that is not considered as lies and deception by its readers. Regarding that, the writer attempts to trace authors’ style in making the readers involve in order to recon- struct the story. Generally, authors’ style in finishing the story has something in common in term of how they put them as smart readers. The main point from the four short stories is that the authors give a space of some events that can be interpreted by their readers by leaving some important clues. It is possible for readers to reconstruct a story based on the ending of the story. The author has completed the story while the reader starts to reconstruct the story. Indeed, there will be vari- ous ending style made by the author.
10
Legeza, Segey. "Польша в русскоязычной фантастике: „чужой” cреди „своих”." Literatura i Kultura Popularna 23 (May 31, 2018): 25–38. http://dx.doi.org/10.19195/0867-7441.23.2.
Full textAbstract:
Poland in Russian-language fantastic fiction: The “other” among usThe article is devoted to the reception of the “Polish” in the Russian-language fiction. It indicates the sources of “background knowledge” of Poland from the authors and readers. The article deals with of images of Poland from the Soviet era to the present. Here are presented the schemes of work with the Polish material in the Soviet and post-Soviet fiction. Among them are: 1 the use of the Slavic and Polish material to provide the reader with a distance; 2 the use of “Polishness” as a mirror for self-examination of Russian culture; 3 the game with the Polish in the context of revenge models in the alternative stories Poland as an “internal” and “external” enemy.
11
Del Gobbo, Daniel. "Unreliable Narration in Law and Fiction." Canadian Journal of Law & Jurisprudence 30, no. 2 (August 2017): 311–38. http://dx.doi.org/10.1017/cjlj.2017.15.
Full textAbstract:
This article revisits long-standing debates about objective interpretation in the common law system by focusing on a crime novel by Agatha Christie and judicial opinion by the Ontario High Court. Conventions of the crime fiction and judicial opinion genres inform readers’ assumption that the two texts are objectively interpretable. This article challenges this assumption by demonstrating that unreliable narration is often, if not always, a feature of written communication. Judges, like crime fiction writers, are storytellers. While these authors might intend for their stories to be read in certain ways, the potential for interpretive disconnect between unreliable narrators and readers means there can be no essential quality that marks a literary or legal text’s meaning as objective. Taken to heart, this demands that judges try to narrate their decisions more reliably so that readers are able to interpret the texts correctly when it matters most.
12
De Roest, Karla. "Maak een vuist als je geen hand hebt. Inclusiviteit in (pre)historische jeugdromans." Paleo-aktueel, no. 33 (July 16, 2024): 39–48. http://dx.doi.org/10.21827/pa.33.39-48.
Full textAbstract:
The one-handed hero: Inclusiveness in historical fiction for childrenHaving grown up with a sister in a wheelchair meant that I took this normalcy into the fictional world of the past. So when I crossed paths with Drem in Rosemary Sutcliff’s 1958 novel Warrior Scarlet, he was to me just a boy with one functional arm. It was not until much later that I realised he was one of the very few protagonists in historical fiction with a disability. A lack of inclusiveness is problematic, first, when it comes to readers identifying with the physical condition of the hero(ine) and, second, because, from an archaeological perspective, the proportion of healthy people in historical fiction seems improbably high, while the representation of people with a disability is often stereotyped. Maybe archaeologists should provide authors of historical fiction with a more informed description of the past.
13
Bradley, Philip. "Indexes to works of fiction: the views of producers and users on the need for them." Indexer: The International Journal of Indexing: Volume 16, Issue 4 16, no. 4 (October 1, 1989): 239–48. http://dx.doi.org/10.3828/indexer.1989.16.4.4.
Full textAbstract:
Over many years there have been occasional items in The lndexer on the question of whether fiction needs to be indexed. An attempt is made here to bring together the views of authors, publishers, reviewers, readers, literary societies and indexers in order to see what the various groups of fiction users think of the matter.
14
Berrebbah, Ishak. "Understanding the Function of Empathy through Laila Halaby’s West of the Jordan." Prague Journal of English Studies 10, no. 1 (July 1, 2021): 75–90. http://dx.doi.org/10.2478/pjes-2021-0005.
Full textAbstract:
Abstract Arab American fiction has received great attention in the post-9/11 period. This ethnic literature has been put under a critical lens due to the aspects that shape it and the issues discussed in it. One of the main objectives of Arab American fiction is to bridge cultural differences and appeal to its readers, both Arabs and non-Arabs. This particular objective is achieved by the authors’ willingness to trigger empathetic engagement with their characters. As such, this paper looks at how Laila Halaby’s West of the Jordan (2003) functions in accordance with the poetics of empathy. In other words, the aim of this paper is to show how fiction appeals to its readers through empathy and how empathetic engagement sustains the characters-readers connection, taking West of the Jordan as a literary example. This paper suggests that empathy in fiction is multi-layered and serves different purposes. The arguments are based on a conceptual framework supported by scholarly perspectives of prominent critics and theorists such as Chielozona Eze, Heather Hoyt, and Suzanne Keen, to name just a few.
15
Zhang, Weiwei, Jackie Chi Kit Cheung, and Joel Oren. "Generating Character Descriptions for Automatic Summarization of Fiction." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 7476–83. http://dx.doi.org/10.1609/aaai.v33i01.33017476.
Full textAbstract:
Summaries of fictional stories allow readers to quickly decide whether or not a story catches their interest. A major challenge in automatic summarization of fiction is the lack of standardized evaluation methodology or high-quality datasets for experimentation. In this work, we take a bottomup approach to this problem by assuming that story authors are uniquely qualified to inform such decisions. We collect a dataset of one million fiction stories with accompanying author-written summaries from Wattpad, an online story sharing platform. We identify commonly occurring summary components, of which a description of the main characters is the most frequent, and elicit descriptions of main characters directly from the authors for a sample of the stories. We propose two approaches to generate character descriptions, one based on ranking attributes found in the story text, the other based on classifying into a list of pre-defined attributes. We find that the classification-based approach performs the best in predicting character descriptions.
16
Newell, Stephanie. "Making up their own minds: readers, interpretations and the difference of view in Ghanaian popular narratives." Africa 67, no. 3 (July 1997): 389–405. http://dx.doi.org/10.2307/1161181.
Full textAbstract:
AbstractReading is a situated ‘social event’, taking place in the context of collective ‘assumptions about language and meaning’ which condition an individual's interpretations. Before turning the first page of a popular novel, or watching the first scene of a theatrical performance, the ‘reader’ already occupies a culturally specific receptive position, and each instance of interpretation is likely to be informed by shared preconceptions about the function of literature.The role of readers is essential to the discussion of popular narratives in West Africa. Authors acknowledge the readership's participation in the co-creation of novels, to such an extent that plots themselves may be transformed or extended in response to letters from readers. By taking sides with the character type whose social position most closely resembles their own, readers select specific figures through whom they can apportion praise and blame, through whom they can confirm their own opinions about men's and women's domestic roles. Readers adopt interpretive positions that depend upon the relevance of fictional types to their storehouse of opinions about marriage partners, ‘good-time girls’, mothers-in-law, ‘sugar-daddies’ and prostitutes.A reader-centred perspective, then, is vital to complement the ‘straight’ literary analysis of popular narratives. Indeed, one could say that, without the interpretive input of readers, West African popular fiction is nothing. Readers cannot be homogenised into a single species: during the reception process, distinct, preconstituted reading communities rise up, identifying ‘themselves’ in the narrative as gendered social subjects and extrapolating opinions from the text. In this receptive environment, popular narratives take on the semblance of rafts rather than shipwrecks, conveying and buoying up readers' active, self-interested reconstructions of themselves.
17
Johnson, Carroll B. "La construcción del personaje en Cervantes." Cervantes 15, no. 1 (March 1995): 8–32. http://dx.doi.org/10.3138/cervantes.15.1.008.
Full textAbstract:
Human identity is not given and stable, but constantly under construction. Reality can only be known indirectly, through some form of representation. There is no essential difference between the categories of literary character (personaje) and real person (persona). Both are construed by a reader/observer, on the basis of observable, verifiable data (“text,” “discourse,” “signifier”) and reasonable inference of aspects not visible on the surface (“story,” “signified”). An unconscious dimension can be inferred (construed) for verisimilar literary characters as for real people. Literary characters are composed of properties of “discourse” and properties of “story” supplied by readers both within and outside the text. Within texts, characters are constructed by themselves, their fellow characters, and their narrators. Examples are Belica/Isabel and Pedro in Pedro de Urdemalas, and Cardenio in Don Quijote I, leading to Don Quijote himself and his overdetermined self-fashioning. Outside the text, characters are constructed by authors and then reconstructed by readers. Any reader's first mission is to reconstruct the “story” from the “discourse.” The author-textual person-reader relationship is studied in relation to Don Quijote (fiction) and “Serbantes” of the 1580 Información de Argel (fact).
18
SHPINARSKAYA, ELENA. "MEANS AND METHODS OF BUILDING EMOTION IN ONLINE FLASH FICTION." Studia Humanitatis 25, no. 4 (December 2022): 33–38. http://dx.doi.org/10.15393/j12.art.2022.3905.
Full textAbstract:
Online fiction is often known as an experimental platform for searching new literary forms and unconventional ways of making an emotional impact on readers. Contests hosted by many online platforms uncover high-profile texts. The article deals with a story in the genre of nanofantasy (up to 5,000 symbols) “The Final Cup of Wine” written by D. Laputina and published on M. Moshkov’s Samizdat platform as part of the 2021 contest conducted by the Chemistry and Life journal for several years in a row. The story stood out both for its bright and sensible images and for the emotional response of the readers. The article examines the means and methods of building emotion in the story from the ethical and esthetic points of view. Flash fiction implies the highest concentration of sensibility in the text as a mechanism for grasping the world sensually. A number of esthetic categories used in the text deserve special attention. At the same time, moral issues are closely woven into the narrative fabric, presenting a complex set of problems related to artificial intelligence, respect for human life, murder, ethics, and so on. The ultimate inability to verify an online author’s identity acts as an additional emotional component of the overall esthetic impact on the reader. Moreover, the competitive environment presupposes the possibility of interpersonal communication between the author and the reader when comments on the text become an integral part of the text itself. These comments can take various forms and serve as an object of a separate study. This article, however, considers comments as a means of intensifying emotional impact actively used by online authors through the example of a particular story and its anonymous author.
19
Beley, M. "Genre Features of Pierre Boulle's Dystopian Science Fiction Novel "Planet of the Apes": A Communicative Aspect." Scientific Research and Development. Modern Communication Studies 12, no. 6 (December 29, 2023): 20–27. http://dx.doi.org/10.12737/2587-9103-2023-12-6-20-27.
Full textAbstract:
The enduring popularity of 20th century science fiction authors among readers of all age categories has been noted in numerous works of literary scholars. An extremely important aspect is the fact that the author and the reader must have a common language in order for communication to be effective. The relevance of the study is due to the growing interest in the problem of interpreting the genre of science fiction works. The aim of this study is to try to trace the synthesis of genre forms from the point of view of communicativism and the theories of C. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre Boulle. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre BoulleIn the course of the study, the methods of contextual literary analysis, cognitive-discourse analysis, as well as stylistic and genre analysis were applied. As a result of the study, the conclusions were obtained that the novel "Planet of the Apes" by P. Boulle combines elements of the genre of science fiction novel, philosophical parable, utopia and dystopia. The novel is a satirical work, touching upon the themes of scientific progress, communication, evolution and human society, which are topical at present. The author, when creating a work, follows literary conventions or deliberately goes against them, creating something innovative. The genre of science fiction has been and remains a synthetic genre, incorporating elements of various genres, which intricately intertwined, enter into communication with the reader, helping him to create fictional worlds. Scientific novelty of the research consists in the fact that for the first time in Russia the study of genre originality of P. Boulle's work in the aspect of communication with the reader is undertaken. The article may be useful for literary scholars, postgraduates, students and all those interested in the problems of genre synthesis in modern science fiction.
20
Baimukhametova, K. I., T. I. Galeeva, S. Kh Kaziakhmedova, and E. A. Yanova. "PHONOSTYLISTICS LANGUAGE TOOLS AS A SOUND TEXT ARRANGEMENT IN ENGLISH AND RUSSIAN LITERATURE." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 447–60. http://dx.doi.org/10.35634/2412-9534-2019-29-3-447-460.
Full textAbstract:
This article considers in details the phonostylistics language tools and techniques as a part of culture, history of the language and the perception of their basic specific properties. The theoretical material is illustrated by examples from Russian and English literature.The analysis of the phonostylistic means and their functioning in a fiction text makes it possible to solve a number of issues related to the sound organization of a text, their use by the authors of works of art. Any fiction text accomplishes a communicative function, that’s why an author needs any certain phonostylistic means to draw the reader's attention for creating a particular emotional image or mood. The similar phonostylistic tools can lead readers to a different perception of a text.
21
Karavanova, Ekaterina K., Lyudmila S. Toropova, and Yulia S. Maximova. "CREATING A TERTIARY WORLDVIEW OF FANTASY FICTION BOOKS THROUGH TRANSLATING INTO ENGLISH (BASED ON NOVELS ABOUT TANYA GROTTER BY D. EMETS)." HUMANITIES AND SOCIAL STUDIES IN THE FAR EAST 20, no. 1 (2023): 108–15. http://dx.doi.org/10.31079/1992-2868-2023-20-1-108-115.
Full textAbstract:
The paper addresses the question of creating a tertiary worldview through translation into English. The analysis presented is based on fantasy fiction books by D. Emets about Tanya Grotter. The authors focus on analysing linguacultural peculiarities of such a process in which the tertiary worldview is formed by means of translating names of people and places (anthroponyms) in the books under analysis. They are regarded as cultural markers of the specific language environment created by the translator in English as a target language compared with the original units in Russian. Such analysis can highlight interactionality as an integral part of culture, translation as a process and readers’ apprehension of the fiction text. The authors of this paper suggest an idea that the worldview mediation in such texts is constructed through employing concepts of another fantasy fictional world of Harry Potter by J.K. Rowling, awareness of which is required at the background of readers’ perception – one has to know about the Potterian world. The units translated from Russian into English, selected for analysis lexical, are regarded as language elements loaded with deep mythological, folklore, historical Russian-speaking bedrocks and rooted in names as linguacultural patterns. The results achieved provide food for thought and further research.
22
Uthman, Sharon. "Who else writes like…? A readers' guide to fiction authors (7th ed.)." Australian Library Journal 63, no. 1 (January 2, 2014): 73–74. http://dx.doi.org/10.1080/00049670.2013.878285.
Full text
23
Poulter, Alan. "Book Review: Who Else Writes Like...? A Readers' Guide to Fiction Authors." Journal of Librarianship and Information Science 38, no. 2 (June 2006): 127–28. http://dx.doi.org/10.1177/096100060603800209.
Full text
24
Bahukhandi, Akanksha. "Are Archetypes Not Enough in Children's Literature? A Case Study of Body Shaming and Stereotypes in Roald Dahl's The Twits And The Witches." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 10. http://dx.doi.org/10.24113/ijellh.v8i2.10413.
Full textAbstract:
Archetypes are easily identifiable in works of fiction regardless of when they were penned and the relevant cultural mileu. This is because archetypes are functional units of the 'collective unconcious' which is common to all. Going by that logic shouldn't the authors of fiction be just fine with exploring various aspects and variations af various archetyes deep seated in the psyche of their readers? If archetypes provide a sound base of ready acceptance by virtue of their familiarity to the entire human race, then what explains the rampant use of strereotypical characters and plots in fiction all across the globe and especially in children's literature? Do the stereotypes encourage prejudices and body shaming? The present paper aims to look into the possible reasons behind the use of stereotypes and caricatures, their effectiveness and their impact on the young readers.
25
Dali, Keren, and Lana Alsabbagh. "Learning about translators from library catalog records: implications for readers’ advisory." New Library World 116, no. 5/6 (May 11, 2015): 264–76. http://dx.doi.org/10.1108/nlw-07-2014-0091.
Full textAbstract:
Purpose – The purpose of this article is to make public librarians aware of the wealth of information about translators that is contained in bibliographic records of their own library catalogs so they could use this information for the benefit of readers’ advisory (RA) work involving translated titles. Design/methodology/approach – The article uses the method of bibliographic data analysis based on 350 selected translated fiction titles (and 2,100 corresponding catalog records) from six large Canadian public libraries. Findings – As the results demonstrate, enhanced bibliographic catalog records deliver a wide spectrum of information about translators, which can be used by public libraries to provide more informed and insightful reading advice and to make more sensible purchasing decisions with regard to translated fiction. Practical implications – The study shows how the most readily available tool – a library catalog with its enhanced bibliographic records – can be utilized by public librarians for improving RA practices. It focuses on the rarely discussed translated fiction, demonstrates a sample methodological approach and makes suggestions for implementing this approach by busy public librarians in real-life situations. Originality/value – No recent studies that have investigated enhanced catalog records have dealt with translated fiction. Moreover, while authors/writers are often in the focus of RA studies, translators are often left behind the scenes, despite their crucial role in bringing international fiction to English-speaking readers.
26
Koger, Grove. "Book Review: Encyclopedia of Nordic Crime Fiction: Works and Authors of Denmark, Finland, Iceland, Norway and Sweden Since 1967." Reference & User Services Quarterly 56, no. 2 (January 4, 2017): 142. http://dx.doi.org/10.5860/rusq.56n2.142.
Full textAbstract:
Thanks to the Kurt Wallander novels of Henning Mankell, the Lisbeth Salander novels of Stieg Larsson, and their motion picture and television adaptations, crime fiction by Finnish and Scandinavian writers has soared in popularity with American readers over the past few years. In her Encyclopedia of Nordic Crime Fiction, Mitzi M. Brunsdale sets out to survey the growing field while offering a historical analysis of its development and importance. She argues that the region’s crime fiction “largely deals with the serious societal problems resulting from originally well-intentioned Nordic welfare state policies now proving problematic,” and believes that it “has enormous relevance to today’s dangerous world” (1).
27
Kashina, M. A., and A. A. Pedchenko. "Fanfiction as a New Social Media, or For What Reason the Youth Write and Read Non-Professional Literature." Administrative Consulting, no. 10 (November 19, 2023): 137–56. http://dx.doi.org/10.22394/1726-1139-2023-10-137-156.
Full textAbstract:
Fanfiction is the literary work of fans who use the plots lines and characters from their favorite work — “canon”. It arose with the advent of the Internet, because the Internet is the place where such works can be published and discussed. Assessments of this phenomenon are very ambiguous: from low-grade graphomania to a school of literary excellence. In any case, fan fiction is an important element of popular / convergent culture, including Russian, which has a noticeable socializing influence on its participants. The purpose of the study is to describe the specifics of fanfiction as a new social media in modern Russian speaking community. Objectives: 1) Characterize the readership of Russian-language fanfiction; 2) Determine the motivation of fan fiction readers; 3) Describe the nature of reader preferences; 4) Highlight the functions of fanfiction as social media and their implementation by Russian readers. Theoretical framework: G. Jenkins’ theory of convergent culture and M. McLuhan’s broad approach to understanding media. Empirical base — online survey of 1007 respondents, secondary analysis of fanfiction research data. Results. The main readers of fan fiction are young middle-class women living in cities and big cities; they study or work in the field of education, science, art and IT. The functions that fanfiction performs correlate with the functions of social media: first of all, entertainment, recreation and leisure, secondly, new emotions and new impressions. Combined with the opportunity to communicate with like-minded people, share your opinion or publish your own texts, fanfiction becomes a space in which each individual user plays important role in the concrete fanfic’s history. It reveals Fanfiction’s convergent nature. Directions for further research: studying the influence of stereotypical ideas about fanfiction on its development, analyzing the reasons for the ambivalent attitude of readers and authors of fan fiction towards cruelty, finding out the reasons for the gender homogeneous composition of the online fanfiction community.
28
Chemodurova, Z. M. "SYMBOLISM OF TRANSCULTURAL FICTION AS A MECHANISM TO INTENSIFY READERS’ COGNITIVE ACTIVITY." Voprosy Kognitivnoy Lingvistiki, no. 2 (2023): 24–37. http://dx.doi.org/10.20916/1812-3228-2023-2-24-37.
Full textAbstract:
Using transcultural fiction by V. Nabokov, K. Ishiguro, Lan Cao and Anya Ulinich as its case studies this article examines the role of symbolism in the texts created by bilingual writers. The article proposes to define transcultural symbols as a special type of literary images synergetically representing ideas and themes of at least two cultures and expressing the unique translingual/transcultural authorial modality. The aim of the article is to analyse major functions of transcultural symbols in creating transcultural literary texts and to determine their significance for enhancing readers’ cognitive activity. The article proves the hypothesis that transcultural symbols might be viewed as a creative result of the bilingual authors’ reflection over complex mechanisms of “semiotic condensation” representing cultural memory, contributing to the increased expressivity, emotivity and ludic modality of transcultural fiction and requiring advanced trascultural/translingual competence on the part of its readers. The findings of the research prove that it is the combination of elements of stylistic and linguo-semiotic analyses that might provide an effective methodology for interpreting transcultural fiction and transcultural symbolism of such texts, in particular. The overall outcome testifies to the importance of further research into varied mechanisms of foregrounding transcultural symbols in fiction, and to the relevance of investigating possible ways to develop readers’ transcultural competence
29
Zelinska, Anastasiia. "Semantic Limits of the Concept “Non-Fiction Book”." Current Issues of Mass Communication, no. 18 (2015): 62–73. http://dx.doi.org/10.17721/2312-5160.2015.18.62-73.
Full textAbstract:
In this study, the author proposed a terminologisation of the concept “non-fiction book” in the framework of Ukrainian theory of publishing. The relevance of the study is stipulated by the emergence in Ukrainian publishing space of the concept “non-fiction book”, which is widely used by publishers, authors, booksellers, literary managers and readers, while the term “non-fiction book” is not clearly defined in Ukrainian academic sphere and is absent in Ukrainian dictionaries. The main objectives of the study are: to summarize results of interdisciplinary discussions over the concept “non-fiction” in Ukrainian and foreign scientific discourses; to clarify the features and peculiarities of different professional approaches; and to define the semantic framework for interpretation of the concept “non-fiction book” in Ukrainian publishing. In the study, the author applied the following research methods: bibliographical method (to study the literature sources); conceptual analysis (to work out the basic terms and concepts); analysis and synthesis (to study the nature of the usage of terms and to identify their features); synthesis (to shape the own definition of the concept “non-fiction”). Having considered the various foreign definitions of the term “non-fiction”, the author came to the conclusions that it is predominantly used in two major senses – a broad and a narrow. In a broader sense, “non-fiction” is a literature that does not contain an artistic fiction. In this sense the term is widely used by the booksellers, authors and readers. In a narrow sense, ‘non-fiction” is a literature that is based on real events, documents, facts and biographies, interpreted by the author through artistic means without distorting the actual events of the story. The concept “non-fiction book” refers to the publications, the content of which is based not only on documents and facts, but also includes the author’s interpretation. The proposed terminologisation of the concept “non-fiction book” in the framework of Ukrainian theory of publishing can be used in further academic research in the relevant fields of study.
30
Pikhtovnikova, Lydia, and Yelyzaveta Bets. "Stylistic features of the Chinese-language artistic and scientific Internet discourse." 96, no. 96 (December 28, 2022): 37–41. http://dx.doi.org/10.26565/2786-5312-2022-96-05.
Full textAbstract:
The article examines stylistic features of Chinese-language fiction and scientific Internet discourse. It considers the concept of "internet discourse", as well as the concepts of "fiction discourse" and "scientific discourse", gives an explanation of certain lexical and grammatical features of the Chinese language. Their manifestation in the considered types of Internet discourse is analyzed. It is noted that the vocabulary of fiction Internet discourse tends to simplification, abbreviations, the use of idioms and catchphrases for greater concentration of information. The authors also use onomatopoeia to imitate the sounds of the surrounding reality by phonetic means of speech. It is shown on examples how, in contrast to popular science texts, the authors of fiction works use reduplication much more often, thereby creating a language more favorable for communication. It is explained why there are quite a lot of slang words in the artistic works of online discourses, which decorate and distinguish the work of the authors. This phenomenon reflects the existence of many dialects and changes in the language, the use of slang words depends on the origin of the author, as well as the emotional color that the author wants to reproduce. The use of linguistic stylistic means is highlighted on the examples of popular scientific and fiction texts. The lexical and grammatical means of expressiveness of the Chinese language of the texts published on the Internet are analyzed. It is indicated that an important feature of Internet works is the use of emoticons and various signs in the texts (smiley of tears, emoticon of shyness, etc.). The functioning of linguistic and stylistic means in the scientific and artistic type of Internet discourse is shown in the comparison. At the grammatical level, fiction and popular science texts are almost the same, there is the use of exclamation points for greater unity between the author and the reader, but in popular science texts they are more restrained and occur only when the author quotes his clients. There is a significant difference between popular science text and fiction. It is noted that the authors of the fiction discourse try to have more contact with the readers, conditionally involve them in the creation of the finale of the fiction work.
31
Morgan, Ceri. "Sonic Spectres: Word Ghosts in Madeleine Thien’s Dogs at the Perimeter and the Digital Map Project, ‘Fictional Montreal/Montréal fictif’." London Journal of Canadian Studies 33, no. 1 (November 14, 2018): 40–57. http://dx.doi.org/10.14324/111.444.ljcs.2018v33.004.
Full textAbstract:
This article analyzes various ghosts and their connections with the unsaid and said in relation to Madeleine Thien’s Dogs at the Perimeter (2011) and the digital map project, ‘Fictional Montreal/Montréal fictif’ (Morgan and Lichti, 2016–17). Drawing on Jacques Derrida’s work on spectres, it suggests that Thien’s novel offers both negative and positive hauntings, by drawing attention to the far-reaching effects of the Cambodian genocide. It goes on to reflect on absence and presence, voice and body in relation to the digital map, which features recordings of authors reading extracts of their fiction set in Montréal. Arguing that ‘Fictional Montreal/Montréal fictif’ performs an interplay between material and imaginary geographies, the article proposes that the map offers the possibility of new conceptualizations of Montréal. In so doing, it argues that both it and Dogs at the Perimeter embrace the potentially utopian aspect of spectrality identified by Derrida. This is due to their encouraging readers to think about our collective responsibilities to each other in a world characterized by mobility and migration.
32
Bronstein, Michaela. "Taking the Future into Account: Today's Novels for Tomorrow's Readers." PMLA/Publications of the Modern Language Association of America 134, no. 1 (January 2019): 121–36. http://dx.doi.org/10.1632/pmla.2019.134.1.121.
Full textAbstract:
The idea of writing for the future often seems like a selfish act: a claim for personal immortality. Yet writing with future readers in mind also requires imagining the needs of a world radically different from our own. This paper examines Future Library, an artwork in which authors contribute writing that will not be read until 2114, and the fiction of David Mitchell, one of the contributing authors. In these works, writing for the future is political, not because it represents the future but because it simultaneously demands intervention in the present and opens itself to the new and to unexpected future uses.
33
Kairaitytė-Užupė, Aušra. "Neformalių XX a. pabaigos – XXI a. pradžios Lietuvos jaunimo leidinių – fanzinų – leidybos tendencijos." Knygotyra 82 (July 16, 2024): 143–69. http://dx.doi.org/10.15388/knygotyra.2024.82.6.
Full textAbstract:
This article analyzes Lithuanian youth subcultural group publications – fanzines (zines) – which have not yet received broader attention from researchers. Paper fanzines started to be created at the end of the 20th century and became popular in the 1990s, spreading Western culture ideas and changing the political, and socio-cultural environment in Lithuania along with technological copying and reproduction possibilities. Using resources from Lithuania’s Youth Culture Digital Archive “Lithuanian Zine Collection” and additionally collected sources, the article analyzes the trends in the creation and publishing of fanzines. By comparing the publishing similarities and differences of fanzines attributed to different subcultural groups, the aim is to understand the cultural context of these publications, their relationship with readers, and the publishing possibilities of fanzine creators. The study applies descriptive metadata analysis and systematization of fanzines, as well as ethnographic research methods (targeted interview, questionnaire, and qualitative interviews with fanzine authors, publishers, and collectors). The research results showed that in Lithuania, mainly in the 1990s, metal music fanzine authors, unlike punks and science fiction fans, created more publications written in English. Metal music fanzines were characterized by greater volume. Science fiction fans’ publications differed from those of metalheads and punks by a greater number of continuous issues and fewer one-time publications. Authors of fanzines associated with punk ideology mostly chose to independently reproduce publications using a copying machine, while creators of metal music and science fiction fanzines more often used professional printing services. The language used in fanzines and its style helped to form a close relationship with readers, revealed the identity traits of subcultural groups, and helped metal music fanzine authors to integrate into the international fanzine culture context. Seeking independence and individuality, fanzine creators disregarded professional publishing standards. Fanzine publishing depended on individual choice, motivation, creativity, reader interest, and technological possibilities (publication reproduction, layout). Fanzines created in Lithuania became one of the main forms of idea dissemination, creative freedom, and self-expression for alternative youth communication.
34
RAGACHEWSKAYA, Marina. "POETICS OF DESIRE IN D.H. LAWRENCE’S SHORTER FICTION." Astraea 2, no. 1 (2021): 61–78. http://dx.doi.org/10.34142/astraea.2021.2.1.04.
Full textAbstract:
Desire is a specific subject of research in many areas, including literary studies and text analysis. The representation of desire in fiction is an inseparable part of the sub-genre of psychological prose; its interpretation by readers and scholars requires an interdisciplinary approach and relies on psychoanalytic theories and terminology for elucidation. Shorter psychological fiction – novellas and short stories – depend on the authors’ mastery of language use, while the formal textual length is limited. Therefore, the study of desire encoded in a short fictional piece is both difficult due to laconism and suggestiveness, and fruitful as a revelation of most subtle nuances of human nature through the examination of artistic discourse. D.H. Lawrence’s novellas and short stories articulate desire as the unconscious wish to obtain the object of love. It is the merit of the writer’s art to employ various artistic means that may serve as the manifest content. Interpreting imagery and symbolism, bodily consciousness and characters’ “syncopated” dialogues, opens up such aspects of a textual embodiment of desire as its elusiveness, impossibility to verbalize and often its “forbidden” nature. Instead, the Ragachewskaya Marina writer resorts to heavy suggestiveness, gaps and silences to be filled with the reader’s intuitive or professional knowledge, meaning-charged adjectives, metaphors and analytical intrusions. Examples from a selection of D.H. Lawrence’s short fictional works reveal defense mechanisms that balance the fulfilment of desire. The mastery of D.H. Lawrence’s shorter fiction rests on the skill to reveal the unnamable, to show the inner conflict working through desire fulfilment, to bring to consciousness the shame, guilt and pleasure irrespective of moral judgment.
35
Shikhmanter, Rima. "History as Politics: Contemporary Israeli Children's and Young Adults' Historical Fiction and the Israeli–Palestinian Conflict." International Research in Children's Literature 9, no. 1 (July 2016): 83–97. http://dx.doi.org/10.3366/ircl.2016.0184.
Full textAbstract:
Historical fiction serves as a powerful source for the dissemination of historical images and the determination of collective memory. These roles are of particular significance in the context of severe political conflicts. In these cases historical fiction shapes the narrative of the conflict, explains its source and central events, and therefore forms the readers' political stances towards the conflict and its consequences. This article examines the role contemporary Jewish Israeli historical fiction for young adults plays in presenting the Israeli–Palestinian conflict to young readers. It discusses two of the political perspectives this fiction addresses: the traditional hegemonic narrative and the left-wing narrative. Associated with the right-wing sector of Israeli politics, the former promotes the Zionist myth and seeks to justify the necessity and morality of its premises while ignoring and/or dismissing the legitimacy of the Palestinian narrative. The lack of a consensual Jewish historical narrative that does not negate the Palestinian narrative on the one hand, and the ongoing public delegitimisation of the left-wing on the other, forces historical-fiction authors to place their plots at a historical remove, locating them in other places and times.
36
Cherak, Djamal. "Relationship between Setting Description and Immersion in Fiction in Algeria." American Journal of Literature Studies 3, no. 1 (May 13, 2024): 36–46. http://dx.doi.org/10.47672/ajls.2020.
Full textAbstract:
Purpose: The aim of the study was to assess the relationship between setting description and immersion in fiction in Algeria. Methodology: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study found that vivid and detailed depictions of settings significantly enhance reader immersion. The Study have shown that richly described settings contribute to a more immersive reading experience by allowing readers to mentally visualize and emotionally connect with the story world. Moreover, descriptive passages that engage multiple senses, such as sight, sound, smell, and texture, have been found to deepen immersion by creating a more sensory-rich environment. Additionally, the effectiveness of setting description in fostering immersion seems to be influenced by factors such as reader preferences, genre conventions, and the narrative context. Overall, the findings highlight the importance of thoughtful and evocative setting descriptions in enhancing reader engagement and immersion in fictional narratives. Implications to Theory, Practice and Policy: Schema theory, transportation theory and reader-response theory may be used to anchor future studies on assessing the relationship between setting description and immersion in fiction in Algeria. In terms of practical implications, findings from research on setting description and immersion can inform authors, educators, and practitioners in the fields of literature, media, and education. From a policy perspective, research on setting description and immersion in fiction can inform initiatives aimed at promoting literacy, cultural diversity, and media literacy.
37
Adil Majidova, Ilaha. "The dystopian genre as one of Ray Bradbury’s creative trends." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 87–90. http://dx.doi.org/10.36719/2663-4619/61/87-90.
Full textAbstract:
Utopia is a common literary theme, especially in a speculative and science-fiction genre. Authors use utopian genre to explore what a perfect society would look like. Utopian fiction is set in a perfect world, while a dystopian novel drops its main character into a world where everything seems to have gone wrong. Dystopian fiction can challenge readers to think differently about current world. The article is devoted to the etymology of dystopia genre within Ray Bradbury’s creativity. In his short stories he tried to show the depth of his imagination. In Ray Bradbury’s fiction the world is a terrible place. He exposes the destructive side of technological progress and paradoxes of human personality in a grotty society. Key words: science-fiction, utopia, dystopia, prognosis, short story
38
Hanssen, Sarah K. "New Tools for the Immersive Narrative Experience." International Journal of Emerging Technologies in Learning (iJET) 14, no. 16 (August 29, 2019): 40. http://dx.doi.org/10.3991/ijet.v14i16.10591.
Full textAbstract:
As a result of Snapchat, Instagram, Twitter and Facebook, the way the audi-ence experiences the written word has completely changed. New genera-tions of readers are facing multimedia interaction as a part of the long format narrative. These technologies represent burgeoning strategies to spark and capture readers’ interests. Partnerships between tech companies and tradi-tional publishers are yielding breakthroughs in trans-media storytelling, and, as a consequence, offering new avenues for filmmakers. For example, romance novels read on smart phones now include videos and photos of the hunky love interest, voice messages amongst characters, and even short films accompanying the reading experience. As publishers and authors forge these new avenues for long form storytelling, do these multimedia elements dumb down fiction for readers with already shrinking attention spans? Will saving books undermine reading in general? Or, are the bonds readers feel with fictional characters so strong, that they will thrive in the digital realm. The future of the immersive narrative might not be just the massive specta-cle of IMAX, but, more likely, an intimate experience in the palm of your hand.
39
Collins‐Gearing, Brooke. "Imagining Indigenality in Romance and Fantasy Fiction for Children." Papers: Explorations into Children's Literature 13, no. 3 (December 1, 2003): 32–42. http://dx.doi.org/10.21153/pecl2003vol13no3art1284.
Full textAbstract:
Romance and fantasy fiction by non-Indigenous authors from the nineteenth through to the twentieth century positions non-Indigenous readers as the natural, normal inhabitants of the Australian nation through strategies of appropriation and indigenisation. At the same time, these narratives exclude Indigenous children from the category 'Australian children' and construct narrators as experts on Aboriginal culture and traditions.
40
Sun, Licong. "A Study on the Readability of Liu Cixin’s Science Fiction Novels in English Translation -- A Case Study of “Taking Care of God”." Studies in English Language Teaching 11, no. 3 (July 28, 2023): p28. http://dx.doi.org/10.22158/selt.v11n3p28.
Full textAbstract:
Chinese science fiction works have been consistently winning international awards, which is closely related to the excellent writing of the authors and the invaluable contribution of the translators. There is a growing demand for the translation of Chinese science fiction novels, making it necessary to study the translation process. The translations by American science fiction writer and translator Liu Yukun have been well received by foreign readers. The key to their success lies in the fact that the translated texts capture the underlying ideas of the original works and are highly readable. By analyzing the translation artistry of “Taking Care of God”, it is evident that the attention to detail in the translation makes the Eastern story become real and believable in the minds of Western readers. The adaptation and translation of the original work ensures that the story is easy to understand, vivid, and interesting, while also preserving the elegant and captivating writing style of the original text, thus guaranteeing the readability of the English translation.
41
Panov, S. I., and O. Yu Panova. "Soviet Publishers and Readers of French Literature, Late 1920s – 1930s." Modern History of Russia 11, no. 3 (2021): 738–54. http://dx.doi.org/10.21638/11701/spbu24.2021.311.
Full textAbstract:
Soviet images of French literature are often reduced to the Stalinist canon of the late 1930s that comprised classical literature, including “modern classics,” like Romaine Rolland or Anatole France; and Communist and leftist writers selected as ideologically and aesthetically suitable for the Soviet reading audience, such as Henri Barbusse, Paul Vaillant Couturier, and others. This stereotype being partially true suggests, however, a simplistic and flattened view of the Soviet reception of French literature. It should be noted that even in the late 1930s there existed a certain amount of diversity in the choice of French authors; for example, International Literature magazine from time to time published ideological opponents like Pierre Drieu la Rochelle or Henry de Montherlant. As for the 1920s, in the course of the New Economic Policy both state and private publishing companies offered a wide and varied range of writers and books that included classics, “proletarian” and “revolutionary” authors along with adventure fiction, love stories, and “colonial novels,” easy reading, “decadent,” conservative, and “reactionary” writers. The paper traces transformations of publishing policy during the pivotal years of late 1920s and early 1930s, the period of the “Great Turn” in Soviet society, marked by processes of centralization, total state control, and tightening of censorship. Archival documents allow us to analyze the role of Soviet intellectuals (literary critics, reviewers, editors, publishers) in the elaborating of new guidelines and implementing new practices in publishing policy and organizing readers feedback. A collection of readers’ letters of the mid-thirties, stored in the archival funds of GIKHL (State Publishing House of Fiction), documents the process of the making of the Soviet reader and shows a range of readers’ opinions and attitudes to French writers and their works at the early stage of Stalinist canon forming.
42
Aksenova, Anastasia A. "Dynamic types of artistic image: Roman Ingarden’s phenomenology and literary theory." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (December 15, 2020): 487–96. http://dx.doi.org/10.22363/2312-9220-2020-25-3-487-496.
Full textAbstract:
The article is devoted to the question of some data obtained by Polish philosopher Roman Ingarden, and primarily to his study of the literary work of art. Development upon Ingardens ideas is associated with use of Russian authors which are rarely treated in phenomenological aesthetics. The dynamic types of the image structure is that appear as potential states and actualize themselves in the readers reception as problem of imageability of fictional entities. Thus the dynamic character of types of an image structure is a transition from non-thematic background into its actual state and back. To study the visual in fiction, one must understand that the readers encounter with the literary work actualizes potential types, which, according to R. Ingarden, sparkle and go out. The visual nature of the aesthetic object directly depends on which of these potential states are actualized.
43
Pullinger, Kate, Amanda Havard, and Melanie Hundley. "Conversation Currents: Digital Storyworlds: Transmedia Literature in the ELA Classroom." Language Arts 91, no. 2 (November 1, 2013): 126–31. http://dx.doi.org/10.58680/la201324288.
Full textAbstract:
As stories evolve into new, varied, and experimental formats in our current digital age, teachers, authors, storytellers, and readers are presented with myriad new conversations about the creation, discussion, and dissemination of literature. What does it mean to consume a story in the digital age? What do the terms we use to describe them—digital fiction, story worlds, transmedia, interactive fiction—really mean? In this conversation, author-educator-storytellers Kate Pullinger (Inanimate Alice) and Amanda Havard (The Survivors, Immersedition™), and language arts professor Melanie Hundley of Peabody College at Vanderbilt University discuss with LA the quintessential question of current literacies: As stories appear in varied digital formats, how will both new forms and content shape students’ discussions of narrative, their understanding of story, and their lives as readers?
44
Damico, James S., Mark Baildon, and Daniel Greenstone. "Examining How Historical Agency Works in Children’s Literature." Social Studies Research and Practice 5, no. 1 (March 1, 2010): 1–12. http://dx.doi.org/10.1108/ssrp-01-2010-b0002.
Full textAbstract:
This paper begins by framing the concept of historical agency as a complex relationship between structural forces and individual actions. We then describe general features of historical fiction and consider ways of using this type of text in classrooms. Using the concept of historical agency, we examine three historical fiction texts for upper elementary or middle level readers (Roll of Thunder, Hear My Cry, The Fighting Ground, and Dragon's Gate). The analysis reveals the similarities and differences in the ways the authors construct historical agency. The paper concludes with a set of four key questions that teachers and students can apply to historical fiction to help students refigure the ways in which they construct knowledge about the past.
45
Damico, James S., Mark Baildon, and Daniel Greenstone. "Examining How Historical Agency Works in Children’s Literature." Social Studies Research and Practice 5, no. 1 (March 1, 2010): 1–12. http://dx.doi.org/10.1108/ssrp-01-2010-b0001.
Full textAbstract:
This paper begins by framing the concept of historical agency as a complex relationship between structural forces and individual actions. We then describe general features of historical fiction and consider ways of using this type of text in classrooms. Using the concept of historical agency, we examine three historical fiction texts for upper elementary or middle level readers (Roll of Thunder, Hear My Cry, The Fighting Ground, and Dragon's Gate). The analysis reveals the similarities and differences in the ways the authors construct historical agency. The paper concludes with a set of four key questions that teachers and students can apply to historical fiction to help students refigure the ways in which they construct knowledge about the past.
46
Brooker, Sam. "Is There an Author in This Labyrinth?" ACM SIGWEB Newsletter 2023, Winter (December 2022): 1–6. http://dx.doi.org/10.1145/3583849.3583852.
Full textAbstract:
In 2017 Professor of Literature John Farrell published The Varieties of Authorial Intention. Joining other dissenting voices past and present, this work addressed what the author considered a key tenet of mid- to late 20th century literary criticism: that reference to authorial intention is out of bounds, literary works being constituted by the text alone. Hypertext fiction has its own complex relationship with the notion of intention. From earlier entanglement in post-structuralist approaches to network textuality and the potential for readers to evade authors via branching narratives, hypertext fiction emerged as a distinctive form of textuality that can express intention in unique and unexpected ways. How effectively do the three modes of authorial intention Farrell identifies - communicative, artistic, practical - map to hypertext fiction both past and future? Can this model - devised in the context of linear print writing - accommodate the unique form of textuality represented by hypertext, with its own affordances and opportunities to express intent?
47
Timofeeva, Y. V. "Children reading of fiction in Siberian and Far Eastern libraries (late XX - early XXI centuries)." Bibliosphere, no. 3 (September 30, 2016): 31–36. http://dx.doi.org/10.20913/1815-3186-2016-3-31-36.
Full textAbstract:
The article first gives a general view of children reading of fiction in Siberia and the Far East. The relevance of studying children reading is determined by its great social and pedagogical potential. The study objectives are: 1) to identify popular children genres of literature; 2) to recreate the repertoire of favorite authors and their works; 3) to compare the range of reading of Siberian and Far Eastern young people with the reading of their age mates from other regions of the country; 4) to identify main factors forming readers demand of the younger generation. The study has shown that fairy tales, fantasy, detectives, adventures, historic and love stories are the most popular among children. National and foreign writers of the XIX - early XXI centuries are called among the children's favorite authors: A. Barto, M. Bulgakov, A. Volkov, A. Green, A. Dumas, A. Ishimova, A. Lindgren, S. Marshak, A. Milne, N. Nosov, A. Pushkin, M. Reed, M. Twain, L. Charskaya, E. Uspensky and many others. The comparison was made between reading literature by children from Transurals and the European part of Russia. Similarity in the repertoire of reading, favorite genres and authors is proved. Selection of literary works is determined by children personal interests and the curriculum content. Therefore, reading fiction is both leisure and business. Reading fiction on the pupils’ personal choice is usually considered as leisure. Reading literature for educational purposes is related to business. The article pays attention to the difficulty of separating leisure reading from business one when it concerns reading fiction by students. Growing readers’ interest in picturized literary works is marked. This article was written on a wide range of sources and research literature.
48
Köppe, Tilmann. "Strategien des realistischen Universalismus: Raabe, Storm, Stifter." Scientia Poetica 20, no. 1 (December 1, 2016): 81–97. http://dx.doi.org/10.1515/scipo-2016-0105.
Full textAbstract:
Abstract Programmatic accounts of realism specify the tasks of authors of fiction in terms of the production conditions of a work, its structural features, or its effects on readers. Concerning the conditions of production the poet is supposed to observe the life surrounding him or her and note its law-like regularities. What is presented in the work is then supposed to match these regularities, thus resulting in particular structural features. Finally, readers should be able to read those regularities from the work. I call this program ›realistic universalism‹ (›realistischer Universalismus‹). The programmatic accounts do not specify how reading the regularities from the fiction is supposed to work, however. This is why I examine three prominent realistic texts according to how they implement this program of realistic universalism. Raabe’s Die Chronik der Sperlingsgasse contains explicit versions of said regularities, while Storm’s Immensee exemplifies them. The most subtle version of realistic universalism is to be found in Stifter’s Der Hochwald. This text asks its readers to employ a mode of reading which expresses the norms to be learned from the text.
49
Yarborough, Richard. "Black Authors, White Readers : Early Afro-American Fiction Writers and the Problem of Audience." Cahiers Charles V 14, no. 1 (1992): 33–46. http://dx.doi.org/10.3406/cchav.1992.1062.
Full text
50
Kowarsky, Tamara. "Who Else Writes Like?… A Readers' Guide to Fiction Authors (5th ed.)20062Edited by Roy and Jeanne Huse. Who Else Writes Like?… A Readers' Guide to Fiction Authors (5th ed.). LISU, 2005." Library Management 27, no. 3 (March 2006): 191–92. http://dx.doi.org/10.1108/01435120610652932.
Full text