Relevant bibliographies by topics / Barns – Fiction

Academic literature on the topic 'Barns – Fiction'

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Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Barns – Fiction"

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Isakoglou, Foivos, Kristi S. Multhaup, Margaret P. Munger, and Brian A. Eiler. "The Effects of Genre and Reading Difficulty on Narrative Transportation: The Mediating Role of Affect." Psi Chi Journal of Psychological Research 26, no. 4 (2021): 422–29. http://dx.doi.org/10.24839/2325-7342.jn26.4.422.

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Stories offer a refuge from people’s mundane troubles and commitments by immersing them in intricate fictional worlds. Narrative transportation, i.e., the feeling of being “lost” in the world of a story, has been found to be an important measure of involvement with narratives (Green & Brock, 2000). Numerous studies have examined the impact of literary fiction on readers’ theory of mind, but the relationship between genre and narrative transportation remains relatively unexplored. Black and Barnes (2015a) proposed that exposure to literary fiction produces higher narrative transportation than exposure to nonfiction texts. The present investigation sought to replicate this finding while (a) measuring baseline trait empathy, (b) addressing a confound of genre and reading difficulty noted in prior work, and (c) assessing the mediating role of affect on the relationship between genre and narrative transportation. Empathy was positively correlated with narrative transportation, r = .39, p < .001. Narrative transportation was higher for participants who read challenging fiction and nonfiction than for participants who read easy fiction, F(2, 891) = 5.79, p = .003, ηp2= .013. Positive affect, but not negative affect, mediated the effect of challenging versus easy text conditions on narrative transportation, b = –.16, se = .04 (95% CI [–.25, –.08]). These findings suggest that narrative transportation may not be dependent on story genre, but rather on a given text’s difficulty level and the positive emotions experienced while reading.
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HUNGERFORD, AMY. "FICTION IN REVIEW: “SPOILER ALERT”: JULIAN BARNES." Yale Review 100, no. 4 (2012): 147–54. http://dx.doi.org/10.1353/tyr.2012.0017.

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HUNGERFORD, AMY. "FICTION IN REVIEW: “SPOILER ALERT”: JULIAN BARNES." Yale Review 100, no. 4 (August 27, 2012): 147–54. http://dx.doi.org/10.1111/j.1467-9736.2012.00844.x.

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Barnes, Jennifer L. "Imaginary Engagement, Real-World Effects: Fiction, Emotion, and Social Cognition." Review of General Psychology 22, no. 2 (June 2018): 125–34. http://dx.doi.org/10.1037/gpr0000124.

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Prior research has shown that cumulative written fiction exposure is correlated with ( Mar, Oatley, Hirsch, de la Paz, & Peterson, 2006 ; Mar, Oatley, & Peterson, 2009 ) and 1-time exposure to literary fiction increases (e.g., Black & Barnes, 2015a ; Kidd & Castano, 2013 ) performance on an emotion-reading task. However, Panero and colleagues (2016) found that although lifetime fiction exposure is a reliable predictor of performance, the causal effects previously observed may be more fragile (see also Samur, Tops, & Koole, 2017 ). The current article is an exploration of the extent to which the ability of fiction to affect social cognition may depend not only on what is read, but also how one reads. Specifically, an argument is made that the effect of fiction on social cognition may depend on the degree to which the reader contributes imaginatively to the text and that, although drawing meaning from literary fiction may require high levels of imaginative engagement, popular and genre fiction may allow for engaging in this way. This stance is discussed with respect to the role that emotional investment in a story and its characters might play in influencing readers of popular fiction to read in a “literary” way.
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Radin Sabadoš, Mirna. "REVISITING A HISTORY OF THE WORLD IN 10 ½ CHAPTERS – ABOUT TWO EXPLANATIONS OF EVERYTHING AND THE UNRELIABLE NARRATOR." PHILOLOGIA MEDIANA 14, no. 1 (June 13, 2022): 163–72. http://dx.doi.org/10.46630/phm.14.2022.12.

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The paper offers a reading of the novel A History of the World in 10 ½ Chapters by Julian Barnes introducing current theoretical frameworks dealing with the relationship of history and fiction from the perspective of the second decade of the 21st century. Although the novel explicitly deals with the issue of history, it was often insufficiently addressed in the critical analyses of Barnes’s work as well as in the treatment of history in fiction, especially in terms of the analysis of structure and the treatment of time explained as the experience of the present. Considering the processes Mark Currie defines as crucial for understanding the relationship of time in fiction, time-space compression, archive fever and accelerated recontextualization, the paper offers an insight how those function in the novel from the standpoint that the late XX century fiction is no longer considered to be a part of our ‘contemporary’ setting.
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Katelyn Mathew. "How Young Adult Crime Fiction Influences and Reflects Modern Adolescents." Digital Literature Review 10, no. 1 (April 18, 2023): 108–19. http://dx.doi.org/10.33043/dlr.10.1.108-119.

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When we read crime fiction, we oftentimes expect a cast dominated by adult characters. This is likely a result of decades’ worth of popular crime fiction narratives almost exclusively containing adult characters. The earliest literature in the mystery and crime genre that was targeted towards younger audiences contained teenage detectives and adult criminals because it allowed the younger audiences to read about powerful teenagers overthrowing adult authority while still only engaging in acceptable moral activities in an attempt to decrease or discourage juvenile delinquency. A newer trend among young adult crime fiction novels is the adolescent playing the part of the criminal in addition to the detective. Applying social cognitive theory explored in the study conducted by Black and Barnes to the roles of adolescents in Karen M. McManus’s young adult mystery novel One of Us Is Lying and its sequel One of Us Is Next, this paper will analyze the novels’ adolescent characters to show how adolescent characters in young adult crime fiction reflect their young audiences’ desires to subvert adult hierarchies while still displaying acceptable morals and how they possibly influence their sense of morality.
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Godhe, Michael. "After Work: Anticipatory Knowledge on Post-Scarcity Futures in John Barness Thousand Cultures Tetralogy." Culture Unbound 10, no. 2 (October 30, 2018): 246–62. http://dx.doi.org/10.3384/cu.2000.1525.2018102246.

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What would happen if we could create societies with an abundance of goods and services created by cutting-edge technology, making manual wage labour unnecessary – what has been labelled societies with a post-scarcity economy. What are the pros and cons of such a future? Several science fiction novels and films have discussed these questions in recent decades, and have examined them in the socio-political, cultural, economic, scientific and environmental contexts of globalization, migration, nationalism, automation, robotization, the development of nanotechnology, genetic engineering, artificial intelligence and global warming. In the first section of this article, I introduce methodological approaches and theoretical perspectives connected to Critical Future Studies and science fiction as anticipatory knowledge. In the second and third section, I introduce the question of the value of work by discussing some examples from speculative fiction. In section four to seven, I analyze the Thousand Culture tetralogy (1992–2006), written by science fiction author John Barnes. The Thousand Cultures tetralogy is set in the 29th century, in a post-scarcity world. It highlights the question of work and leisure, and the values of each, and discusses these through the various societies depicted in the novels. What are the possible risks with societies where work is voluntary?
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Oró-Piqueras, Maricel. "The Pain and Irony of Death in Julian Barnes's Memoirs Nothing to Be Frightened Of and Levels of Life." European Journal of Life Writing 10 (April 22, 2021): 1–17. http://dx.doi.org/10.21827/ejlw.10.36183.

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Julian Barnes is one of the best-known contemporary British authors, not only for his taste for formal experimentation well-documented in the novels and short stories he has published since the 1980s, but also for his obsession with death. Despite the fact that death – as a prime concern expressed through his characters’ discussions, particularly when they are in their old age – has been present in most of Barnes fictional works, the topic becomes centre-stage in the two memoirs that he has published, namely, Nothing to Be Frightened Of (2008) and Levels of Life (2013). In his memoirs, Barnes connects his personal experience with the works of philosophers and writers and with the experiences of those around him with the aim of trying to discern how he himself and, by extension, his own contemporaries and Western society have dealt with death. For Barnes, writing becomes a therapy to confront his own existential fears as well as traumatic experiences – such as the sudden death of his wife as described in Levels of Life – at the same time that he reflects on the place death occupies in contemporary times.
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Džiho-Šator, Aida. "Tracing Politics and Postmodernism in The Noise of Time." Društvene i humanističke studije (Online) 7, no. 1(18) (March 4, 2022): 201–24. http://dx.doi.org/10.51558/2490-3647.2022.7.1.201.

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With his 2016 novel The Noise of Time, Julian Barnes showed once again that he had not finished with postmodernist experimentations, nor with his interest in biography and history. This paper discusses the political and postmodernist elements of The Noise of Time. In The Noise of TimeBarnes embarks on a journey of exploration of the strains political repression has on an artist living and working in Stalinist Russia where everything was conducted under the directives of the political regime. Barnes intertwines the characteristics of both postmodernism and political novel to render a fictional biography of Dimitri Shostakovich, a renowned Soviet composer who lived and worked through the oppression of Stalin’s regime and in the years of his successors. In his portrayal of the workings and implications that ideological artistic doctrines and forms of political power can have on artists, Barnes uses primarily intertextuality and historiographic metafiction, and this paper will mostly focus on these two postmodernist elements of the novel.
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Shishkina, Irina S., Anna Yu Mironina, Galina V. Porchesku, Natalya F. Kryukova, Andrey V. Ivanov, and Natalya A. Gruba. "Parenthetical constructions: structure and semantics." LAPLAGE EM REVISTA 7, no. 3A (September 6, 2021): 275–81. http://dx.doi.org/10.24115/s2446-6220202173a1400p.275-281.

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The present article studies structural models and semantic content of parenthetical insertions in modern English fiction. The relevance of the research is determined by its focus on the study of the corpus of parenthesis in the modern English language within the framework of the general science issue ‘man and the language’. The study is novel in that it is carried out using evidence from modern English literature (texts written by S. King, J. Barnes, D. Mitchell, J. Coe, Laura van den Berg). This article will be of interest to researchers dealing with problems of parenthesis in modern English and to specialists in semantic syntax.
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Dissertations / Theses on the topic "Barns – Fiction"

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Böröy, Marie. "Barns Uppfattningar om Stjärnorna och Solen : En undersökning med 4-5-åringar." Thesis, Karlstads universitet, Fakulteten för teknik- och naturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-26528.

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Denna studie visar vad 4-5-åringar har för uppfattningar om stjärnorna och solen, vad de tror att stjärnorna och solen är för något och vad de har för tankar om fenomen kring dem. Genomförandet av studien bygger på kvalitativa intervjuer i samband med att barnen målar. Metoden har gjort det möjligt för barnen att uttrycka sina egna tankar. Resultatet visar att det finns många uppfattningar inom området hos barn 4-5 år. En del uppfattningar är realistiska, en del fiktiva. Ett barn förklarar att stjärnorna nästan är som blommor medan ett annat barn beskriver dem som något som finns i rymden och bara syns när det är natt. Slutsatsen är att barn kan lära sig saker som anses svåra, bara de har intresset. Barnen menar att de inte fått sina kunskaper från förskolan utan från föräldrar och syskon. Slutsatsen av detta är att barnen har ett intresse för rymden, att de ställer frågor för att få veta saker.
This study shows 4-5 year-olds perceptions about the stars and the sun, what they think the stars and the sun is and what their thoughts of them are. Implementation of the study is based on qualitative interviews in connection with painting. The method has made it possible for the children to express their own thoughts. The result shows that there are many perceptions in the field of children 4-5 years. Some ideas are realistic, some fictitious. One child explains that the stars are almost like flowers, while another child describing them as something that exists in space and only visible when it´s night. The conclusion is that children can learn things that are considered difficult only they have an interest in it. The children say that they have not received their knowledge from preschool but from parents and siblings. The conclusion is that the children have an interest in space, they are asking questions to get to know things.
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Winegardner, Emily J. "Beyond the barn door : short stories." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2269.

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These four stories are stories about life. The central characters are at a time in their lives when decisions become crucial and they have to act or become lost. Each of the dominant characters has experienced something in life that was beyond their control and they haven't recovered. These stories bring out and explore their recoveries. They are stories of rediscoveries of the self. In the story Gray, Margaret, is not in control of her life. She has had the trauma of losing her only daughter, and there is the intervention of a family friend who has only greed at heart. Margaret and her husband cannot cope and their situation is rapidly moving out of their control. Margaret discovers inner strength, and in her own subtle way, conveys this to her husband. She rebounds from the death of her daughter by becoming stronger herself. In the end, she has found peace within herself and the grief will take a more natural course. The characters in Revenge, parody people in repressed situations. The three women, a farce on three fairy tales, are out for revenge. They comically plot the deaths of the men who have repressed them. Their feminist attitudes lead them through adventures until, at last, they are free. Red Hood, Locks, and Beauty represent women who when bonded together become strong. They gain support from one another and then have the courage to act out their plans. Monica in A Strangled Cry, is not quite so strong. She has a history of problems. These problems are being compounded without her knowledge. She is repressed and controlled by Jeff, her doctor. She finally reaches a point where she knows that she either has to break free of the downward spiral of her life or give in to it forever. She cannot do it alone, however, and she has the help of her brother zack for her final escape. Finally, in Nine Lives, Katherine is in a relationship which is keeping her repressed. She tries to escape but cannot seem to. Finally she relies on help from her mother and her mother's attorney to help her flee from her abusive husband. She achieves her freedom after a long and trying escape. All four of the stories are a brief outlook on a side of life. The main characters have to make decisions which will affect the rest of their lives. The decisions are not always completely conscious or deliberate, but the results are consequential.
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Guignery, Vanessa. "Postmodernisme et effets de brouillage dans la fiction de Julian Barnes." Paris 4, 2000. http://www.theses.fr/1999PA040160.

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Cette étude propose d'analyser le concept de brouillage en tant que modalité du postmodernisme dans la fiction de Julian Barnes. La notion de brouillage est envisagée d'une part au sens neutre de mélange, et d'autre part au sens plus actif de confusion délibérée. Il apparait tout d'abord que les ouvrages de Barnes se caractérisent par une prédilection pour l'hybridité : prônant la multiplicité et le décloisonnement, ils s'appliquent à gommer les frontières entre les genres, les textes, les arts et les langues. La subversion des conventions génériques et l'oscillation entre la célébration et l'ironisation du passé littéraire et artistique se présentent comme autant de modes de réenchantement de l'héritage culturel. Dans un deuxième temps, l'analyse porte sur la métafiction en tant que transgression des cadres de la fiction et montre comment les figures de l'auteur, du narrateur et du lecteur sont soumises à une déstabilisation ontologique. La troisième étape conduit à l'examen de la mise en crise de l'histoire et du discours historiographique dans la fiction de Julian Barnes. Le brouillage se révèle à la fois épistémologique, car les modes et conditions de connaissance du passé sont remis en cause, ontologique, car la frontière entre histoire et fiction s'avère poreuse, et politique, car le récit historique officiel perd sa légitimité et est remplacé par des versions hétérodoxes. .
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Eriksson, (Barajas) Katarina. "Life and Fiction : On intertextuality in pupils’ booktalk." Doctoral thesis, Linköpings universitet, Tema Barn, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-15146.

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This study examines booktalk, that is, teacher-led group discussions about books for children in a Swedish school. The empirical data comprise 24 hours of videorecorded booktalk in grades 4–7. In total, 40 children (aged 10–14 years) were recorded during 24 sessions. The present approach diverges from previous readerresponse studies in that it draws on authentic data, and in that it examines talk at a micro level, applying an approach from discursive psychology. By focusing on authentic book discussions, the study contributes to the development of readerresponse methods. All eight books applied in the booktalk sessions involved some type of  existential issue: freedom, separation, loyalty, and mortal danger (Chapter 4). Yet, such issues were rarely discussed. An important task of the present thesis was to understand why such issues did not materialise, that is, what did not take place. In Chapter 5, a series of booktalk dilemmas were identified. The booktalk sessions were generally lively and informal. Yet, booktalk as such was often transformed into other local educational projects; e.g. time scheduling, vocabulary lessons or reading aloud exercises. Gender was invoked in all booktalk sessions (Chapter 6). In line with predictions from reader-response theory, progressive texts were, at times, discussed in gender stereotypical ways. The findings also revealed a generational pattern in that the pupils discussed fictive children in less traditional ways than adult characters. The interface between texts and life was invoked in all booktalk sessions (Chapter 7). There was, again, a generational pattern in that children entertained ideas other than those of their teachers concerning legitimate topics in a school context. Also, the discussions revealed a problem of balance between pupils’ privacy, on the one hand, and engaging discussions on texts and life, on the other.
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Tsoulou, Martha. "After postmodernism : contemporary theory and fiction." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/13753.

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There is a consensus today that we have witnessed the end of postmodernism in both fiction and theory. Due to contemporary fiction’s break with postmodernism being recent, little research has been done to outline the parameters of what exactly this break entails and its relationship to theory and current socio-political issues. The aim of this thesis is to attempt to differentiate between postmodernist fiction and contemporary fiction that was produced from the late 90’s up to today, outline its main characteristics and suggest alternative ways theory may be used to critically analyse fiction. We will be looking at how Habermas’s, Agamben’s, Žižek’s and Badiou’s theories, as well as, a reconsideration of some of Derrida’s and Baudrillard’s theories, can help elucidate certain aspects of contemporary fiction and vice versa. Some of the novelists that will be considered in this discussion are Paul Auster, Don DeLillo, Douglas Coupland, J G Ballard, Julian Barnes, Jonathan Coe and Michel Houellebecq due to their close association with postmodernism and its aftermath. The thesis is divided thematically in five chapters. In the first chapter we will be discussing the impact of 9/11 on contemporary fiction in relation to Derrida’s, Habermas’s, Baudrillard’s and Žižek’s responses to the attacks. The second chapter is concerned with notions of reality and its representations in contemporary fiction. It will be discussed how they differ from Baudrillard’s conceptualisation of hyperreality during postmodernity in light of Badiou’s and Žižek’s theory mainly. The realist/antirealist debate will also be addressed. The third chapter is a consideration of notions of subjectivity in both contemporary theory and fiction and how they may be said to differ from playful, schizophrenic representations of the subject during postmodernity. The fourth chapter is concerned with the return of the political in both theory and fiction after the supposed apoliticality of the postmodern novel, which we will also be addressing. The final chapter is an investigation of the re-emergence of the religious in contemporary culture, including the novel, which proves that the death of meta-narratives may not have been that final after all.
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Eriksson, Katarina. "Life and fiction : on intertextuality in pupils' booktalk /." Linköping : Tema Barn, Univ, 2002. http://www.bibl.liu.se/liupubl/disp/disp2002/arts251s.pdf.

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Taylor, Clare L. "Female cross-gendered behaviour in the fiction of Radclyffe Hall, Anais Nin, H.D. and Djuna Barnes." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302589.

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Groves, Robyn. "Fictions of the self : studies in female modernism : Jean Rhys, Gertrude Stein and Djuna Barnes." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27310.

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This thesis considers elements of autobiography and autobiographical fiction in the writings of three female Modernists: Jean Rhys, Gertrude Stein and Djuna Barnes. In chapter 1, after drawing distinctions between male and female autobiographical writing, I discuss key male autobiographical fictions of the Modernist period by D.H. Lawrence, Marcel Proust and James Joyce, and their debt to the nineteenth century literary forms of the Bildungsroman and the Künstlerroman. I relate these texts to key European writers, Andre Gide and Colette, and to works by women based on two separate female Modernist aesthetics: first, the school of "lyrical transcendence"—Dorothy Richardson, Katherine Mansfield and Virginia Woolf—in whose works the self as literary subject dissolves into a renunciatory "female impressionism;" the second group—Rhys, Stein and Barnes--who as late-modernists, offer radically "objectified" self-portraits in fiction which act as critiques and revisions of both male and female Modernist fiction of earlier decades. In chapter 2, I discuss Jean Rhys' objectification of female self-consciousness through her analysis of alienation in two different settings: the Caribbean and the cities of Europe. As an outsider in both situations, Rhys presents an unorthodox counter-vision. In her fictions of the 1930's, she deliberately revises earlier Modernist representations, by both male and female writers, of female self-consciousness. In the process, she offers a simultaneous critique of both social and literary conventions. In chapter 3, I consider Gertrude Stein's career-long experiments with the rendering of consciousness in a variety of literary forms, noting her growing concern throughout the 1920's and 1930's with the role of autobiography in writing. In a close reading of The Autobiography of Alice B. Toklas, I examine Stein's parody and "deconstruction" of the autobiographical form and the Modernist conception of the self based on memory, association and desire. Her witty attack on the conventions of narrative produces a new kind of fictional self-portraiture, drawing heavily on the visual arts to create new prose forms as well as to dismantle old ones. Chapter 4 focuses on Djuna Barnes' metaphorical representations of the self in prose fiction, which re-interpret the Modernist notion of the self, by means of an androgynous fictional poetics. In her American and European fictions she extends the notion of the work of art as a formal, self-referential and self-contained "world" by subverting it with the use of a late-modern, "high camp" imagery to create new types of narrative structure. These women's major works, appearing in the 1930's, mark a second wave of Modernism, which revises and in certain ways subverts the first. Hence, these are studies in "late Modernism" and in my conclusion I will consider the distinguishing features of this transitional period, the 1930's, and the questions it provokes about the idea of periodization in general.
Arts, Faculty of
English, Department of
Graduate
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Pateman, Matthew Elliot. "A critical study of the fiction of Julian Barnes with reference to selected theories of narrative and legitimation." Thesis, University of Leeds, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365278.

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Niven, Debra L. "Fictive elements within the autobiographical project : necessary conflation of genres in Nightwood by Djuna Barnes /." Electronic version (PDF), 2007. http://dl.uncw.edu/etd/2007-1/nivend/debraniven.pdf.

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Books on the topic "Barns – Fiction"

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Buchan, John. John Burnet of Barns. Edinburgh: Polygon, 2008.

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Atwell, Debby. Barn. Boston: Houghton Mifflin, 1996.

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Sven, Nordqvist, ed. Shanga shem qayetlah gurho. [Sweden]: Arjovi Förlag, 2006.

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Parnall, Peter. Winter barn. New York: Macmillan Pub. Co., 1986.

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Brown, Craig McFarland. Barn raising. New York: Greenwillow Books, 2001.

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Lindbergh, Reeve. Benjamin's barn. London: Hamish Hamilton Children's Books, 1990.

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Lindbergh, Reeve. Benjamin's barn. New York: Dial Books for Young Readers, 1990.

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High, Linda Oatman. Barn savers. Honesdale, Pa: Caroline House/Boyds Mills Press, 1999.

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High, Linda Oatman. Barn savers. Honesdale, Pa: Boyds Mills Press, 1999.

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High, Linda Oatman. Barn savers. Honesdale, Pa: Boyds Mills Press, 1999.

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Book chapters on the topic "Barns – Fiction"

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Guignery, Vanessa. "Politics and Fiction: The Porcupine (1992)." In The Fiction of Julian Barnes, 85–95. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_9.

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Guignery, Vanessa. "Introduction: Julian Barnes in 10½ Chapters." In The Fiction of Julian Barnes, 1–7. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_1.

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Guignery, Vanessa. "Parenthesis." In The Fiction of Julian Barnes, 96–103. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_10.

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Guignery, Vanessa. "The Simulacrum of National Identity: England, England (1998)." In The Fiction of Julian Barnes, 104–14. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_11.

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Guignery, Vanessa. "In Search of Lost Time: Cross Channel (1996) and The Lemon Table (2004)." In The Fiction of Julian Barnes, 115–26. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_12.

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Guignery, Vanessa. "Conclusion." In The Fiction of Julian Barnes, 127–32. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_13.

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Guignery, Vanessa. "A Witty Bildungsroman: Metroland (1980)." In The Fiction of Julian Barnes, 8–16. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_2.

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Guignery, Vanessa. "When Horror Meets Comedy: Before She Met Me (1982)." In The Fiction of Julian Barnes, 17–27. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_3.

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Guignery, Vanessa. "Barnes/Kavanagh, a Janus-faced Writer: Duffy (1980), Fiddle City (1981), Putting the Boot In (1985) and Going to the Dogs (1987)." In The Fiction of Julian Barnes, 28–36. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_4.

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Guignery, Vanessa. "Postmodernist Experimentation: Flaubert’s Parrot (1984)." In The Fiction of Julian Barnes, 37–50. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-80221-6_5.

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Conference papers on the topic "Barns – Fiction"

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Mao, Wei-Qiang. "Representation of the Sciences in Julian Barnes' Fiction." In 2017 2nd International Conference on Humanities and Social Science (HSS 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/hss-17.2017.60.

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