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Journal articles on the topic 'Creative fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Sparkes, Andrew C. "Fictional Representations: On Difference, Choice, and Risk." Sociology of Sport Journal 19, no. 1 (March 2002): 1–24. http://dx.doi.org/10.1123/ssj.19.1.1.

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This article is intended to stimulate debate regarding recent calls for fictional representations to be used within the sociology of sport. Based on the notion of “being there,” it differentiates between ethnographic fiction and creative fiction. Examples of the former are provided, and their grounding in the tradition of creative nonfiction is established. Moves toward the use of creative fiction are then considered in relation to the willingness of authors to invent people, places, and events in the service of producing an illuminative and evocative story. The issue of purpose is highlighted and various reasons why researchers might opt to craft an ethnographic fiction or creative fiction are discussed. Next, some risks associated with choosing fictional forms of representation are considered. Finally, the issue of passing judgment on new writing practices is briefly discussed.

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2

Patrick, Anne E. "Creative Fiction and Theological Ethics." Annual of the Society of Christian Ethics 17 (1997): 29–35. http://dx.doi.org/10.5840/asce1997175.

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3

Brown, Duncan, and Antjie Krog. "Creative Non-Fiction: A Conversation." Current Writing 23, no. 1 (May 2011): 57–70. http://dx.doi.org/10.1080/1013929x.2011.572345.

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4

Yarbakhsh, Elisabeth. "Fiction/Creative Nonfiction First Prize." Anthropology and Humanism 43, no. 1 (June 2018): 159–64. http://dx.doi.org/10.1111/anhu.12211.

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5

Bacanu, Horea. "Globalisation of Cultural Circuits. The Case of International Awards for Fiction." European Review Of Applied Sociology 8, no. 11 (December 1, 2015): 19–30. http://dx.doi.org/10.1515/eras-2015-0008.

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Abstract In the international circuit of fictional texts from the last fifty years (perhaps even one hundred years, in some cases), several independent international organizations, academic and editorial platforms of critique and debate have been established. They have been organizing international contests, fine authorities of critical appreciation, evaluation and awarding of most prolific authors and most successful fictional texts: novels, short stories, stories or utopian and dystopian fictions. The allotment on cultural corridors, the geographical identification of both author and title dynamics which have been nominated at the most prestigious international awards for fiction demonstrates an increased emergence of several zones where wide international circulation texts were seldom, fifty years ago. In this paper, we suggest a reinterpretation and a comprehension of the political context from the contemporary fiction, by regrouping in one category, the three classical genres (historic novel, social novel, political novel) and also the universal fiction which implies characters and relations of power. Thus, we create a category which is known as „political fiction”. The increased individualization of this literary macro-genre called „political fiction” is also a creative answer to the high speed of circulation and at the general international amplitude with which contemporary socio-political novels are distributed.

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6

Schneiderman, Leo. "Norman Mailer and Rank's Theory of the Creative Self." Imagination, Cognition and Personality 14, no. 1 (September 1994): 3–18. http://dx.doi.org/10.2190/5bc6-cxca-d48t-n941.

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The present article investigates Mailer's fiction and non-fiction in relation to Rank's views on creativity. Both Rank and Mailer are interpreted as examples of artists who invent themselves, the former as an intuitive therapist, the latter as the creator of a public and private persona. In Mailer's case, projections of the persona are traced to his fictional alter egos. Special attention is given to analyzing the significance of Mailer's creation of fictional protagonists who act out antisocial, anarchic impulses in a seemingly conflict-free way. This tendency, which characterizes Mailer's work as a whole, is interpreted in non-oedipal terms. Instead, I suggest a theoretical formulation, applicable to many contemporary writers besides Mailer, based on the assumption that patriarchal authority is in the process of disintegration. The reasons for this assumption lie outside the scope of this article but are to be found in rapid social changes reflecting the decline of tradition, including traditional family structure, religion and other patriarchal institutions.

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7

Efremova, Valeria V. "Legal fiction in copyright." Russian Journal of Legal Studies 6, no. 3 (April 1, 2020): 74–78. http://dx.doi.org/10.17816/rjls19110.

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The need to study the possibilities of development of legal thought in copyright is caused by the fact that imposed on the legislator since the 90s, and more actively since the 2000s, the illusion that all relations of intellectual property in general are related to trade, is not true, and regulatory approval would lead to the destruction of significant and truly human traditional institutions of the Russian system of law such as copyright. No one can argue that it is one of a kind that allows a person to get acquainted with his inner content, and hence his potentials in the scale of participation in the social order. Drawing attention to the fact that intangible benefits creative works of science, literature, art require appropriate legal protection, which, first of all, is based on respect for the personality of its author, the article refers to the fact that the material objective forms of expression of these results of human creative activity are carefully protected by national rules of law, which establish the need for gentle treatment, constant monitoring, updating, repair of cultural objects: paintings, sculptures, architectural monuments, etc. The article attempts to draw the legislators attention to the protection of creative results, which is built, at least, in two plans: at the level of protection of cultural values, carried out on the basis of generally recognized principles of international law, such as: the non-use of force and threat of force, respect for sovereignty, non-interference in internal affairs; and at the level of institutions that ensure the replenishment of the material and spiritual Fund of the Russian Federation, the main of which is copyright. And with this view of improving the norms of legislation, the state needs personnel who are rich in potential, able to actively act in their creative force aimed at creating and asserting the enduring (constant) values of humanity. The direction of improvement of legal norms on copyright is the purification of the normative body from pseudo-legal fictions that do not create consequences that favorably affect the development of creative potential of people. It is possible to think in this case when looking for ways to improve the legal technique of copyright law on the content of the concepts of creative life and personality of the author.

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8

Woodward, S. "Pro-Creative Disorder in Gogolian Fiction." Russian Literature 26, no. 3 (October 1989): 297–303. http://dx.doi.org/10.1016/s0304-3479(89)80011-0.

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9

Brews, Peter. "Great Expectations: Strategy as Creative Fiction." Business Strategy Review 16, no. 3 (August 2005): 4–10. http://dx.doi.org/10.1111/j.0955-6419.2005.00367.x.

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10

Furnham, Adrian. "Great Expectations: Strategy as Creative Fiction." Business Strategy Review 16, no. 4 (December 2005): 32–36. http://dx.doi.org/10.1111/j.0955-6419.2005.00377.x.

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11

Nuraeni, Iin, and Fahrus Zaman Fadhly. "CREATIVE PROCESS IN FICTION WRITING OF THREE INDONESIAN WRITERS." Indonesian EFL Journal 2, no. 2 (September 12, 2017): 117. http://dx.doi.org/10.25134/ieflj.v2i2.644.

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This research investigates the creative process in fiction writing employed by three writers of different writing genres: short story, novel, and poem. This study applied a qualitative method that involved one male and two female writers in Kuningan and Majalengka. The data collected from document analysis, observation, and interview were analyzed through descriptive qualitative method. The results of the analysis revealed that there were five creative processes of writing fiction used by the writers in writing fiction, namely preparation, incubation, insight, evaluation, and elaboration. Besides, it also revealed that novel writer is more creative than short story and poem writers since he uses all steps of creative process. In addition, the researcher found that there were some ways of exploring imagination in writing fiction, including drawing and deepen characters in the film or theater, making mind mapping to write, developing a shorter text, and expecting that the writing will be read by younger generation.Keywords: creative process, writing fiction, fiction writers, imagination process

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12

Khorob, S. S. "OPINION JOURNALISM: THE GENRE OF LITERATURE OR JOURNALISM?" PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 364–70. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-364-370.

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The article raises the problem of genre and type definition of opinion journalism, its belonging to fiction and journalism. It proves that this creation, coming out of laws of creative work, characterizes activities of both writers and journalists to an equal extent, being on the border in works of belles-lettres and mass media. In addition, the analysis of manifestations of opinion journalism gives grounds to affirm that opinion journalism is not a separate type of literature and not a separate genre of journalism. It is rather the system of genres among major forms that are inherent in literary-fictional and journalistic creative work.

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13

Land, Caroline. "I Do Not Own Gossip Girl”: Examining the Relationship between Teens, Fan Fiction, and Gossip Girl." Language and Literacy 12, no. 1 (October 15, 2010): 38. http://dx.doi.org/10.20360/g2rp4q.

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After reading Gossip Girl, I explored several pieces of fan fiction related to the series that were created by teen authors. From these pieces, I observed how teens can use fan fiction to exercise their own creative ideas, align a fictional world with their own, connect with other fans and writers, and receive instant feedback on their work. From these findings, I suggest how teachers and librarians can use this knowledge to support teens that are engaged or interested in the practices of writing fan fiction and writing for pleasure.

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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.

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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

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15

Dowling, H. F. "Imaginative Exposition: Teaching "Creative" Non-Fiction Writing." College Composition and Communication 36, no. 4 (December 1985): 454. http://dx.doi.org/10.2307/357864.

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16

Peterle, Giada. "Carto-fiction: narrativising maps through creative writing." Social & Cultural Geography 20, no. 8 (January 23, 2018): 1070–93. http://dx.doi.org/10.1080/14649365.2018.1428820.

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17

Perkins, Tanya. "Strang(er) Places: Collaborative Creativity in Real and Virtual Spaces." Journal of Teaching and Learning with Technology 8, no. 1 (August 6, 2019): 99–107. http://dx.doi.org/10.14434/jotlt.v8i1.26744.

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In the writing classroom, collaborative learning often takes the form of co-authoring, peer workshops or critique sessions. While useful, what other active learning approaches might be effective, particularly in light of the range of media with which students are increasingly familiar? World-building—creation of an alternative/speculative or futuristic land, world or universe—offers an approach to fiction writing amenable to both creative collaboration and digital modalities. This article examines how a team-based world-building project in an advanced writing course engenders creative-making through active learning and collaboration; builds upon the multi-modalities and genres through which many students already engage with fiction (video, online and/or fantasy role-playing games, horror, speculative and science fiction); and leverages both physical and virtual space as creative collaborative environments. With this approach, students in a seated class team up to create original alternative worlds in an online environment--including production of both digital and physical artifacts--within which their own (individual) stories are set. The result is movement between real and virtual space, as well as between shared creative acts and personal imaginative writing.

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18

Chamberlain, Stephen. "Truth, Fiction and Narrative Understanding." International Philosophical Quarterly 60, no. 2 (2020): 201–19. http://dx.doi.org/10.5840/ipq2020602153.

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This paper defends the cognitive value of literary fiction by showing how Paul Ricoeur’s account of narrative understanding emphasizes the productive and creative elements of fictional discourse and defends its referential capacity insofar as fiction reshapes reality according to some universal aspect. Central to this analysis is Ricoeur’s retrieval of Aristotelian mimesis and mythos and their convergence in the notion of emplotment. This paper also supplements and specifies further Ricoeur’s account by retrieving an Aristotelian concept disregarded by Riceour, namely, synesis (understanding). Although Ricoeur connects narrative understanding to the intelligibility of praxis and in turn phronêsis, as opposed to theoretical knowledge (theōria or epistēmē), he overlooks Aristotle’s discussion of synesis. This paper then clarifies how the fictional truth of narrative understanding remains related to, and yet distinct from, both theoretical discourse (science) and praxis (politics).

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19

Ali, A. Wahab. "Muhammad Yusof Ahmad: A Pioneer of Modern Malay Fiction." Malay Literature 25, no. 1 (June 1, 2012): 91–108. http://dx.doi.org/10.37052/ml.25(1)no6.

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This is a study on Muhammad Yusof Ahmad, a pioneer in modern Malay fiction. To explore his contributions, this study focuses on his creative process, specifically in his writing of formal realism fictions such as his short stories and novelette. This study is approached via the writer’s biography and linking it to his era, and the systems of traditional and western education which shaped his creative abilities. His main works entitled “Percintaan Lady Brazil”, “Zaman Sari” and Mencari Isteri were selected as samples for analysis. This study reveals that Muhammad Yusof’s creativity is based on his own experiences in life. The structure of his stories can be traced back to the traditional literature of his culture, and elements of realism made their way in to his plot structure due to his exposure to western literature. His works were targeted at new generations, significantly Malay teachers. His works were early attempts of formal realism in the world of modern Malay literature. Keywords : Muhammad Yusof Ahmad, Malay literature, Malay fiction, Majalah Guru

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20

Edkins, Jenny. "Novel writing in international relations: Openings for a creative practice." Security Dialogue 44, no. 4 (July 23, 2013): 281–97. http://dx.doi.org/10.1177/0967010613491304.

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Prompted by Elizabeth Dauphinee’s The Politics of Exile, the article explores the political potential of novel ways of writing in international relations. It begins by examining attempts to distinguish between narrative writing and academic writing, fiction and non-fiction, and to give an account of what narrative might be and how it might work. It argues that although distinctions between narrative writing and academic writing cannot hold, there are nevertheless ways of judging the practical political effects that writing can produce. It briefly examines feminist, postcolonial and other international relations scholars who collect other people’s stories or tell their own, and points to an instructive body of work in fiction and literary non-fiction beyond the discipline. It argues that writing that disrupts linear forms of temporality and instead inhabits ‘trauma time’ can open the possibility of an aesthetic political practice, and suggests that we foster such a creative practice in international relations.

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21

Revzina, O. G. "Dream and Fiction." Critique and Semiotics 39, no. 1 (2021): 176–92. http://dx.doi.org/10.25205/2307-1737-2021-1-176-192.

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Dream and fiction are treated through a prism of creativity and creative capacity. The attempt is made to compare Freud’s method of dream’s analysis and different meth-ods of fiction analysis. The following topics are discussed: possible worlds of dreams and of fiction; correlations between literary meaning and depth meaning; between dreamer and teller in fiction; psychic processes in dreams and their correlates in literary fiction; expressive means of dreams and means in fiction; suggestive processes and language creativity.

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22

Treat, James. "Imagining Ourselves: Classics of Canadian Non-Fiction, and: Going Some Place: Creative Non-Fiction Across Canada, and: Crisp Blue Edges: Indigenous Creative Non-Fiction (review)." Fourth Genre: Explorations in Nonfiction 7, no. 2 (2005): 121–23. http://dx.doi.org/10.1353/fge.2005.0045.

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23

Mehta, Brinda J. "Indo-Trinidadian Fiction: Female Identity and Creative Cooking." Alif: Journal of Comparative Poetics, no. 19 (1999): 151. http://dx.doi.org/10.2307/521917.

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24

Hackley, Chris. "Auto‐ethnographic consumer research and creative non‐fiction." Qualitative Market Research: An International Journal 10, no. 1 (January 23, 2007): 98–108. http://dx.doi.org/10.1108/13522750710720422.

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25

Spanier, David. "Art & craft: Creative fiction and Las Vegas." Journal of Gambling Studies 11, no. 1 (March 1995): 77–90. http://dx.doi.org/10.1007/bf02283206.

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26

ATTIA, Nesrine, and Kantaoui MOHAMED. "CONTEMPORARY CREATIVE FICTION WRITING SOCIAL AND HOMELAND ISSUES." RIMAK International Journal of Humanities and Social Sciences 03, no. 07 (September 1, 2021): 11–16. http://dx.doi.org/10.47832/2717-8293.7-3.2.

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The narrative story has evolved from its precursor, when the old myths are shattered, in which the new novel has become a text with numerous cultural formats within its contents. Fragmentation and separation have been two of the most significant aspects of modern creative writing. In order to grasp the evolving reality, novelists must assume new creative forms in which the reader joins the realms of secrecy and marginalization. Those looking for the positions of the novelist critics will notice that contemporary writing has occupied a distinguished position due to the issues it raises regarding humanity and the homeland and pushing its readers to become conscious and understand what is lacking. The issues of the homeland have become thorny issues due to the imagination of the novelist and his intellectuality. It became more and more evident. The novel, with its transformation and development in content and structure, has become an autonomous literary genre that hides complex topics beyond the words. Its reader must search for distinct critical mechanisms to read it and decode its words. Hence, contemporary novelists did not write fictional texts arbitrarily. But, behind every text there was a significance and a human issue affecting the community whose conditions deteriorated socially and politically. From the above, we will try, in this research paper, to dig into the depth of the issue and reveal the features of the contemporary fictional text and its marginalization. Perhaps the most important question is: Did contemporary creative writing really contribute to educating societies? And revealed the issues that are absent and marginalized? Will the continuation of this type of writing change and solve the nation's crises? In order to answer these questions, we have to research contemporary creative writing and dive into the most important cultural, social, political and even ideological systems.

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Birat, Kathie. "“Creative Biography”: Fiction and Non-fiction in Caryl Phillips’s Foreigners: Three English Lives." Commonwealth Essays and Studies 36, no. 1 (September 1, 2013): 57–67. http://dx.doi.org/10.4000/ces.5278.

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28

Muradian, Gaiane, and Anna Karapetyan. "On Some Properties of Science Fiction Dystopian Narrative." Armenian Folia Anglistika 13, no. 1-2 (17) (October 16, 2017): 7–18. http://dx.doi.org/10.46991/afa/2017.13.1-2.007.

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Dystopia is a narrative form of fiction in general and of science fiction in particular. Using elements of science fiction discourse like time travel, space flight, advanced technologies, virtual reality, genetic engineering, etc. – dystopian narrative depicts future fictive societies presenting in peculiar prose style a future in which humanity has fallen into destruction, ruin and decline, in which human life and nature are wildly abused, exploited and destroyed, in which a totalitarian, highly centralized, and, therefore, oppressive social organization sacrifices individual expression, freedom of choice and idiosyncrasy of the society and its members. It is such critical and creative reflections of science fiction dystopian narrative that are focused on in the present case study with the aim of bringing out certain properties in terms of narrative types and devices, figurative discourse and cognitive notions through which science fiction dystopia expresses and conveys its overarching message, i.e. the warning to stop before it is too late to the reader.

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29

Gorlée, Dinda L. "Kenneth L. Pike and science fiction." Semiotica 2015, no. 207 (October 1, 2015): 217–31. http://dx.doi.org/10.1515/sem-2015-0043.

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AbstractKenneth L. Pike’s tagmemic explanation of his etic-emic equivalence corresponds to the notion of “approximate” translation. According to a weaker version of the Sapir-Whorf hypothesis, Pike’s cross-cultural and multilingual perspective of Bible translation approximates the duality and triadicity of Peirce’s immediate/emotional, dynamical/energetic, and final/logical interpretants. Pike’s astronautical examples of the artificial language Kabala-X translated into English and the science fiction story of the Earthmen who invaded Mars are fictional and creative artifacts of human-alien cryptography leading, as argued here, to false semio-logical reasoning.

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BOKOWIEC, MARK ALEXANDER, and JULIE WILSON-BOKOWIEC. "Spiral Fiction." Organised Sound 8, no. 3 (December 2003): 279–87. http://dx.doi.org/10.1017/s1355771803000256.

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Spiral Fiction is a piece of interactive performance staged by the authors in 2002. The paper provides detailed information about the technology used, the nature of the interactivity employed, the artists use of the Bodycoder System© and the aesthetic and theoretical issues arising out of the work. The paper addresses the problematic nature of the audience gaze, the seductive qualities of new technology, creative balance in the presence of new technologies and the problem of placing interactive performance along side analogue and single art form disciplines. The paper also explores the psychophysical nature of the interactivity associated with the Bodycoder System and will discuss cross-modal perception and sensation. The authors draw on aspects of postmodern theory to further expand their observations.

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31

Yaffe, Philip. "Notes on writing from writers of note." Ubiquity 2021, August (August 2021): 1–8. http://dx.doi.org/10.1145/3481719.

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Each "Communication Corner" essay is self-contained; however, they build on each other. For best results, before reading this essay and doing the exercise, go to the first essay "How an Ugly Duckling Became a Swan," then read each succeeding essay. A distinction is often made between creative writing (fiction) and expository writing(non-fiction). However, they are more alike than most people think. Creative writers can learn from expository writers, and vice versa.

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32

Ruggiero, Vincenzo. "Fiction, war and criminology." Criminology & Criminal Justice 18, no. 5 (June 15, 2018): 604–16. http://dx.doi.org/10.1177/1748895818781198.

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This article proposes an understanding of war and criminology through the use of the creative sources offered by literature. These sources, while communicating exemplary meanings and morals, can help describe and comprehend the social and cultural landscapes of war and crime. Stendhal and Tolstoy are chosen as classical major providers of such sources, and an analysis of their respective novels, The Charterhouse of Parma and War and Peace, will offer support to the idea that the inclusion of war in criminological thinking is timely as well as necessary.

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Rahma Dwi Nopryana, Wahyudin,. "FILOSOFIS KEBENARAN FIKSI SEBAGAI PENGEMBANGAN INTELEGENSI BAGI KEHIDUPAN INDIVIDU MANUSIA." Jurnal Bimbingan Penyuluhan Islam 1, no. 2 (January 11, 2020): 269. http://dx.doi.org/10.32332/jbpi.v1i2.1723.

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The study of intelligence development, as a form of analyzing the intelligence of creativity in revealing objects and trying to find specific, unique things contained in fiction. Changes in the way of thinking intelligence in a fictional truth is a discourse to express a pattern and story line with an understanding. Understanding of intelligence by distinguishing, guessing, then explaining, which is in fiction. The problem of literary works called fiction is a work that tells something that did not really happen. There is a difference of opinion in a work of fiction because it is not in accordance with his views but, intellectually and academically, the truth is less acceptable. The theory used to uncover the phenomenon is based on theory, Utami Munandar that, by way of divergent thinking. Methodology by using critical analysis in an effort to unravel, philosophically discourse of the truth of fiction by using intelligence as a logical reasoning power to find out the harmony in fiction. The results of the study found that, philosophical truth fiction can change individuals able to imagine, understand the situation, experience, and understanding. The ability of individual intelligence will increase after reading fiction based on the ability of intellectual imagination possessed. The conception is based on the development of intelligent divergent ways of thinking that is spread which is also called creative imaginative thinking an ability to provide various answers based on the information provided, with an emphasis on diversity, number and suitability.

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34

Nguyen, Thuy Thi Phuong. "Creative non-fiction in Cochin-Chinese Cities from 1945 to 1954." Science and Technology Development Journal 16, no. 2 (June 30, 2013): 82–93. http://dx.doi.org/10.32508/stdj.v16i2.1465.

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From 1945 to 1954, creative non-fiction writing makes a noticeable contribution to Cochin-chinese literature. Works of this genre focus on various prominent topics such as economy, politics, culture and war. The authors are not only those who grew up in the area but also those who came from the northern part of the country. They contributed greatly to the variety of literary styles in Cochinchina during this period. In this paper, various works of creative non-fiction published from 1945 to 1954 will be studied on different aspects such as content, structure, and style to highlight their values and position in a special literary period of our country.

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35

Umarova, Makhliyo. "THEORETICAL BASES OF THE PROBLEM OF CREATIVE PERSONALITY AND HERO." INTERNATIONAL JOURNAL OF WORD ART 2, no. 3 (February 28, 2020): 172–77. http://dx.doi.org/10.26739/2181-9297-2020-2-24.

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The article explains the scientific significance of the problem of the creative personality and heroism in literary criticism. The relations between the author of fiction and his worldview are analyzed. The concept of the creative personality of the writer is scientifically substantiated

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36

Sharp, Sabine Ruth. "Salt Fish Girl and “Hopeful Monsters”: Using Monstrous Reproduction to Disrupt Science Fiction’s Colonial Fantasies." Contemporary Women's Writing 13, no. 2 (July 2019): 222–41. http://dx.doi.org/10.1093/cww/vpz022.

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Abstract The revival of the Frankenstein origin myth has left science fiction’s relationship to colonialism undertheorized. More recent creative interventions have, however, challenged the genre’s colonialist legacy: two works that achieve this are Larissa Lai’s novel Salt Fish Girl (2002) and Hiromi Goto’s short story “Hopeful Monsters” (2004). Using different forms of unruly reproduction—strange births, recurring histories, and eclectic intertextuality—these texts unravel the tangled histories of science fiction and colonialism. Using tropes of repetition and mutation, Lai and Goto trace not a myth of origins but the texture of interwoven histories of gendered and racialized oppression. Monstrous patchworks of texts, these works interrogate the boundaries between science fiction, myth, folklore, and fantasy, showing these generic distinctions to have been buttressed by colonialist discourses.

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37

Hill, Jonathan. "Architects of fact and fiction." Architectural Research Quarterly 19, no. 3 (September 2015): 249–58. http://dx.doi.org/10.1017/s1359135515000494.

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Conceiving a design as both a history and a fiction is not exclusive to the analogy of architecture to landscape. But it is central to this tradition because of the simultaneous and interdependent emergence in the early eighteenth century of new art forms, each of them a creative and questioning response to empiricism's detailed investigation of subjective experience and the natural world: the picturesque landscape, analytical history and English novel, which its early advocates conceived as a fictional autobiography and characterised as a history not a story. The conjunction of new art forms stimulated a lyrical environmentalism that profoundly influenced subsequent centuries, and is increasing relevant today due to anthropogenic climate change, which is now the principal means to consider the relations between nature and culture.While a prospect of the future is implicit in many histories and novels, it is explicit in a design, which is always imagined before it is built. Creative architects have often looked to the past to imagine the future, studying an earlier architecture not to replicate it but to understand and transform it, revealing its relevance to the present. Twenty-first century architects need to appreciate the shock of the old as well as the shock of the new.

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Mamatqosimov, Jahongir. "International and specification of the artistics of artistics." International Journal on Integrated Education 2, no. 4 (September 19, 2019): 8–10. http://dx.doi.org/10.31149/ijie.v2i4.97.

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This article contributes to the different distribution of fiction, as well as the scientific and theoretical and creative aspects of working with one of the creative processes. Assistance is provided on the types of scenarios, the creative stages of working on the artwork. Abbreviations for the use of methods of assurance of the manufacture of artworks.

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Rogers, Hannah Star. "Cheering Artificial Intelligence Leader: Creative Writing and Materializing Design Fiction." Leonardo 53, no. 1 (February 2020): 58–62. http://dx.doi.org/10.1162/leon_a_01578.

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Bringing together science and literature for purposes of casting these knowledge areas into relief is a well-established analytical practice. Rather less studied is the turn toward material practice as it has unfolded across science studies and the arts. However, this trend has the potential to open up new methods for thinking about science and literature and new forms of public engagement. This paper explores one possibility for combining creative writing in the form of sports cheers. It posits a materialized future scenario designed to encourage the public to consider potential futures and explore their individual ideas about a particular technological development (in this case artificial intelligence) in a fun and imaginative way.

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Webb, Dominique. "Screen industry collaboration:The Knock– producing fiction with Creative England/BFI." Media Practice and Education 19, no. 2 (May 4, 2018): 173–87. http://dx.doi.org/10.1080/25741136.2018.1469355.

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Manzi, Tony. "Fact and Fiction in Housing Research: Utilizing the Creative Imagination." Housing, Theory and Society 22, no. 3 (October 2005): 113–28. http://dx.doi.org/10.1080/14036090510011595.

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York, Emily, and Shannon N. Conley. "Creative Anticipatory Ethical Reasoning with Scenario Analysis and Design Fiction." Science and Engineering Ethics 26, no. 6 (July 23, 2020): 2985–3016. http://dx.doi.org/10.1007/s11948-020-00253-x.

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Kochanowicz, Rafał. "„Kwazar”, „Fantom”, „Czerwony Karzeł”, „Inne Planety”. Kilka uwag krytycznych o nietypowej sytuacji fantastycznych fanzinów w kulturze polskiej." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 249–69. http://dx.doi.org/10.14746/pspsl.2016.28.13.

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In Poland, research-related fanzines rarely include writings edited by Polish fans of science fiction, horror and fantasy. Active fans edited amateur magazines which were very important because they popularized fantastic literature and culture in Poland. The role of fantastic fanzines was not limited solely to the promotion of amateur creativity or publishing translations of foreign fiction not available on the market, but also consisted in the creation of creative bonds between writers and readers. The remnants of the activities of Polish fantastic fiction fans are about one hundred titles including “Quasar”, “Red Dwarf” and “Other Planets”. These three fanzines as effects of pure amateur work are also very similar to the professional magazines. Each of them has a different poetics and thematic dominant. They have also published stories written by famous Polish writers such as Ewa Białołęcka and Andrzej Sapkowski.

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Malykh, Vyacheslav Sergeevich. "RUSSIAN AND AMERICAN HORROR FICTION AS A GENRE, CREATIVE WRITING AND EDUCATIONAL PHENOMENON: A PROBLEM STATEMENT." Russian Journal of Multilingualism and Education 11, no. 1 (December 15, 2019): 63–69. http://dx.doi.org/10.35634/2500-0748-2019-11-63-69.

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Although the genre of horror has gained an extraordinary popularity in contemporary literature, it still raises controversy among specialists. The situation in Russia is especially complicated. Until the beginning of the 20th century, Russian horror fiction used to develop concurrently with the evolution of horror genre in the U.S., but after the revolution of 1917 and until the late 1980s this tradition was interrupted in Russia. Therefore, nowadays the question “What is horror fiction?” is unclear for Russian philologists, the question “How to write horror fiction?” is unclear for Russian writers, and including the horror genre in literature syllabus is regarded by Russian professors and teachers as a forbidden topic. The situation is different in the United States where a long-standing tradition of interpreting the category of the horrible has been created. Modern American scientists, philosophers, writers and educators agree that horror fiction in its best manifestations touches upon essential problems of a human soul. It allows to exert a powerful positive influence on the formation and development of a personality. Throughout the 20th century, the genre of horror was systematically evolving in the U.S., and as of today, it is American horror fiction that sets the standards of the genre all over the world. The aim of this research is to describe horror fiction as a dynamically developing genre from three points of view: 1) through comparative and genre analyzis of horror fiction in the U.S. and Russia; 2) by studying narrative strategies which are used by horror writers in the U.S.; 3) by surveying principles of teaching the horror genre in an American multicultural educational environment. After experiencing decades of oblivion, the genre of horror can revive in Russia thanks to the critical mastering of the U.S. experience, where the genre tradition has never been interrupted. A list of bibliography is attached to help beginner researchers with their study of the subject.

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BABAEI, ABDOLRAZAGH, and AMIN TAADOLKHAH. "Portrayal of the American Culture through Metafiction." Journal of Education Culture and Society 4, no. 2 (January 7, 2020): 9–15. http://dx.doi.org/10.15503/jecs20132.9.15.

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Kurt Vonnegut’s position that artists should be treasured as alarm systems and as biological agents of change comes most pertinent in his two great novels. The selected English novels of the past century – Cat’s Cradle (1963), Slaughterhouse Five (1969), and Breakfast of Champions (1973) – connect the world of fiction to the harsh realities of the world via creative metafictional strategies, making literature an alarm coated with the comforting lies ofstorytelling. It is metafi ction that enables Vonnegut to create different understandings of historical events by writing a kind of literature that combines facts and fiction. Defi ned as a kind of narrative that “self-consciously and systematically draws attention to its status as artefact” metafiction stands against the duplicitous “suspension of disbelief” that is simply an imitation and interpretation of presumed realities. As a postmodern mode of writing it opts for an undisguised narration that undermines not only the author’s univocal control over fiction but also challenges the established understanding of the ideas. Multidimensional display of events and thoughts by Vonnegut works in direction of metafiction to give readers a self-conscious awareness of what they read. Hiroshima bombing in 1946 and the destruction of Dresden in Germany by allied forces in World War II are the subjects of the selected novels respectively. In them Vonnegut presents a creative account in the form of playful fictions. The study aims to investigate how the novelist portrayed human mentality of the American culture by telling self-referentialstories that focus on two historical events and some prevailing cultural problems.

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Bladon, Henry. "Fiction, empathy and mental health nursing." British Journal of Mental Health Nursing 8, no. 4 (November 2, 2019): 207–12. http://dx.doi.org/10.12968/bjmh.2018.0032.

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Fiction can be a ‘powerful tool’ for understanding. This article looks at how narrative fiction can be of use to help engender empathy in mental health nurses. It examines the role of empathy within the therapeutic relationship and suggests that reading literature can not only help to developing skills but that it can be incorporated into reflective practice as part of continuing professional development. Beyond this, the skills learned through reading fiction sit well alongside the use of other forms of creative arts in recovery programmes.

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Filipowicz, Stanisław, and Paweł Janowski. "Europe as Fiction." Civitas. Studia z Filozofii Polityki 11 (January 30, 2009): 40–51. http://dx.doi.org/10.35757/civ.2009.11.02.

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What is the meaning of the “Europe” and the idea of unity? For when did a “united” Europe exist? Back when German emperors ineffectively tried to enforce their rule on a territory which was none too large anyway? Or when they were entangled in a dispute with the papacy? Or during the crusades against the Catharists? Or maybe during the Reformation or during the French Revolution when new coalitions of opponents arose? During the Napoleonic Wars which in themselves pay testimony to ruptures and conflicts? The 20th century alone brought two wars. The first already signified, as Jan Patocka once declared, the suicide of Europe. Perhaps, then, Europe does not exist at all anymore? Maybe the politicians’ visions are less than credible? There is no doubt that the idea of a united Europe is a project which affirms the great, creative power of the imagination. Modernity has given birth to very strong temptations which glorify the imagination.

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Troscianko, Emily T. "Fiction-reading for good or ill: eating disorders, interpretation and the case for creative bibliotherapy research." Medical Humanities 44, no. 3 (April 21, 2018): 201–11. http://dx.doi.org/10.1136/medhum-2017-011375.

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Compared with self-help bibliotherapy, little is known about the efficacy of creative bibliotherapy or the mechanisms of its possible efficacy for eating disorders or any other mental health condition. It is clear, however, that fiction is widely used informally as a therapeutic or antitherapeutic tool and that it has considerable potential in both directions, with a possibly significant distinction between the effects of reading fiction about eating disorders (which may—contrary to theoretical predictions—be broadly negative in effect) or one’s preferred genre of other fiction (which may be broadly positive). Research on creative bibliotherapy, especially systematic experimental research, is lacking and requires a medical humanities approach, drawing on knowledge and methods from psychology and cognitive literary studies as well as clinical disciplines to expand our understanding of how the dynamic processes of interpretation mediate between textual structures and characteristics of mental health and illness.

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Page, Joshua, and Philip Goodman. "Creative disruption: Edward Bunker, carceral habitus, and the criminological value of fiction." Theoretical Criminology 24, no. 2 (April 19, 2018): 222–40. http://dx.doi.org/10.1177/1362480618769866.

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Drawing on Edward Bunker’s semi-autobiographical novels, this article argues for the criminological value of fiction. Drawing inspiration and extending core insights from “narrative criminology” and “popular criminology”, we posit that novels and other creative sources can disrupt scholarly commonsense, pushing scholars to reconsider and extend theoretical perspectives. Specifically, Bunker’s fiction encourages re-thinking of overly cognitive (i.e. “mentalist”) understandings of “prisonization”, which do not sufficiently capture the embodiment of carceral culture and routines. Through Bunker’s work, we flesh out the concept of “carceral habitus”—itself deeply gendered and raced—to extend theories of prisonization, deepening understandings of how incarceration transforms people. We affirm that literary devices provide scholars innovative paths to communicating full-bodied accounts that breathe new vitality into criminological theory.

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Yekimova, Anastasiya V. "Directing “Mixed” Forms. Dialogue of Classical Traditions and Modern Creative Practice." Journal of Flm Arts and Film Studies 8, no. 1 (March 15, 2016): 54–62. http://dx.doi.org/10.17816/vgik8154-62.

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The article compares the expressive means used in Soviet and modern docu-fiction films. The influence of digital technologies as well as the determination of multimedia aesthetics have led to a quantum leap (not always positive) in making of hybrid forms.

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