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Journal articles on the topic 'Fiction'
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1
POPA, Alexandru. "Fiktion´ und Fiktionen. Einige Beobachtungen zu terminologischen und sachlichen Unklarheiten in literaturtheoretischem und -wissenschaftlichem Kontext." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 27–38. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.2.
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The following article discusses some issues regarding the use of the terms ‘fiction’, ‘fictionality’, ‘fictive’ and ‘fictional’ with regard to fictions and fictional expressions or texts. The main concern of this text is to indicate the fact, that ‘fiction’ and fictions are used and treated with a certain amount of ambiguity. It is the case when literature and literary worlds are discussed both in a general context and in scholarly treatment of these issues. Relevant terminological distinctions exist. Still, their use to name their corresponding referents lacks a certain consequence.
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Frame, Alex. "Fictions in the Thought of Sir John Salmond." Victoria University of Wellington Law Review 30, no. 1 (June 1, 1999): 159. http://dx.doi.org/10.26686/vuwlr.v30i1.6021.
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A Lecture delivered for the Stout Centre's "Eminent Victorians" Centennial Series in the Council Chamber, Hunter Building at Victoria University on 31 March 1999. The author pays tribute to the late Sir John Salmond by discussing the role of "fiction" in law and in the thought of Sir John. The author notes the nature of fiction as a formidable force, as it facilitates provisional escape from the tyranny of apparent fact and forget about the suspensory nature of fiction. There are three types of "fictions" in the legal world: legislative fictions, whereby the world is refashioned in accordance with the legislator's desires; constitutional fictions, which places fictional boundaries on government rule; and corporate fiction, which creates a fictional corporate personality for companies. The author concludes that it is purpose that keeps fiction honest, and that the relationship between fiction and purpose is just as important as that between hypothesis and fact.
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Mikkonen, Jukka. "Sutrop on literary fiction-making: defending Currie." Disputatio 3, no. 28 (May 1, 2010): 309–15. http://dx.doi.org/10.2478/disp-2010-0004.
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Abstract In her study Fiction and Imagination: The Anthropological Function of Literature (2000), Margit Sutrop criticizes Gregory Currie’s theory of fiction-making, as presented in The Nature of Fiction(1990), for using an inappropriate conception of the author’s ‘fictive intention.’ As Sutrop sees it, Currie is mistaken in reducing the author’s fictive intention to that of achieving a certain response in the audience. In this paper, I shall discuss Sutrop’s theory of fiction-making and argue that although her view is insightful in distinguishing the illocutionary effect and the perlocutionary effect in the author’s fictive intention, there are flaws in it. My aim is to show that, first, Sutrop’s critique of Currie’s view is misguided and, second, her own definition of fiction as the author’s expression of her imagination is problematic in not distinguishing literary fiction-making from other discursive functions and in dismissing the literary practice which regulates the production of literary fictions.
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Fitzpatrick, Noel. "The question of Fiction – nonexistent objects, a possible world response from Paul Ricoeur." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 137–53. http://dx.doi.org/10.1515/kjps-2016-0020.
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Abstract The question of fiction is omnipresent within the work of Paul Ricoeur throughout his prolific career. However, Ricoeur raises the questions of fiction in relation to other issues such the symbol, metaphor and narrative. This article sets out to foreground a traditional problem of fiction and logic, which is termed the existence of non-existent objects, in relation to the Paul Ricoeur’s work on narrative. Ricoeur’s understanding of fiction takes place within his overall philosophical anthropology where the fictions and histories make up the very nature of identity both personal and collective. The existence of non-existent objects demonstrates a dichotomy between fiction and history, non-existent objects can exist as fictional objects. The very possibility of the existence of fictional objects entails ontological status considerations. What ontological status do fictional objects have? Ricoeur develops a concept of narrative configuration which is akin to the Kantian productive imagination and configuration frames the question historical narrative and fictional narrative. It is demonstrated that the ontological status of fictional objects can be best understood in a model of possible worlds.
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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction." Journal of Literary Theory 12, no. 2 (September 3, 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Matravers, Derek. "Non-Fictions and Narrative Truths." Croatian journal of philosophy 22, no. 65 (September 15, 2022): 145–60. http://dx.doi.org/10.52685/cjp.22.65.1.
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This paper starts from the fact that the study of narrative in contemporary Anglo-American philosophy is almost exclusively the study of fictional narrative. It returns to an earlier debate in which Hayden White argued that “historiography is a form of fiction-making.” Although White’s claims are hyperbolical, the paper argues that he was correct to stress the importance of the claim that fiction and non-fiction use “the same techniques and strategies.” A distinction is drawn between properties of narratives that are simply properties of narratives and properties of narratives that play a role in forming readers’ beliefs about the world. Using this distinction, it is shown that it is an important feature of non-fictions that they are narratives; it is salutary to recognise non-fictions as being more like fictions than they are like the events they represent.
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Mikkonen, Kai. "Minimal Departure and Fictional Narrative Situations." Storyworlds: A Journal of Narrative Studies 13, no. 2 (December 2021): 71–96. http://dx.doi.org/10.1353/stw.2021.a925851.
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Abstract: Readers understand fictional worlds at least to some extent by drawing on background knowledge of their own world. Some theories of fiction, however, hold that such realistic expectations, or processes of naturalization, are the default attitude in experiencing fictions. Thus, what Marie-Laure Ryan has called the principle of minimal departure (MD) states that readers understand fictional worlds and their components by drawing on background knowledge of their own world, unless otherwise indicated. This article is a critical examination of the relevance of the principle of MD and a contextualization of other theoretical notions of readerly attitude, including Thomas Pavel's principles of maximal departure (MxD) and optimal departure (OD) and Kendall L. Walton's principle of charity, within the broader framework of fictional verisimilitude and believability. The question of relevance will be discussed in relation to the idea of the contract of fiction by which is meant the knowledge that one is reading fiction. The analytic sections of this article focus on the question of fictional narrative situation, which in Ryan's possible-worlds theory functions as the trademark of fiction—as narrators and narratees (or narrative audiences) are exempted from the operations of MD. The "impossible" narrative situations that serve as examples include Jorge Luis Borges's loosely autobiographical story "Funes el memorioso" (1942) and two nineteenth-century French fictions: Guy de Maupassant's short story "La nuit" (1887) and a passage from Émile Zola's roman à thèse, Lourdes (1894).
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Morris, Raphael. "Interpretive Context, Counterpart Theory and Fictional Realism without Contradictions." Disputatio 11, no. 54 (December 1, 2019): 231–53. http://dx.doi.org/10.2478/disp-2019-0018.
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Abstract Models for truth in fiction must be able to account for differing versions and interpretations of a given fiction in such a way that prevents contradictions from arising. I propose an analysis of truth in fiction designed to accommodate this. I examine both the interpretation of claims about truth in fiction (the ‘Interpretation Problem’) and the metaphysical nature of fictional worlds and entities (the ‘Metaphysical Problem’). My reply to the Interpretation Problem is a semantic contextualism influenced by Cameron (2012), while my reply to the Metaphysical Problem involves an extension and generalisation of the counterpart-theoretic analysis put forth by Lewis (1978). The proposed analysis considers interpretive context as a counterpart relation corresponding to a set of worlds, W, and states that a sentence φ is true in interpretive context W iff φ is true at every world (w∈W). I consider the implications of this analysis for singular terms in fiction, concluding that their extensions are the members of sets of counterparts. In the case of pre-existing singular terms in fiction, familiar properties of the corresponding actual-world entities are salient in restricting the counterpart relation. I also explore interpretations of sentences concerning multiple fictions and those concerning both fictional and actual entities. This account tolerates a plurality of interpretive approaches, avoiding contradictions.
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Wieland, Nellie. "Escaping Fiction." Croatian journal of philosophy 24, no. 70 (February 23, 2024): 81–96. http://dx.doi.org/10.52685/cjp.24.70.6.
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In this paper I argue that a norm of literary fiction is to compel the reader to form beliefs about the world as it is. It may seem wrong to suggest that the reason I believe p is because I imagined p, yet literary fiction can make this the case. I argue for an account grounded in indexed doxastic susceptibilities mapped between a fictional context and the particular properties of a reader, more specifically the susceptibilities in her beliefs, attitudes, and psychological states. Works of fiction can be about different things at the same time, some of which are fictive and some of which are factual. Since belief can be weak or strong, partial or complete, tenuous or robust, opaque or clear, there are susceptibilities throughout a doxastic set out of which new beliefs are formed. Skillful works of fiction exploit these susceptibilities and create new ones. This is an aesthetic achievement of such works: they take what should be a norm-violating practice of belief-formation on the basis of imaginative engagement and they make it so.
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Egerton, Karl. "Player Engagement with Games: Formal Reliefs and Representation Checks." Journal of Aesthetics and Art Criticism 80, no. 1 (October 29, 2021): 95–104. http://dx.doi.org/10.1093/jaac/kpab058.
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Abstract Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has heretofore been acknowledged but not examined in detail, giving an impression of a tension that is constant. However, the paired concepts of formal reliefs and representation checks, once introduced, allow us to explain how rules and fiction interact to alter the ways in which players engage with games in a dynamic but limited way.
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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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Grishakova, Marina, Remo Gramigna, and Siim Sorokin. "Imaginary scenarios: On the use and misuse of fiction." Frontiers of Narrative Studies 5, no. 1 (July 2, 2019): 112–29. http://dx.doi.org/10.1515/fns-2019-0008.
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AbstractThis paper argues that the examination of representational (formal) and semantic (referential) features of fictional and factual narratives would be incomplete without discussing specific pragmatic (communicative, performative, heuristic, and cognitive) functions of fiction – how and why “fictions” are used in literature and arts, but also in scientific, philosophical, and everyday discourses. On the one hand, the pragmatic approach blurs the fictional/ factual divide and identifies similarities in the use of fiction across disciplinary borders. On the other, as we argue, to avoid panfictionalism inherent in Vaihinger’s philosophy of “as if” the pragmatic act of boundary-crossing should be accompanied by mapping out new “cross-territorial” forms and distinctions. The paper revises and recasts the “cross-territorial” concept of scenario as a narrative structure and a type of fictional modeling and explores its semantic and pragmatic features.
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Fathallah, Judith. "Reading real person fiction as digital fiction: An argument for new perspectives." Convergence: The International Journal of Research into New Media Technologies 24, no. 6 (January 19, 2017): 568–86. http://dx.doi.org/10.1177/1354856516688624.
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‘Real person fiction’ (RPF) is a subset of fanfiction that has gone largely unnoticed by academics. A handful of articles have argued for the justification of stories about real (living) people as a legitimate and morally sound art form, but only a very few studies have begun to consider RPF as a genre with its own aesthetics and conventions. This article argues that, to understand fannish RPF, we need to incorporate tools developed by scholars of digital fiction. Almost all fanfic is now produced for and on digital platforms, and moreover, the natural fit between RPF specifically and the study of metalepsis, or self-conscious movement between ‘levels’ of reality and fiction, makes this tool and others imported from the study of digital fiction an illuminating set of lenses through which read it. Along the way, I will incorporate further narrative theory to suggest that we understand appeals to the putative subject of RPF as directed to a ‘fictiona lized addressee’, that is, an addressee who is neither purely fictional nor purely nonfictional, but a construct of mediated activity that demonstrates fandom’s participation in the construction of the subcultural celebrity.
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Ander, Zed. "Really Fictional Fiction." Iowa Review 29, no. 2 (October 1999): 160–67. http://dx.doi.org/10.17077/0021-065x.5157.
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Garrido Ardila, Juan Antonio. "Las rutas del «Quijote» por la novela inglesa del siglo XVIII." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 17. http://dx.doi.org/10.17811/cesxviii.26.2016.17-31.
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RESUMENEste artículo sopesa las principales derrotas en las investigaciones en torno a la presencia, recepción e influjo del Quijote en la novela inglesa del siglo XVIII. Se parte aquí de la distinción establecida entre novelas inglesas dieciochescas de temática quijotesca (las denominadas Quixotic fictions) y aquellas cuyas características formales se inspiran en el Quijote (las Cervantean novels). Respecto de las primeras se subraya la escasez deestudios y las muchas posibilidades que estas brindan al estudioso que quiera indagar en el tratamiento satírico de la compleja sociedad que las inspiró. De las Cervantean novels se destaca su engarce con la literatura de los dos siglos precedentes. La influencia cervantina en autores del Dieciocho como Fielding, Smollett y Sterne, en contraposición a la influencia picaresca en el Diecisiete, se explica aquí por razón de la necesidad, enla primera mitad del XVIII, de dotar la narrativa inglesa de las características formales de la novela moderna, lo cual hallaron en el Quijote.PALABRAS CLAVECervantes en Inglaterra, Quijote, novela inglesa del siglo XVIII, ficción cervantina, ficción quijotesca. TITLE«Don Quixote’s» sallies in eighteenth-century english fictionABSTRACTThis article is a critique of the mainstream strands in the research into Don Quixote’s reception in England and its influence on eighteenth-century English fiction. It offers a survey of the fictional narratives with a quixotic theme (the so-called Quixotic fictions) and those which deploy formal features taken from Don Quixote(known as Cervantean novels). The discussion of Quixotic fictions notes they have attracted little critical attention, and suggests the need for future studies of their intriguing satirical scope. This article also pinpoints the need to study Cervantean fictions of the eighteenth century in relation to seventeenth-century English fiction. This article notes that whilst Spanish picaresque novels were the main foreign influence on English fiction of the seventeenth century, the great writers of the eighteenth century, namely Fielding, Smollett and Sterne, preferred Don Quixote since Cervantes’ novel provided them with the formal features of the modern novel, at a time when these authors sought to establish canon of modern fiction in the English language.KEY WORDSCervantes in England, Don Quixote, eighteenth-century English novel, Cervantean fiction, Quixotic fiction.
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Savage, Paul, Joep P. Cornelissen, and Henrika Franck. "Fiction and Organization Studies." Organization Studies 39, no. 7 (June 8, 2017): 975–94. http://dx.doi.org/10.1177/0170840617709309.
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The topic of fiction is in itself not new to the domain of organization studies. However, prior research has often separated fiction from the reality of organizations and used fiction metaphorically or as a figurative source to describe and interpret organizations. In this article, we go beyond the classic use of fiction, and suggest that fiction should be a central concern in organization studies. We draw on the philosophy of fiction to offer an alternative account of the nature of fiction and its basic operation. We specifically import Searle’s work on speech acts, Walton’s pretense theory, Iser’s fictionalizing acts, and Ricoeur’s work on narrative fiction to theorize about organizations as fictions. In doing so, we hope that we not only offer an account of the “ontological status” of organizations but also provide a set of theoretical coordinates and lenses through which, separately or together, the notion of organizations as fictions can be approached and understood.
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Collin, Thibault. "Quand la radicalisation rencontre la fiction." Recherches en psychanalyse N° 35/36, no. 1/2 (April 5, 2024): 195–209. http://dx.doi.org/10.3917/rep2.035.36.0195.
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Dans le présent article, nous envisageons les liens entre le processus de radicalisation islamique et la notion de fiction. C’est dans la construction du symptôme – car nous postulons que la radicalisation est un symptôme au sens psychanalytique – que se loge une forme de fiction ainsi que dans son articulation à la passion religieuse qui, sous son aspect mystique, tient aussi de la fable. Le recours à la fictionnalisation représente un moyen bien connu pour résister face au réel et ceci s’observe également chez les sujets radicalisés. L’utilisation de signifiants historiques, le choix d’un pseudonyme à consonance arabe et riche de sens ancrent les sujets dans un univers fictif qu’ils se choisissent. Enfin, les méthodes de propagande utilisées par les djihadistes font largement appel à des fictions connues pour leur caractère hollywoodien. Pour toutes ces raisons, nous pouvons proposer que l’imagination et la création puissent participer au processus de radicalisation. Cependant, la fiction de radicalisation se distingue de la fiction religieuse en cela qu’elle contient intrinsèquement de fortes nuances de fanatisme et d’intolérance qui soutiennent les actions violentes qui la caractérisent.
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Jones, Calvert W., and Celia Paris. "It’s the End of the World and They Know It: How Dystopian Fiction Shapes Political Attitudes." Perspectives on Politics 16, no. 4 (November 23, 2018): 969–89. http://dx.doi.org/10.1017/s1537592718002153.
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Given that the fictional narratives found in novels, movies, and television shows enjoy wide public consumption, memorably convey information, minimize counter-arguing, and often emphasize politically-relevant themes, we argue that greater scholarly attention must be paid to theorizing and measuring how fiction affects political attitudes. We argue for a genre-based approach for studying fiction effects, and apply it to the popular dystopian genre. Results across three experiments are striking: we find consistent evidence that dystopian narratives enhance the willingness to justify radical—especially violent—forms of political action. Yet we find no evidence for the conventional wisdom that they reduce political trust and efficacy, illustrating that fiction’s effects may not be what they seem and underscoring the need for political scientists to take fiction seriously.
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Ruiz Carmona, Carlos. "The Fiction in Non-Fiction Film." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, no. 2 (July 1, 2019): 10–31. http://dx.doi.org/10.7195/ri14.v17i2.1238.
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Over the past few decades film theory, major scholars and acclaimed filmmakers have established that documentary just like fiction must resort to ambiguous and subjective rhetorical figures in order to represent the world. This has led some scholars to conclude that documentary as a term referring to itself as being non-fictional might be disregarding its inevitable fictional elements. This may imply that both documentary and fiction use the same strategies and obtain the same results when representing the world: ficitionalize reality.
If we accept this claim as true we need to ask whether terms such as fiction and non-fiction or documentary make sense when discussing representing reality. Does this mean that cinema can only fictionalize reality and therefore we should erradicate from this discussion tems such as non-fiction or documentary due to their associated “truth” claim?
Can we understand or discuss representing reality without referring to those terms? Can the term fiction exists in fact without refferring to the term non-fiction or documentary?
The questions that this paper intends to answer are:
What roles do documentary and fiction play in representing the historical world?
Are these terms necessary to comunicate and understand representing reality?
This paper has established that fiction and documentary are necessary terms that emerge in cinema narration as means to mirror human experience’s needs to organize, communicate and understand reality.
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Prasad, Amar Nath. "The Non-fictions of V.S. Naipaul: A Critical Exploration." Creative Saplings 1, no. 8 (2022): 1–11. http://dx.doi.org/10.56062/gtrs.2022.1.8.168.
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V. S. Naipaul is an eminent literary figure in the field of modern fiction, non-fiction, and travelogue writing in English literature. He earned a number of literary awards and accolades, including the covetous Nobel Prize and Booker Prize. His non-fiction e.g., An Area of Darkness, India: A Wounded Civilization, The Loss of El Dorado, India: A Million Mutinies Now and Beyond Belief are a realistic portrayal of the various types of religion, culture, customs, and people of India. As an author, the main purpose of V. S. Naipaul is to deliver the truth; because poets are the unacknowledged legislators of mankind. The fact that V. S. Naipaul has presented in his non-fiction is more authentic and realistic than that of his fiction. Nonetheless, it is fictional work that is elaborately explored, discussed, and analyzed in abundance. On the other hand, his non-fiction, by and far, remains aloof. In the last few decades, non-fictions are also taking the ground strongly. Now non-fiction writings are being analyzed, elucidated, and explored based on various theoretical principles of literary criticism. V. S. Naipaul carried the new genre to new heights and achievements. He is of Indian descent and known for his pessimistic works set in developing countries. He visited India several times, like Pearl S. Buck and E. M. Forster. So, his presentation of Indian religion, society, culture, and politics are very realistic. His vision and ideas are very close to the modern thoughts and visions of both the east and the west.
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Colleyn, Jean-Paul. "Fiction et fictions en anthropologie." L Homme, no. 175-176 (October 15, 2005): 147–64. http://dx.doi.org/10.4000/lhomme.1898.
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Colleyn, Jean-Paul. "Fiction et fictions en anthropologie." L'Homme, no. 175-176 (October 15, 2005): 147–63. http://dx.doi.org/10.4000/lhomme.29528.
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Proudfoot, Diane. "Sylvan's Bottle and other Problems." Australasian Journal of Logic 15, no. 2 (July 3, 2018): 95. http://dx.doi.org/10.26686/ajl.v15i2.4858.
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According to Richard Routley, a comprehensive theory of fiction is impossible, since almost anything is in principle imaginable. In my view, Routley is right: for any purported logic of fiction, there will be actual or imaginable fictions that successfully counterexample the logic. Using the example of ‘impossible’ fictions, I test this claim against theories proposed by Routley’s Meinongian contemporaries and also by Routley himself (for what he called ‘esoteric’ works of fiction) and his 21st century heirs. I argue that the phenomenon of impossible fictions challenges even today’s modal Meinongians.
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Wilhelms, Lina. "“Esa zona indeterminada donde se cruzan la ficción y la verdad": Ficciones, realidades y la lectura como agentes críticos en El camino de Ida de Ricardo Piglia." Philologica Canariensia, no. 30 (2024) (June 22, 2024): 569–87. http://dx.doi.org/10.20420/phil.can.2024.691.
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This article analyses Ricardo Piglia's last novel, El camino de Ida (2013), which is influenced by the emphatic concept of fiction and the epistemological potential of literature, postulated by its author. The article discusses how the author aims to develop through his crime fiction a capacity for critical reading allowing us to recognise and read the state and economic fictions that, according to Piglia, fill reality. It will be shown how Piglia deliberately plays with fictional and factual elements at various levels of the complex narrative to provoke a critical and even suspicious attitude and to incite a reflection on reading. Thus, the novel anticipates on a meta-level central aspects of the recent debate between "critique and postcritique".
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Saarti, Jarmo. "Fictional Literature, Classification and Indexing." KNOWLEDGE ORGANIZATION 46, no. 4 (2019): 320–32. http://dx.doi.org/10.5771/0943-7444-2019-4-320.
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Fiction content analysis and retrieval are interesting specific topics for two major reasons: 1) the extensive use of fictional works; and, 2) the multimodality and interpretational nature of fiction. The primary challenge in the analysis of fictional content is that there is no single meaning to be analysed; the analysis is an ongoing process involving an interaction between the text produced by author, the reader and the society in which the interaction occurs. Furthermore, different audiences have specific needs to be taken into consideration. This article explores the topic of fiction knowledge organization, including both classification and indexing. It provides a broad and analytical overview of the literature as well as describing several experimental approaches and developmental projects for the analysis of fictional content. Traditional fiction indexing has been mainly based on the factual aspects of the work; this has then been expanded to handle different aspects of the fictional work. There have been attempts made to develop vocabularies for fiction indexing. All the major classification schemes use the genre and language/culture of fictional works when subdividing fictional works into subclasses. The evolution of shelf classification of fiction and the appearance of different types of digital tools have revolutionized the classification of fiction, making it possible to integrate both indexing and classification of fictional works.
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Isto, Raino. "How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale." Open Philosophy 2, no. 1 (October 30, 2019): 552–65. http://dx.doi.org/10.1515/opphil-2019-0039.
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AbstractThis article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written in the 1970s, Big Dumb Objects (often called BDOs) have been understood in terms of science fiction’s enduring interest in the technological sublime and the transcendental. While object-oriented ontology has often turned to science fiction and weird fiction for inspiration in rethinking the possibilities inherent in things and their relations, it has not considered the implications of BDOs for a theory of the object more broadly. The goal of this article is to consider how extreme size and representations of scale in science fiction can help expand an understanding of the object along lines that are similar to those pursued by object-oriented ontology, especially Timothy Morton’s notion of hyperobjects.
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Major, Jean-Louis. "Journaux fictifs / fiction diaristique." Voix et Images 20, no. 1 (1994): 200. http://dx.doi.org/10.7202/201149ar.
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Vallée, Richard. "Indexicals in Fiction." Disputatio 14, no. 66 (December 1, 2022): 305–25. http://dx.doi.org/10.2478/disp-2022-0015.
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Abstract Both the semantics of fictional discourse and the semantics of indexicality are canonical topics in the philosophy of language, on which there exists well-known significant literature. However, the same cannot be said for the terrain where they overlap. That is, the distinctive issues raised by fictive uses of indexicals and demonstratives have not been extensively studied per se. The aim of the present essay is to shed some light on this terrain, and to advance our understanding of some of these issues. As it happens, accounting for indexicals in fiction requires the use of innovative new tools. In particular, the standard, familiar taxonomy of types / tokens / utterances is not sufficient to account for the complex cognitive significance and truth-conditions, unique to these kinds of case. For instance: it is widely recognized that, with indexicals generally, semantic properties attach to utterances, not to types or to tokens. But in fiction there are no utterances (in the relevant sense). An innovative notion is required, which I call an “indexed token”. This account of indexicals in fiction, based on the notion of an indexed token, is developed within a Perry (2012)-inspired pluri-propositionalist framework. As such, the present essay constitutes an original application of that framework, extending its already impressive reach.
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Randall, Marilyn. "La disparition élocutoire du romancier." Études 31, no. 3 (July 10, 2006): 87–104. http://dx.doi.org/10.7202/013241ar.
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Résumé Nous définissons le roman de la lecture à partir d’un nombre représentatif de textes qui partagent la structure du « roman dans le roman », créant une problématique de la lecture qui ébranle à la fois la logique du monde fictif et celle mobilisée par le lecteur. Une variante importante sera qualifiée de roman fictif, soit un récit qui confond de façon irrémédiable les niveaux « fictif » et « réel » à l’intérieur de la fiction par un retournement de la fin qui détruit la logique des deux ontologies établies, déstabilisant ainsi la lecture. Dans ces fictions « fictives » (Le double suspect de Madeleine Monette, Le sexe des étoiles de Monique Proulx, La vie en prose de Yollande Villemaire, de même que Prochain épisode et Trou de mémoire d’Hubert Aquin), c’est le rôle de l’écrivain qui se trouve miné, de façon à effectuer une « mort de l’auteur » à l’intérieur de la fiction pour que puisse naître le lecteur.
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Stock, Kathleen. "Knowledge from Fiction and the Challenge from Luck." Grazer Philosophische Studien 96, no. 3 (September 12, 2019): 476–96. http://dx.doi.org/10.1163/18756735-09603015.
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In order for true beliefs acquired from reading fiction to count as knowledge proper, they must survive ‘the challenge from luck’. That is, it must be established that such beliefs are neither luckily true, nor luckily believed by readers. The author considers three kinds of true belief a reader may, she assumes, get from reading fiction: a) those based on testimony about empirical facts; b) those based on ‘true in passing’ sentences; and c) those beliefs about counterfactuals one may get from reading a ‘didactic’ fiction. The first group escape the challenge from luck relatively easily, she argues. However, things turn out to be more complicated with the second group. The author examines Mitchell Green’s suggestion, effectively, that knowledge of fictional genre may see off the challenge from luck here, but rejects this in the form presented by Green, adapting it substantially to offer beliefs of this kind a more promising escape route. The author finishes by following Green’s lead once again, and discussing the category of ‘didactic’ fiction, as he calls it. She argues that any true beliefs about counterfactuals gained from such fictions are likely to be lucky. The author concludes however that things are much more promising for any true beliefs gained about oneself as a result of engaging with what Green calls an ‘interrogative’ fiction.
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Bell, Hazel K. "Indexes as fiction and fiction as paper-chase." Indexer: The International Journal of Indexing: Volume 20, Issue 4 20, no. 4 (October 1, 1997): 209–11. http://dx.doi.org/10.3828/indexer.1997.20.4.13.
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Discusses indexes as works of fiction in their own right, or as components of other fiction works. Includes detailed discussion of the fictional index to Nabokov’s Pale fire and its contribution to the text of the work.
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Zipfel, Frank. "The Pleasures of Imagination. Aspects of Fictionality in the Poetics of the Age of Enlightenment and in Present-Day Theories of Fiction." Journal of Literary Theory 14, no. 2 (September 25, 2020): 260–86. http://dx.doi.org/10.1515/jlt-2020-2007.
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AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositions that seem to deal with aspects of fictionality we have to be careful and ask whether these propositions are actually intended to talk about phenomena that belong to the realm of fiction/ality. However, if we want to gain some knowledge about the history of fiction/ality, we have no other choice than to tackle the arduous task of trying to detect similarities (and differences) between the present-day discourse on fictionality and (allegedly) related discourses of other epochs. The goal of this paper is to make a small contribution to this task.The starting point of the paper are two observations, which also determine the approach I have chosen for my investigations. 1) In the 18th century the terms »fiction« or »fictionality« do not seem to play a significant role in the discussion of art and literature. However, some propositions of the discourse on imagination, one of the most prominent discourses of the Age of Enlightenment, seem to suggest that this discourse deals more or less explicitly with questions regarding the fictionality of literary artefacts as we conceive it today. 2) The concepts of imagination and fictionality are also closely linked in present-day theories of fiction. Naturally, the question arises how the entanglement of the concepts of fictionality and imagination can be understood in a historical perspective. Can it function as a common ground between 18th-century and present-day conceptions of fiction/ality? Is imagination still used in the same ways to explain phenomena of fictionality or have the approaches evolved over the last 250 years and if yes, then how? These kinds of questions inevitably lead to one major question: What do 18th-century and present-day conceptions of fiction/ality have in common, how much and in what ways do they differ?For heuristic reasons, the article is subdivided according to what I consider the three salient features of today’s institutional theories of fiction (i. e. theories which try to explain fictionality as an institutional practice that is determined and ruled by specific conventions): fictive utterance (aspects concerning the production of fictional texts), fictional content (aspects concerning the narrated story in fictional texts) and fictive stance (aspects concerning the reader’s response to fictional texts). The article focusses on the English, French and German-speaking debates of the long 18th century and within these discourses on the most central and, therefore, for the development of the concept of fiction/ality most influential figures. These are, most notably, Madame de Staël, Voltaire, Joseph Addison, Georg Friedrich Meier, Christian Wolff, the duo Johann Jakob Bodmer and Johann Jakob Breitinger as well as their adversary Johann Christoph Gottsched.The relevance of the article for a historical approach to the theory of fiction lies in the following aspects. By means of a tentative reconstruction of some carefully chosen propositions of 18th-century discourse on imagination I want to show that these propositions deal in some way or other with literary phenomena and theoretical concepts that in present-day theory are addressed under the label of fiction/ality. By comparing propositions stemming from 18th-century discourse on imagination with some major assertions of present-day theories of fiction I try to lay bare the similarities and the differences of the respective approaches to literary fiction and its conceptualisations. One of the major questions is to what extent these similarities and differences stem from the differing theoretical paradigms that are used to explain literary phenomena in both epochs. I venture some hypotheses about the influence of the respective theoretical backgrounds on the conceptions of fictionality then and today. An even more intriguing question seems to be whether the practice of fictional storytelling as we know and conceive it today had already been established during the 18th century or whether it was only in the process of being established.
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Sandy, Mark. "The Sense of an Ending: Poetic Spaces and Closure in Keats’s 1819 Odes." Romanticism 28, no. 2 (July 2022): 188–96. http://dx.doi.org/10.3366/rom.2022.0554.
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Following Frank Kermode’s distinction, in The Sense of an Ending, between the stability of myth and the changeability of fiction, Keats’s ‘Ode on Indolence’ offers an understated self-conscious presentation of myth and fiction in comparison with the Nightingale and Grecian Urn odes. All three of these odes invest in mythologies as much as they remain alert to their own poetic frames and the fictive nature of the fictions behind them. This poetic self-awareness reconnects Keats’s odes with the reality of death behind the mythic figures of nightingale, urn, and indolence. Such subtle, shifting, self-awareness is also the hallmark of Keats’s ‘To Autumn’ and the poetic legacy it bestows to Wallace Stevens’s ‘Sunday Morning’, ‘Autumn Refrain’, and ‘The Woman in Sunshine’.
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Weinert, Friedel. "Hypothetical, not Fictional Worlds." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 110–36. http://dx.doi.org/10.1515/kjps-2016-0019.
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Abstract This paper critically analyzes the fiction-view of scientific modeling, which exploits presumed analogies between literary fiction and model building in science. The basic idea is that in both fiction and scientific modeling fictional worlds are created. The paper argues that the fiction-view comes closest to certain scientific thought experiments, especially those involving demons in science and to literary movements like naturalism. But the paper concludes that the dissimilarities prevail over the similarities. The fiction-view fails to do justice to the plurality of model types used in science; it fails to realize that a function like idealization only makes sense in science because models, unlike works of fiction, can be de-idealized; it fails to distinguish sufficiently between the make-believe (fictional) worlds created in fiction and the hypothetical (as-if) worlds envisaged in models. Representation characterized in the fiction-view as a license to draw inferences does not sufficiently distinguish between inferences in fiction from inferences in scientific modeling. To highlight the contrast the paper proposes to explicate representation in terms of satisfaction of constraints.
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Аnchishina, E. A. "THE ROLE OF LEGAL FICTIONS IN MODERN LAW ENFORCEMENT PRACTICE." Bulletin of Udmurt University. Series Economics and Law 30, no. 5 (November 12, 2020): 697–705. http://dx.doi.org/10.35634/2412-9593-2020-30-5-697-705.
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This article is devoted to defining the role of legal fictions in modern law enforcement practice. To do this, the author reveals the content of this category, paying attention to the absence of the need to consider fiction as something false and contrary to objective reality. Further, the author defines the meaning of legal fictions, conducting a detailed analysis of their main functions on the example of the civil legislation of the Russian Federation and the corresponding law enforcement practice. At the same time, its practical aspect is mainly studied. The main attention is paid to the protective function of legal fiction, the essence of which, as the author shows, is to restore violated rights and establish a balance of interests of the parties to the legal relationship, as well as to protect the rights of third parties. The features of this function are considered on the examples of the following fictions: fiction of the occurrence of a condition or non-occurrence of a condition; fiction of the presence of powers; fiction of non-conclusion of a contract. The author comes to the conclusion that fiction as a method of legal technique is used not only by the legislator, but also finds independent application in practice, which is reflected in the explanations of higher courts considered in this article.
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Bladon, Henry. "Should psychiatrists write fiction?" BJPsych Bulletin 42, no. 2 (February 26, 2018): 77–80. http://dx.doi.org/10.1192/bjb.2017.5.
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SummaryThis paper looks at the relationship between fiction and psychiatry. Specifically, the idea of psychiatrists as fiction writers is explored, and reference is made to various fictional texts to illustrate the problems of stigma and negative imagery. These two main areas of focus are highlighted as ones that the practice of writing fiction might address, and some potential pitfalls are discussed. The paper suggests how psychiatrists might ameliorate the present problems by incorporating their unique clinical skills and knowledge into fictional narratives.Declaration of interestNone.
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Van De Mosselaer, Nele. "Imaginative Desires and Interactive Fiction: On Wanting to Shoot Fictional Zombies." British Journal of Aesthetics 60, no. 3 (December 9, 2019): 241–51. http://dx.doi.org/10.1093/aesthj/ayz049.
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Abstract What do players of videogames mean when they say they want to shoot zombies? Surely they know that the zombies are not real, and that they cannot really shoot them, but only control a fictional character who does so. Some philosophers of fiction argue that we need the concept of imaginative desires (or ‘i-desires’) to explain situations in which people feel desires towards fictional characters or desires that motivate pretend actions. Others claim that we can explain these situations without complicating human psychology with a novel mental state. Within their debates, however, these scholars exclusively focus on non-interactive fictions and children’s games of make-believe. In this paper, I argue that our experience of immersive, interactive fictions like videogames gives us cause to reappraise the concept of imaginative desires. Moreover, I describe how i-desires are a useful conceptual tool within videogame development and can shed new light on apparently immoral in-game actions.
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Orlando, Eleonora. "Fictional Names and Literary Characters: A Defence of Abstractism." THEORIA. An International Journal for Theory, History and Foundations of Science 31, no. 2 (May 24, 2016): 143. http://dx.doi.org/10.1387/theoria.15193.
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This paper is focused on the abstractist theory of fiction, namely, the semantic theory according to which fictional names refer to abstract entities. Two semantic problems that arise in relation to that position are analysed: the first is the problem of accounting for the intuitive truth of typically fictive uses of statements containing fictional names; the second is the one of explaining some problematic metafictive uses, in particular, the use of intuitively true negative existentials.
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Basdeo, Stephen, and Rebecca Nesvet. "Reappraising Penny Fiction." Victorian Popular Fictions Journal 4, no. 2 (2023): 1–17. http://dx.doi.org/10.46911/dhbv6145.
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This Introduction to the Special Volume of Victorian Popular Fictions Journal titled “Reappraising Penny Fiction” defines penny fiction, surveys its prehistory, and reconstructs its emergence in the nineteenth-century British media and globally. The article then engages with the ongoing scholarly debate about “penny dreadfuls” and theorises how misconceptions about the genre developed and were circulated by critics and scholars. Finally, the article introduces the central questions and themes of the special issue, as well as the individual articles. Victorian penny fiction has long been considered disturbing yet compelling; we hope that our volume reveals why that is so.
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Berninger, Anja. "Empathy – Real-Life and Fiction-Based." Journal of Literary Theory 12, no. 2 (September 3, 2018): 224–40. http://dx.doi.org/10.1515/jlt-2018-0013.
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Abstract In response to the so-called paradox of fiction, Kendall Walton famously argued that our affective reactions to fictions differ structurally from real-life emotions. Many authors now reject the idea that there really is a paradox of fiction. But, even if this is true, Walton may have been right in that there really are far reaching differences between the way we respond to fictions and our real-life emotional reactions. That is, even if we do not believe the paradox of fiction is a paradox, it can still lead us to doubt the homogeneity of our emotional responses and to reflect on the relation between real-life and fiction-based emotional reactions. In this paper, I want to further discuss this issue focusing on the case of empathy. The main questions I want to answer are: What are the differences between our real-life and fiction-based empathic reactions? Are there any far reaching structural differences between the two? In my discussion, I will stress the idea that real-life empathy is often built on a relatively complex interaction between the person that empathizes and the emotional subject. I will show, first of all, that this type of social interaction is not possible in literary fiction. Secondly, I will stress that literature often offers an introspective perspective on a character’s inner life. This is a perspective not open to us in real-life settings, which allows for a distinct kind of empathy. In discussing real-life and fiction-based empathy I differentiate between two different functions empathic reactions might fulfill. Thus, following Matthew Kieran, I suggest that some forms of empathy might allow us to infer the emotional state an agent is in and to predict his subsequent behavior. In other cases, however, the aim of empathy is not to achieve some sort of epistemic aim, but rather to feel a kind of solidarity with those that are in the grip of an emotion. In this paper, I concentrate on this second kind of empathy. I will start with some general remarks on the structure of real-life empathy. Drawing on some ideas originally voiced by Adam Smith, I will highlight the fact that empathy is a deeply social process involving two individuals: the one that empathizes (the empathizer or the spectator) and the one that is empathized with (the empathizee or the actor). According to Smith, both actor and spectator will often put themselves in the other’s shoes to bring empathy about. Furthermore, both sides engage in some form of emotion regulation: the spectator tries to regulate his emotions so they match those of the empathizee. The empathizee, in turn, may need to down-regulate his emotional reactions, so that they can indeed match. In how far he must do so, depends on his relation with the empathizer. I suggest that, additionally to these forms of emotion regulation, the empathizee also engages in some forms of reason giving. The exact form this takes again depends on his relationship with the empathizer. I then go on to show that this theory enables us to understand why empathy is sometimes so difficult to achieve in real life. Here, I show that high degrees of emotional intensity but also the type of emotion felt may make it difficult for the empathizee to engage in the sort of down-regulation and reason giving discussed. With these distinctions in place, I then turn to the case of fiction-based empathy. I will show that fiction-based empathy is not a social phenomenon in the same sense as real-life empathy. There is thus an important structural difference between the two. I then suggest that fiction often confronts us with the type of cases that present challenges to real-life empathy (i. e. cases where there is a lack of down-regulation, high emotional intensity and so on). Fiction, however, also provides us with additional resources that facilitate empathy even in these difficult cases. Fiction often gives us access to the stream of thought of a fictional character. Fictional texts thus allow us to get a glimpse on how emotional intensity and emotion type affect a character’s thinking, as well as offering us insight into the raw emotional feel, the intensity and urgency connected to many emotions. Fictional texts generally use aesthetic means to give us access to these aspects. Thus, when feeling empathy in response to a work of fiction we must therefore not only understand the situation in question, but must also be sensitive to (some of the) aesthetic features of the text.
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Khan, Mir hazar. "گل بنگلزئی نا افسانہ غاتا کتاب، دڑد آتا گواچی؛ نا جاچ اس." Al-Burz 13, no. 1 (December 23, 2021): 36–44. http://dx.doi.org/10.54781/abz.v13i1.271.
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When the industrial revolution and progressive tendencies in the nineteenth century influenced every sphere of life, literature could also not escape such trends. At that time, fiction (short story) was introduced as a new genre in literary world and soon it managed to generate a distinction. Like the other languages of the world, fiction writers of Brahui literature also effectively adopted this genre. Among the pioneer Brahui fiction writers, the name of Gul Bangulzai is also well known who initiated the fiction writing. The effects of the progressive literary movement can be seen in his fiction writings. Gul Bangulzai in his book of fiction, Darhd ata Guachi, centralized the topic on the problems of ordinary individuals and lower class of the region. The book was first published in 1984, thus, standing the second book in Brahui literature after Dr. Taj Raisani's book, Anjeer na Phul. In, Darhd ata Guachi, Gul Bangulzai mainly reflected the problems of village life in a unique manner. Gul Bangulzai skillfully identified the problems of farmers, laborers, women, shepherds, and gypsies. Additionally, the themes also include poverty, starvation, the hardships of weather, cruelties of higher class, the culture and traditions of people of Baluchistan, and their mentality. The fiction also depicted the stunning natural landscapes of this region. In the fictions of Gul Bangulzai frustration, deprivation, helplessness, cruelties, and poverty are observable. However, ultimately, the message it conveys that after the dark night there is a dawn of new morning and hope which is another distinguished beauty of the fictions of Gul Bangulzai, bestows him a unique status in Brahui literature wherein most fictions revolves around the complications of village life.
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Mahlberg, Michaela, Viola Wiegand, Peter Stockwell, and Anthony Hennessey. "Speech-bundles in the 19th-century English novel." Language and Literature: International Journal of Stylistics 28, no. 4 (November 2019): 326–53. http://dx.doi.org/10.1177/0963947019886754.
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We propose a lexico-grammatical approach to speech in fiction based on the centrality of ‘fictional speech-bundles’ as the key element of fictional talk. To identify fictional speech-bundles, we use three corpora of 19th-century fiction that are available through the corpus stylistic web application CLiC (Corpus Linguistics in Context). We focus on the ‘quotes’ subsets of the corpora, i.e. text within quotation marks, which is mostly equivalent to direct speech. These quotes subsets are compared across the fiction corpora and with the spoken component of the British National Corpus 1994. The comparisons illustrate how fictional speech-bundles can be described on a continuum from lexical bundles in real spoken language to repeated sequences of words that are specific to individual fictional characters. Typical functions of fictional speech-bundles are the description of interactions and interpersonal relationships of fictional characters. While our approach crucially depends on an innovative corpus linguistic methodology, it also draws on theoretical insights into spoken grammar and characterisation in fiction in order to question traditional notions of realism and authenticity in fictional speech.
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Bhatt, Smita B. "Fiction in Cinema and Cinema in Fiction." International Journal of Scientific Research 2, no. 5 (June 1, 2012): 351–53. http://dx.doi.org/10.15373/22778179/may2013/120.
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Simon, Sherry, and Gilles Bibeau. "Ethnographie et fiction – Fictions de l’ethnographie." Anthropologie et Sociétés 28, no. 3 (2004): 7. http://dx.doi.org/10.7202/011280ar.
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Teo, Hsu-Ming. "Historical fiction and fictions of history." Rethinking History 15, no. 2 (June 2011): 297–313. http://dx.doi.org/10.1080/13642529.2011.570490.
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Gittel, Benjamin. "In the Mood for Paradox? Das Verhältnis von Fiktion, Stimmung und Welterschließung aus mentalistischer und phänomenologischer Perspektive." Journal of Literary Theory 12, no. 2 (September 3, 2018): 300–320. http://dx.doi.org/10.1515/jlt-2018-0017.
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Abstract It is widely acknowledged that responses to fiction can be divided into two categories: emotions or moods. Research on the paradox of fiction, however, solely focused on emotional responses to fiction. This paper analyses the different potentials of the mood concept with regard to the paradox of fiction: its potential to avoid the paradox on the one hand and its potential to rise a new paradox of fiction, a paradox of fiction for moods, on the other. To this end, the paper distinguishes two different meanings of the everyday concept of mood and two different paradigms in the research on moods. The mood concept can designate not only affective states of an individual (moods1), but elusive, nuanced atmospheres of objects, places or situations (moods2). The mentalistic paradigm, widespread in psychology and analytic philosophy, generally assumes that moods are mental states with a certain quality of feeling (and physical symptoms). Moods2 are regarded by such approaches, if they discuss them, as a secondary phenomenon based on subjective perception. In contrast, the phenomenological paradigm focuses on moods2 and, if it accommodates moods1 as well, often postulates a characteristic connection between the two: moods1 reveal extra-individual atmospheres (moods2) that are assumed to exist in some ontologically robust sense. Therefore, moods1 can be said to have a world-disclosing function within the phenomenological paradigm. Researchers in the mentalistic paradigm deal, among other issues, with the difference of emotions and moods1. One way in which moods1 differ from emotions is that they lack an intentional object and it is for that reason that the concept of mood1, at first glance, seems to offer a solution to the paradox of fiction. The paradox of fiction presumes that we have emotions with regard to fictional objects. If it were possible to redescribe the alleged emotions as more subtle mood1 responses without clear intentional objects, this would undermine a central premise of the paradox and dissolve it. However, such a redescription seems not equally plausible for all cases discussed in the debate (e. g. the green slime case). Therefore, moods1 can only be one element of a more subtle ›phenomenology‹ of affective reactions towards fiction and the »paradox avoiding potential« of the mood concept is limited. The paradox creating potential of the mood concept emerges if one takes into account the outlined complex semantics of the concept »mood« and the postulated world-disclosing function of moods1. It seems possible to construct a new paradox, the paradox of fiction for moods: (a) Only real entities or representations of real entities can evoke moods1 with world-disclosing function (because this mood1 evocation is actually immersion in an atmosphere). (b) Many entities in fictions are not real. (c) Nevertheless, fictions can evoke moods1 with world-disclosing functions (e. g. with regard to places, situations) in the recipient. The paper argues that the outlined paradox can be dissolved by pointing out that the expression »moods1 with world-disclosing function« in sentence (a) means something different than in (c). While the expression in (a) relates to the idea of grasping an atmosphere (mood2) that somehow is »in the world«, it means acquiring a non-propositional form of knowledge, namely knowledge of what-it-is-like to be in a certain situation, in (c). The idea that it is possible to acquire knowledge of what-it-is-like by means of fiction has often been postulated in the research literature, but rarely been spelled out in greater detail. The paper argues that such an acquisition can occur, among other possibilities, on the basis of mood1 evocation, but that the conditions for the acquisition of knowledge of what-it-is-like by means of fiction are more demanding than under usual circumstances: A recipient of fiction can reasonably be said to acquire knowledge of what-it-is-like to be in a certain situation if the fictional representation evokes a mood1 which is characteristic of a situation S and the recipient understands this mood1 as an affective reaction to a situation of the type S. Please note that moods2 play no explanatory role in the second interpretation of »world-disclosing function«. Since assumption (a) and assumption (c) concern different world-disclosing functions or, in other words, different mechanisms of world-disclosure, there is no paradox. Although moods1 evoked by fictional representations (with some limitations pointed out in section 4) do not possess a world-disclosing function in the sense the phenomenological tradition postulated, it is possible to ascribe these moods1 a world-disclosing function, even within a non-phenomenological framework: They allow the recipient the acquisition of a knowledge of what-it-is-like to be in a certain situation or in a certain place. Ultimately, for the paradox of fiction for moods seems to hold what could be said about the classical paradox of fiction as well: Even if the paradox ultimately dissolves, its analysis can be instructive for related research fields like the debate on knowledge from fiction which takes moods rarely into account until now.
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Ilyas, Safa. "Psychological Effects of Sadaat Hasan Manto’s Fiction on Youth of Lahore, Punjab, Pakistan." Media and Communication Review 1, no. 2 (December 26, 2021): 19–37. http://dx.doi.org/10.32350/mcr.12.06.
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This study aims to look at the idea that Manto straightforwardly expounded on man and woman’s intimate relationships. Reading fiction, dramatizations and books are similarly impacted personalities of the readers as visual screenplays, Manto's fiction engravings in all accessible mediums of print and electronic although quotes from his fictions likewise broadly tune in and share in online communities. This persistence of his work accessibility and appreciation touched the researcher to deal with his fiction to check its psychological effects on the youth of Lahore. This inquiry is strengthened by the reader-response theory to identify the youth perception and understandings about his fictions and Uses and Gratification for the resolutions and intentions of youth to escalate his work. The quantitative survey method utilized, and data collected with Purposive sampling, 500 respondents were chosen, the findings of the study showed, that Manto's fictions make anxiety and eroticism in youth along with this his fictions create mindfulness about social taboo`s and social associations.
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Ilyas, Safa. "Psychological Effects of Sadaat Hasan Manto’s Fiction on Youth of Lahore, Punjab, Pakistan." Media and Communication Review 1, no. 2 (December 26, 2021): 19–37. http://dx.doi.org/10.32350/mcr.12.06.
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This study aims to look at the idea that Manto straightforwardly expounded on man and woman’s intimate relationships. Reading fiction, dramatizations and books are similarly impacted personalities of the readers as visual screenplays, Manto's fiction engravings in all accessible mediums of print and electronic although quotes from his fictions likewise broadly tune in and share in online communities. This persistence of his work accessibility and appreciation touched the researcher to deal with his fiction to check its psychological effects on the youth of Lahore. This inquiry is strengthened by the reader-response theory to identify the youth perception and understandings about his fictions and Uses and Gratification for the resolutions and intentions of youth to escalate his work. The quantitative survey method utilized, and data collected with Purposive sampling, 500 respondents were chosen, the findings of the study showed, that Manto's fictions make anxiety and eroticism in youth along with this his fictions create mindfulness about social taboo`s and social associations.
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Kolegaeva, Iryna, and Daryna Stanko. "Language and Style in “Pride and Prejudice” Fan Fiction: Educational Aspect." International Journal of Religion 5, no. 10 (July 26, 2024): 4656–64. http://dx.doi.org/10.61707/wxkvx984.
Full textAbstract:
The article offers a brief overview of research aspects of fan fiction, explores the genre characteristics and criteria of 100 fan fictions based on “Pride and Prejudice” by Jane Austen, and highlights the results of implementing fan fiction into the curriculum at Uzhhorod National University. The fan fictions, created between 2005 and 2024, were analyzed for their completeness, volume, genre, accessibility, and connection to the original text (canon). The findings suggest a need for more detailed genre classifications to accommodate the diverse varieties created by fan fiction authors. The integration of “Pride and Prejudice” fan fiction into the English language curriculum at Uzhhorod National University resulted in increased student engagement, improved language skills, enriched cultural understanding, valuable interdisciplinary insights, and strengthened collaborative learning. This innovative approach not only made language learning more effective but also fostered a deeper appreciation for literature and its contemporary relevance.
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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.
Full textAbstract:
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.