Relevant bibliographies by topics / Fictions

Academic literature on the topic 'Fictions'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Fictions":

1

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.
2

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.
3

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.
4

García-Carpintero, Manuel. "Assertions in Fictions." Grazer Philosophische Studien 96, no. 3 (September 12, 2019): 445–62. http://dx.doi.org/10.1163/18756735-09603013.

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The author of this paper contrasts the account he favors for how fictions can convey knowledge with Green’s views on the topic. On the author’s account, fictions can convey knowledge because fictional works make assertions and other acts such as conjectures, suppositions, or acts of putting forward contents for our consideration; and the mechanism through which they do it is that of speech act indirection, of which conversational implicatures are a particular case. There are two potential points of disagreement with Green in this proposal. First, it requires that assertions can be made indirectly. Second, it requires that verbal fiction-making doesn’t consist merely in “acts of speech”, but in sui generis speech acts.
5

Villegas López, Sonia. "Truth and Wonder in Richard Head’s Geographical Fictions." Sederi, no. 30 (2020): 117–37. http://dx.doi.org/10.34136/sederi.2020.6.

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In line with the method prescribed by members of the Royal Society for natural history and travel writing, Richard Head explored the limits of verisimilitude associated with geographical discourse in his three fictions The Floating Island (1673), The Western Wonder (1674) and O-Brazile (1675). In them he argues in favor of the existence of the mysterious Brazile island and uses the factual discourse of the travel diarist to present a semi-mythical place whose very notion stretches the limits of believability. In line with recent critical interpretations of late seventeenth-century fiction as deceptive, and setting the reading of Head’s narrations in connection with other types of travel writing, I argue that Head’s fictions are a means of testing the readers’ gullibility at a time when the status of prose, both fictional and non-fictional, is subject to debate.
6

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.
7

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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9

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.
10

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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You might also be interested in the extended bibliographies on the topic 'Fictions' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Fictions":

1

Fung, Kit-ting, and 馮潔婷. "Decolonizing fictions: the subversion of 19thcentury realist fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953001.

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2

Perkins, Aaron M. "Fictions, enabling fictions, and autofiction within painting; or, "This painting is a work of fiction", I said." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/419477.

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This practice-led research project investigates the potential for a philosophically defined and criterial notion of fiction to function within the medium of painting. It develops Kendall L. Walton’s make-believe theory of fiction via Gregory Currie and Richard Wollheim to include a criterion of fictive intent, whereby a painting is fictional if it is intended to prompt an act of imagining in its viewer. Although painting has not art-historically distinguished between fiction and non-fiction, the research demonstrates the intuitive usefulness of such a classification. The research then argues that painted works of fiction offer a means of insight through a visual medium into the everyday fictions that enable our understanding of the real world around us. Using contemporary anglophone autofiction—a mode or genre of writing that purposefully blurs autobiography and fiction—as a model for this inquiry, the research analyses Ben Lerner’s novel 10:04 to identify a range of strategies that confuse the real world and the fictional world of a work. These strategies are characteristic of literary autofiction and include a paratextual communication of fictive intent, an ambiguous authorial presence, the use of text and image, ekphrasis, self-appropriation, and extratextual reference. These are also identified in the painting practice of Avery Singer and so are demonstrated to be applicable across mediums. The creative outcomes of this research project emerge from a painting practice concerned with the relationship between image and text to explore the enabling fiction of a coherent self-narrative. They encompass an artist’s book, a series of paintings that manifest a tension between typographic and anthropomorphic forms, a site-specific ekphrastic catalogue essay, a site-specific collaboration with a screenwriter on an exhibition of fictional paintings, and, ultimately, an autofictional exhibition of paintings that explore a transference between painting and literature through a short story and a typeface.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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3

Gleiberman, Jack Rhein. "Believing Fictions: A Philosophical Analysis of Fictional Engagement." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2243.

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Works of fiction do things to us, and we do things because of works of fiction. When reading Hamlet, I mentally represent certain propositions about its characters and events, I want the story and its characters to go a certain way, and I emotionally respond to its goings-on. I might deem Hamlet a coward, I might wish that Hamlet stabbed Claudius when he had the chance, and I might feel sorrow at Ophelia’s senseless suicide. These fiction-directed mental states seem to resemble the propositional attitudes of belief, desire, and emotion, respectively — the everyday attitudes that represent and orient us toward the world. These mental states constitute our engagement with fiction, and the way in which they hang together is central to understanding our engagement with fiction. In that aim, this thesis hopes to provide an analysis of our belief-like attitudes about works of fiction. I argue that a folk psychological theory of fictional engagement should call upon belief, not imagination, to serve as the primary cognitive attitude with which we engage fictions.
4

Fung, Kit-ting. "Decolonizing fictions : the subversion of 19th century realist fiction /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23473010.

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5

Kimmich, Matt. "Offspring fictions /." Bern : [s.n.], 2005. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.

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6

Siety, Emmanuel. "Fictions d'images." Paris 3, 2003. http://www.theses.fr/2003PA030021.

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On estime en général que, pour un spectateur, l'univers diégétique d'un film de fiction et la réalité matérielle du film lui-même sont plus ou moins incompatibles. Soit il fixe son attention sur la fiction, soit il se montre attentif au film lui-même (le montage, le cadrage, la photographie). De ce point de vue, la fiction la plus réussie est celle qui parvient le mieux à capter l'attention du spectateur, à détourner celui-ci du film en tant qu'artifice. Cependant, certaines descriptions de films remettent en cause ce principe d'incompatibilité en reconstruisant imaginairement le film lui-même. Il peut s'agir d'un simple effet métaphorique, comme lorsque les déformations causées par un miroir déformant invitent à parler d'une image " liquéfiée " (bien que nous sachions que l'image est faite de lumière), mais il existe des exemples plus saisissants - lorsqu'une description indique par exemple que le personnage semble se dissoudre dans l'image, ou que l'image semble tomber en morceaux. Tous ces cas constituent pour nous des " fictions d'image ". Parfois ces fictions sont clairement induites par le film lui-même (c'est le cas dans Persona) ; parfois en revanche elle semblent obéir à des motivations plus complexes de la part du spectateur. L'étude des fictions d'image suppose donc de déterminer ce qui, dans un film, est de nature à induire une telle fiction. La relation entre fiction d'image et film de fiction est à cet égard essentielle : nous proposons donc de comparer leurs mécanismes et de comprendre de quelle manière l'une et l'autre peuvent se combiner et non s'exclure. Nous entendons d'autre part interroger la portée heuristique des fictions d'image dans le cas où elles obéissent à des motivations plus complexes que la simple transcription d'une impression. Nous voudrions montrer que ces fictions ne relèvent pas simplement d'une licence poétique, mais qu'elles ont aussi un réel pouvoir d'éclairement, dans le cas du cinéma comme dans d'autres arts
It is ordinarily supposed that, for the spectator, the diegetic aspect of a fiction film and the material reality of the film itself are somewhat incompatible. A spectator either focuses on the fiction or on the film itself (editing, framing, photography). From this perspective, the most successful fiction is the one which most fully captivates the spectator's attention, diverts her or him from perceiving the film as an artifice. Yet certain film descriptions challenge this principle of incompatibility in imaginarily reconstructing the materiality of the film. This might take the form of a metaphoric effect such as when the distortions of a mirror inspire discussion of imagistic wateriness (although we know that the image is rendered in light), but there are more striking examples - when a description indicates that a character seems to dissolve into the image, or that the image appears to break into virtual pieces. These cases, we term a "fictitious pictures". Sometimes such fictions are clearly constructed by the film itself (precisely the case of Persona) ; sometimes they seem to arise from a more personal spectatorial perception: a feeling. Hence, study of these "fictitious pictures" presupposes determining what in a given film is likely to induce such readings. The interrelationship between the fictitious pictures and the fiction film is essential in this context: having compared their mechanics, we propose to evaluate how these can combine cumulatively without mutually excluding each other. We intend to examine the heuristic scope of the fictitious pictures as a phenomenon, treating examples that arise from factors more complex than a simple transcription of a spectatorial impression. We seek to show that these fictions do not simply appear due to an exercise of poetic licence, but that they have a real illuminating power of clarification as well; and this, in the cinema as in other arts
7

Morris, Davis Maggie Elizabeth. "The Fictions We Keep: Poverty in 1890s New York Tenement Fiction." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/387.

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In his 2008 book, American Hungers: The Problem of Poverty in U.S. Literature, 1840-1945, Gavin Jones calls for academic studies of literature that examine poverty as its own actuality, worthy of discussion and definition despite its inherently polemical nature. As presented by Jones and tested here, American literature reveals how poverty is established, defined and understood; the anxieties of class; imperative connections with issues of gender and race; and the fictions of American democracy and the American Dream. This proves to be especially interesting when examining the 1890s. From a sociological standpoint, the eighteenth century's approach to poverty was largely moralistic, while the early parts of the nineteenth century moved toward acknowledging the impact of environmental and social factors. Literature itself was changing as a result of the realism and naturalism movements; the resulting popularity of local color and dialect writing and the exploding market for magazine fiction created access to and an audience for literature that discussed poverty in multifarious ways. Furthermore, New York proved to be an ideal setting - the influx of immigrants, the obvious problem of the slums, and the public's infatuation with those slums - and served as a catalyst for a diverse body of writing. Middle-class anxieties, especially, surfaced in this modern Babel. This study begins with a historical and sociological overview of the time period as well as an analysis of the problematic photography of the effective reformer Jacob Riis. Like Riis's photography, the cartoons of R.F. Outcault both challenge and subtly support stereotypes of poverty and serve as a reminder of the presence of poverty in day-to-day life and entertainment of turn-of-the-century New Yorkers. Stephen Crane's Maggie is discussed in depth, and his Tommie sketches are contrasted with the middle-class Whilomville Tales. These pieces have in common several unifying qualities: the centrality of the human body to the discussion of poverty, the failure of language for those in poverty, vision as a tool writers and artists lean heavily upon, and the awareness of multiple audiences within and without the text. Ultimately, the pieces return to the burdened bodies of small children - "the site that bears the marks, the damage, of being poor" (Jones American Hungers 3).
8

Hunt, Celia. "Personal fictions : the use of fictional autobiography in personal development." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285106.

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This thesis contains the results of my research between 1994 and 1998 into the uses of fictional autobiography in personal development. The topic arose out of my observation, both of my own experience and the experience of students attending my creative writing courses, that writing fictional autobiography as part of a writing apprenticeship not only enabled the development of writing skills and the finding of a writing 'voice', but often had a therapeutic effect on the writer's relationship with himor herself, and with his or her significant others. I set out to explore this observation through an examination of my creative writing course 'Autobiography and Fiction' (subsequently called 'Autobiography and the Imagination'), which I taught at the University of Sussex Centre for Continuing Education from 1991 to 1996. I issued questionnaires to all 78 students who had taken this course, to generate data on the benefits of engaging in the writing of fictional autobiography. I also conducted interviews on the same topic with 5 of these students. I analysed the resulting data using the theory of the Germani American psychoanalyst Karen Horney, and to a lesser extent that of object relations theorists D.W. Winnicott, Christopher Bollas and Marion Milner. Where appropriate, I also used theory of literary and social narrative. The thesis presents the three main findings of the research, namely, that the writing of fictional autobiography (1) can facilitate a closer contact with the inner life, resulting in a stronger sense of identity and the finding of a 'writing voice'; (2) can help to reveal and work through problems of identity which cause writer's block; and (3) can provide a means of're-writing' self-narratives which have been 'written' in the psyche by family and society. The thesis concludes with some suggestions as to how fictional autobiography might be used in a self-analytic or psychoanalytic context.
9

Leroyer, Anne-Marie. "Les fictions juridiques." Paris 2, 1995. http://www.theses.fr/1995PA020058.

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La doctrine française contemporaine considère les fictions avec défaveur. Le procédé est juge arbitraire. Son utilisation devrait donc être réservée au législateur qui ne pourrait y recourir qu'a titre exceptionnel et pour des raisons d'équité impérieuses. Les fictions légales devraient être d'interprétation stricte, sinon restrictive. En tout état de cause, le procédé ne serait qu'un palliatif devant être éliminé par la recherche d'un moyen permettant de parvenir aux mêmes fins. Ce sont ces présupposes qu'il est proposé de mettre à l'épreuve à la lumière du droit positif. Si le procédé est aussi mal jugé, c'est en grande partie parce qu'il est mal connu : les controverses doctrinales abondent sur la notion elle-même. La première partie est ainsi consacrée à mieux cerner la notion de fiction. Une définition précise peut être proposée permettant de découvrir l'existence de fictions légales, mais aussi jurisprudentielles doctrinales et émanant de la volonté des particuliers. La définition permet aussi de mieux cerner la spécificité des fictions à l'égard des notions voisines et de prendre acte de toute la mesure du recours a l'artifice en soulevant le voile de prétendues assimilation, analogie, ou présomption pour découvrir la fiction. L’importance du recours aux fictions invite alors à s'interroger sur leur rôle. Il apparait qu'elles sont aussi diversement employées car elles sont un procédé particulièrement utile de technique juridique et également un instrument efficace de politique juridique. A considérer l'utilité manifeste des fictions, on est fictons, on est conduit à envisager leurs limites : est-il toujours possible et souhaitable de les utiliser ? Les limites des fictions sont plus ou moins étendues. Parfois, elles peuvent être simplement bornées, parfois elles doivent être totalement éliminées
The contemporary french doctrine is not in favour of legal fictions. They are considered as an arbitrary device which should be only used by the legislator in last resort and for the sake of pressing equity concern. Interpretation of legal fictions should be stric, even restrictive. In any case, the process would be ut a palliative which should be supplanted by a more approriate mean. These are the presuppositions which we propose to put to the test in the light of positive law. Such a misjudgment about legal fictions is mainly due to the misunderstanding of the process. They are plenty of doctrinal disputes about the notion itself. In the first place, we shall therefore focus on the notion of legal fiction. An accurate definition can be issued, which will help to disclose legal, but also jurisprudential and doctrinal fictions, as well as those issued from private individuals' will. The definition will also enable to highlight the specificity of fictions compared with close notions and to reveal the fiction when unveiling so-called assimilation, analogy or presumption. Taking into account the widespread use of fictions, we will then question about their part. They appear to be so largely used because they are highly powerfull tool of juridical technics and also an efficient devise of juridical politics. Measuring their obvious usefulness leads to foresee their limits : is-it always convenient and desirable to resort to fictions ?
10

Kolovou, Ioulia. "First Crusade fictions." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/8752/.

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The world of Byzantium is under-represented in historical fiction written in English, a fact that reflects a general negativity or even absence of Byzantium in the non-academic, cultural traditions of the Anglophone world. Sir Walter Scott’s penultimate novel Count Robert of Paris (1832), set in Constantinople at the time of the First Crusade (1096), is an interesting late work of Scott’s whose ambivalent stance towards Byzantium both asserts and refutes this fact and hints at its possible causes, at the same time offering interesting insights on how to read historical fiction meaningfully. This thesis, comprising a critical essay and a novel, explores ways of reading and writing Byzantium in historical fiction. The critical essay titled ‘Reading and writing Byzantium and the First Crusade in historical fiction: a reading of Sir Walter Scott’s Count Robert of Paris (1832)’ uses Marxist, gender, reader-response, and postcolonial theory as tools to decode Scott’s artistic strategies in the representation of Byzantium and at the same time to propose a theoretical approach to reading historical fiction. The novel titled A Secret Fire, inspired by and conversing with Scott’s Count Robert, employs the characters of a cross-dressing female crusader and a Byzantine eunuch in order to signpost the ambivalent position of Byzantium in regards with the European west at the time of the First Crusade and to subvert stereotypes of power and domination. Written in the current context of the Greek financial crisis and subsequent discussion on the position in Greece within the European Union (and the questioning of the EU in general), the thesis aims to contribute to the historical imaginary and to open up a discursive space for engaging with Byzantium and Greece beyond received ideas and negative representations.
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Books on the topic "Fictions":

1

Mateusz, Borowski, and Sugiera Małgorzata, eds. Fictional realities/real fictions. Newcastle, UK: Cambridge Scholars Pub., 2007.

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2

Williamson, Eric Miles. 14 fictional positions: Short fictions. Bowie, MD: Raw Dog Screaming Press, 2010.

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3

F, Trimmer Joseph, and Jennings C. Wade, eds. Fictions. San Diego: Harcourt Brace Jovanovich, 1985.

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4

Borges, Jorge Luis. Fictions. London: J. Calder, 1985.

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Luis, Borges Jorge. Fictions. New York: A.A. Knopf, 1993.

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Johnson, Ruel. Fictions. [Guyana]: Janus Books, 2008.

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Luis, Borges Jorge. Fictions. London: Penguin Books, 2000.

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Jérôme, Sans, Aballéa Martine 1950-, Grands espaces (Association), Aubes 3935 galerie, and Aéroport international de Montréal (Mirabel, Québec), eds. Fictions. Montréal: LGE, 1989.

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F, Trimmer Joseph, and Jennings C. Wade, eds. Fictions. 4th ed. Fort Worth: Harcourt Brace College Publishers, 1998.

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Goicolea, Anthony. Fictions. Santa Fe, N.M: Twin Palms Publishers, 2009.

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Book chapters on the topic "Fictions":

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Bertolet, Rod. "Concerning Fiction and Fictions." In What is Said, 173–218. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-2061-3_7.

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Brennan, Timothy. "National Fictions, Fictional Nations." In Salman Rushdie and the Third World, 1–31. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20079-5_1.

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Routley, Richard, Val Routley, and Dominic Hyde. "The problems of fiction and fictions." In Noneist Explorations I, 225–339. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26309-6_6.

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Guler, Sibel Deren, Madeline Gannon, and Kate Sicchio. "Wearable Fictions." In Crafting Wearables, 11–19. Berkeley, CA: Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1808-2_2.

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Currie, Gregory. "Interpreting Fictions." In On Literary Theory and Philosophy, 96–112. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21613-0_6.

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Scruton, Roger. "Feeling Fictions." In A Companion to the Philosophy of Literature, 93–105. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444315592.ch6.

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Epstein, William M. "Soothing Fictions." In Psychotherapy and the Social Clinic in the United States, 271–89. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-32750-7_11.

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Heise-von der Lippe, Anya. "Zombie Fictions." In The Palgrave Handbook to Horror Literature, 219–31. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97406-4_17.

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Isenberg, Noah. "Pulp Fictions." In Detour, 22–37. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92218-5_2.

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Wallace, Diana. "Historical Fictions." In The History of British Women’s Writing, 1945–1975, 242–58. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1007/978-1-137-47736-1_15.

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Conference papers on the topic "Fictions":

1

Stiker-Metral (Fondation Thiers), Charles-Olivier. "« De vives images de tout ce qui se fait dans le monde ». De la réflexion morale à la poétique du récit : l’exemple de Lesage." In Fictions classiques. Fabula, 2008. http://dx.doi.org/10.58282/colloques.976.

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Arzoumanov (Université Paris IV-Sorbonne), Anna. "Pour une approche éditoriale des clefs romanesques sous l’Ancien Régime." In Fictions classiques. Fabula, 2006. http://dx.doi.org/10.58282/colloques.146.

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Citton (Univ. Stendhal - Grenoble 3), Yves. "Pour une approche noo-politique des fictions des Lumières." In Fictions classiques. Fabula, 2006. http://dx.doi.org/10.58282/colloques.139.

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Citton (Univ. Stendhal - Grenoble 3), Yves. "Merveille littéraire et esprit scientifique : une sylphide spinoziste ?" In Fictions classiques. Fabula, 2006. http://dx.doi.org/10.58282/colloques.145.

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Herman, Jan. "Document sans titre." In Fictions classiques. Fabula, 2019. http://dx.doi.org/10.58282/colloques.125.

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(Université de Paris-Sorbonne), Delphine Reguig-Naya. "« Il faut estre autre chose que Grammairien » : la fable et la norme à la fin du XVIIe siècle." In Fictions classiques. Fabula, 2007. http://dx.doi.org/10.58282/colloques.432.

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Escola, Marc, and Jean-Paul Sermain. "Présentation." In Fictions classiques. Fabula, 2006. http://dx.doi.org/10.58282/colloques.117.

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Esmein (Univ. de Nice/Équipe Fabula), Camille. "L’effet recherché dans la poétique du roman de la deuxième moitié du xviie siècle : tromperie, illusion, identification ?" In Fictions classiques. Fabula, 2006. http://dx.doi.org/10.58282/colloques.137.

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Kremer (KU Leuven), Nathalie. "Vraisemblance et reconnaissance de la fiction. Pour une redéfinition de la vraisemblance dans le cadre d’une poétique romanesque." In Fictions classiques. Fabula, 2006. http://dx.doi.org/10.58282/colloques.128.

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Gevrey (Univ. de Reims), Françoise. "Y a-t-il une poétique du roman politique entre La Princesse de Clèves et La Nouvelle Héloïse ?" In Fictions classiques. Fabula, 2006. http://dx.doi.org/10.58282/colloques.142.

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Reports on the topic "Fictions":

1

Hoff, Karla, and Joseph Stiglitz. Equilibrium Fictions: A Cognitive Approach to Societal Rigidity. Cambridge, MA: National Bureau of Economic Research, March 2010. http://dx.doi.org/10.3386/w15776.

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Sadowski, Dieter. Board-Level Codetermination in Germany - The Importance and Economic Impact of Fiduciary Duties. Association Inter-University Centre Dubrovnik, May 2021. http://dx.doi.org/10.53099/ntkd4304.

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Abstract:
The empirical accounts of the costs and benefits of quasi-parity codetermined supervisory boards, a very special German institution, have long been inconclusive. A valid economic analysis of a particular legal regulation must take the legal specificities seriously, otherwise it will be easily lost in economic fictions of functional equivalence. At its core the corporate actor “supervisory board” has no a priori objective function to be maximised – the corner stone of the theory of the firm – but its objective function will only be brought about a posteriori – should negotiations result in an agreement (E. Fraenkel). With this understanding,the paper presents six recent quasi-experimental studies on the economic (dis) advantageousness of the German codetermination laws that try to follow the rules of causal inference despite the lack of random variation. By and large they refute the hold-up model of codetermination by showing positive or nonnegative effects even on shareholder wealth – and a far-reaching improvement of the well-being of the core workforce. In conclusion, indications are offered that the shareholder primacy movement has only weakened, but not dissolved the “Deutschland AG”.
3

Leavitt, John. Killers: Fiction Pieces. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3016.

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Fyfe, J. A. Offshore data - fact and fiction. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/193941.

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Sanny, James T., and Sr. Operational Maneuver: Function or Fiction? Fort Belvoir, VA: Defense Technical Information Center, February 1996. http://dx.doi.org/10.21236/ada307346.

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Backus, David, Espen Henriksen, Frederic Lambert, and Christopher Telmer. Current Account Fact and Fiction. Cambridge, MA: National Bureau of Economic Research, November 2009. http://dx.doi.org/10.3386/w15525.

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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina, and Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis. [б. в.], July 2020. http://dx.doi.org/10.31812/123456789/3864.

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.
8

Miller, Ruth-Ellen. Enhancing impact assessment with extrapolative fiction. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.816.

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Van Biesebroeck, Johannes. Wages Equal Productivity: Fact or Fiction? Cambridge, MA: National Bureau of Economic Research, December 2003. http://dx.doi.org/10.3386/w10174.

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Shishkin, Timur. Marginalized Characters in Contemporary American Short Fiction. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.297.

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