Relevant bibliographies by topics / Mainstream fiction

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Mainstream fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Mainstream fiction"

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Topash-Caldwell, Blaire. "“Beam us up, Bgwëthnėnė!” Indigenizing science (fiction)." AlterNative: An International Journal of Indigenous Peoples 16, no. 2 (June 2020): 81–89. http://dx.doi.org/10.1177/1177180120917479.

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The popularity of Indigenous-authored science fiction art, literature, film, and even video games has exploded in recent years. More than just a niche interest, these works have material effects on the possibilities young Indigenous people envision for themselves. Contrary to research on the negative effects of Native American stereotypes on youth, positive representations of Native peoples found in Indigenous science fiction portray alternative futurisms to those represented in mainstream science fiction. Developed in concert with traditional knowledge and value systems, alternative futurisms as depicted in Indigenous science fiction forefront Indigenous agency in a genre where Indigeneity is either absent or made irrelevant. This article investigates the ways in which Indigenous science fiction creators leverage traditional knowledge systems to paint a picture of Indigenous futures that depart from mainstream science fiction in material ways.
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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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Steble, Janez. "The role of science fiction within the fluidity of slipstream literature." Acta Neophilologica 48, no. 1-2 (December 15, 2015): 67–86. http://dx.doi.org/10.4312/an.48.1-2.67-86.

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The paper explores the complex and contradictory role of science fiction in slipstream, the type of postmodern non-realistic literature situated between the fantastic genres and the mainstream literary fiction. Because of its unstable status of occupying an interstitial position between multiple literary conventions, the article first deals with an expansive terminology affiliated with slipstream and elucidates upon using a unified term for it. Avantpop, transrealism, and interstitial fiction all help us in understanding the vast postmodern horizon of slipstream. Furthermore, the slipstream's philosophy of cognitive dissonance in comparison to science fiction's is analysed to see the similarities and differences between them. The section is mainly concerned on expanding Darko Suvin's concept of cognition and viewing it as partially compatible with slipstream's estrangement techniques. The final part is focused on the exemplary slipstream novel Vurt by Jeff Noon, a perfect example of science fiction providing material, including latest post-Newtonian paradigms of science, for slipstream to mould it in its own fashion.
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Burcar, Lilijana. "Traversing and contesting the textuality of gender in mainstream children's fiction." Acta Neophilologica 36, no. 1-2 (December 1, 2003): 153–62. http://dx.doi.org/10.4312/an.36.1-2.153-162.

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The article first outlines the way in which mainstream children's fiction has traditionally sought to address and underrnine the artificiality of oppositional and hierarchical gender paradigms. Pro-ferninist texts that abound in mainstream children's literature have never really extricated themselves from the bonds of gender-related binarisations and hierarchizations because their approach in delineating girl protagonists hasbeen premised primarily upon a mere reverslil of masculine and ferninine defined attributes. By insisting only on the exarnination and reversal of attributes, mainstream children's fiction has fallen short of investigating narrative mechanisms which are essential to the understanding of how subjectivities, regardless of their feminine or masculine inflections, are constituted in the first place. To address this issue, it is argued that children's mainstream literature should embrace such literary devices as metafiction and genre mixing. The article goes on to demonstrate the kind of impact these devices have in challenging and underrnining the socially constructed notions of oppositional and hierarchical gender paradigms on those children who have been subject to traditionalliterary socialization.
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Selejan, Corina. "Fragmentation(s) and Realism(s): Has the Fragment Gone Mainstream?" Anglica Wratislaviensia 57 (October 4, 2019): 103–12. http://dx.doi.org/10.19195/0301-7966.57.8.

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This article tackles what seems to be a revival of fragmentary fiction in English in the 21st century. It briefly traces the lineage of critical interest in the fragment from German Romanticism through Bertolt Brecht and Modernism to postmodern film studies, in an attempt to highlight not only the temporal, but also the spatial and visual dimension of discontinuity evinced by recent fragmentary fiction. Six novels published between 2005 and 2017 are discussed sequentially, in a manner redolent of cinematic movement: Tom McCarthy’s Remainder 2005, Anne Enright’s The Gathering 2007, Yaa Gyasi’s Homegoing 2016, Mohsin Hamid’s Exit West 2017, Ali Smith’s Autumn 2016, and George Saunders’s Lincoln in the Bardo 2017. The formal fragmentariness of these novels is read in connection to their recurrent themes: trauma, loss, death, grief, exile, displacement, memory and violence. In the process, the opposition between fragmentariness on the one hand and realism on the other is challenged; the argument draws on William Burroughs, Tom McCarthy and Fernand Léger. Although they are fragmentary in very different ways, all of the novels under scrutiny are what one may term “mainstream” novels, most of them boasting large readerships and having either won or been shortlisted for literary prizes such as the Booker Prize, thus seemingly confirming Ted Gioia’s contention that “mainstream literary fiction is falling to pieces”.
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Mary Ann Gillies. "The Span of Mainstream and Science Fiction (review)." ESC: English Studies in Canada 32, no. 4 (2008): 255–58. http://dx.doi.org/10.1353/esc.0.0009.

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Singh, Greg. "CGI: A Future History of Assimilation in Mainstream Science Fiction Film." Extrapolation 48, no. 3 (January 2007): 543–57. http://dx.doi.org/10.3828/extr.2007.48.3.11.

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Distelberg, B. J. "MAINSTREAM FICTION, GAY REVIEWERS, AND GAY MALE CULTURAL POLITICS IN THE 1970s." GLQ: A Journal of Lesbian and Gay Studies 16, no. 3 (January 1, 2010): 389–427. http://dx.doi.org/10.1215/10642684-2009-036.

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Rey Segovia, Ana-Clara. "Climate Fiction and its Narratives." Exchanges: The Interdisciplinary Research Journal 8, no. 2 (February 4, 2021): 47–68. http://dx.doi.org/10.31273/eirj.v8i2.539.

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In the late 20th and early 21st centuries, the narratives about a possible environmental collapse and its consequences have multiplied. This is due to a growing awareness about issues such as climate change or the energy crisis. The so-called ‘climate science fiction’ or cli-fi has reflected these concerns in highly successful films, like the two analysed here: The Day After Tomorrow (2004) and The Day the Earth Stood Still (2008), a remake of the 1951 classic. In this paper, I approach both films through an analysis of their plot and narrative structure, focusing mainly on the evolution of their main characters and storylines. I argue that these mainstream productions avoid any examination of the actual causes of the environmental crisis, turning it into a matter of individual responsibility based on Judaeo-Christian values such as guilt and redemption, especially those about the apocalypse.
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Karlsen, Joakim. "Aligning Participation with Authorship." Non-fiction Transmedia 5, no. 10 (December 31, 2016): 40. http://dx.doi.org/10.18146/2213-0969.2016.jethc111.

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The main contribution of this article is to describe how the concept of non-fiction transmedia has challenged the independent documentary film community in Norway. How the new possibilities afforded by web- and mobile media, with the potential of reconfiguring the current relation between author and audience, has been perceived and performed. Based on an extensive interview study and reflections on contributing to a non-fiction transmedia project, I argue that the emerging practice of making non-fiction transmedia face many of the same challenges as the participative documentary practice of the 70s, mainly that facilitation of real audience participation, requires a break from the broadcasting logic of the mainstream documentary film practice.
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Dissertations / Theses on the topic "Mainstream fiction"

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Crotty, Tammy J. "Left of mainstream : genre fiction and its ability to transcend formula." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313073.

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This collection of short stories studies the elements of genre fiction and applies them to literary fiction. Science fiction, fantasy, and horror have specific manners in which they speak to an audience. By using these elements, for example the desensitization of the current generation of readers to most horrors, an author can demonstrate the core of the human relationship to pain, faith, or hope. Though some genre fiction seems to fit certain formulas, there are also horror or science fiction stories which do not fit a conventional mold. This collection sets forth to break away from genre fiction conventions. Also, this project utilizes the genre of magical realism, which is the medium between genre fiction and literary fiction, by using fantastic events within a mundane setting to emphasize the author's ideas. By bridging the gap between genres, magical realism reveals how interrelated the elements of all genres are. In this study stories use magical and horrifying events while maintaining an intention beyond the formulaic thrill. Therefore, genre fiction can have a place amongst literature.
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Sandin, Bard Julia. "The madwoman in mainstream culture's attic : Processen för den icke-traditionella litterära genren fan fiction." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-242547.

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Alston, Sylvia, and n/a. "Take that woman : a creatie writing project." University of Canberra. Creative Communication & Culture Studies, 2002. http://erl.canberra.edu.au./public/adt-AUC20060531.161023.

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Take that woman explores social issues as a piece of mainstream fiction. The story revolves around realistic characters, in a contemporary setting, facing situations which many people encounter in their lives. The piece isn't didactic. Nor does it force-feed the reader; rather it provides information in bite-sized pieces so it can be easily digested. Take that woman is the story of a group of people brought together by a wedding. Set in the present, the action takes place in Canberra on a day in early November. The story moves between Australia and England, between the present and the past as it examines the conflicts the day generates for the couple's families and friends. Not only does the wedding serve as a device to bring the characters together, it also highlights the seriousness of the issues being explored. The account is a fictional piece as fiction can be an effective communication tool. Information is disseminated in different forms through a variety of media, both electronic and print. But, however widely, or creatively, the material is distributed, there is nothing to ensure the recipient will read or understand the information. Mainstream fiction can be a means of raising awareness about serious social issues, of changing attitudes, and, ultimately, behaviours. The research for the piece involved a search of literature, films and videos, and relevant websites. It also consisted of personal interviews with subject experts, workers in the field of domestic violence, and people who have been exposed to violence in their own relationships.
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Skelton-Foord, Christopher J. "Circulating fiction 1780-1830 : the novel in British circulating libraries of the Romantic era; with a check-list of 200 mainstream novels of the period." Thesis, Cardiff University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362574.

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Faust, Mitchell R. ""Are you getting angry Doctor?" : Madea, strategy and the fictional rejection of black female containment." Thesis, 2014. http://hdl.handle.net/2152/26506.

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Within the scope of this thesis, I provide close textual and visual readings of director/actor/producer Tyler Perry's most well-known character, Mable "Madea" Simmons -- a performance he does in full female drag attire -- focusing on his mainstream hit film, Madea Goes to Jail (2009). My reading of the character of Madea veers against the common narrative her existence being just another recycled trope of men disguised as women only to perform in stereotypical and demonizing behavior. I argue Madea represents what I refer to as a "trans*female character", within the space of Perry's popular film that feature her. Read through the lens of being trans*female character, I propose this shift in analysis and critique of cinematic displays of drag helps to transgress beyond male/female binaries of acceptable and possible visual gender representations. More in-depth, using the theoretical concept of Gwendolyn Pough's "bringing wreck", I make the argument that while ostensibly representing the "angry black woman" stereotype, Madea's characterization and actions within the film represent strategies and efforts to not be contained within hegemonic ideals of black female respectability politics and the law efforts to put her behind bars. By "bringing wreck", Madea's fictional acts of violence and talking back are read as a strategy that reflects a historical trend of misrecognition that renders black women's concerns and discontent with marginalization as irrational anger.
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Books on the topic "Mainstream fiction"

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Pearl, Nancy. Now read this III: A guide to mainstream fiction. Santa Barbara, Calif: Libraries Unlimited, 2010.

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Martha, Knappe, and Higashi Chris, eds. Now read this: A guide to mainstream fiction, 1978-1998. Englewood, Colo: Libraries Unlimited, 1999.

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The span of mainstream and science fiction: A critical study of a new literary genre. Jefferson, N.C: McFarland & Co., 2002.

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From margins to mainstream: Feminism and fictional modes in Italian women's writing, 1968-1990. Philadelphia: University of Pennsylvania Press, 1993.

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Batory, Edward A. The Fanner: Mainstream Fiction About Old West. Writers Club Press, 2002.

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Hooligan (Mainstream Sport). Mainstream Publishing, 1998.

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Scott, Nova. Missouri in a Suitcase. Cork Hill Press, 2003.

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Larson, Ann E., and Carole A. Carr. Crossing the Mainstream: New Fiction by Women Writers. Silverleaf Pr, 1987.

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E, Larson Ann, and Carr Carole A. 1945-, eds. Crossing the mainstream: New fiction by women writers. Seattle, Wash: Silverleaf Press, 1987.

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Now Read This II: A Guide to Mainstream Fiction, 1990-2001. Libraries Unlimited, 2002.

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Book chapters on the topic "Mainstream fiction"

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Broderick, Damien. "Entering the Mainstream." In Consciousness and Science Fiction, 85–99. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00599-3_6.

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Donnelly, Ashley M. "Blank Fiction." In Subverting Mainstream Narratives in the Reagan Era, 35–51. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76819-9_3.

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Beaulé, Sophie. "Tropes Crossing: On Some Québec SF Writers from the Mainstream." In Studies in Global Science Fiction, 311–26. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15685-5_18.

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Donnelly, Ashley M. "The Legacy of Blank Fiction and Cinema Mid 1990s–Early 2000s." In Subverting Mainstream Narratives in the Reagan Era, 123–45. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76819-9_10.

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"Facts, Fiction, and Literary Ethnography." In Mainstream and margins revisited, 133–41. New Brunswick [N.J.] : Transaction Publishers, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9780203786697-13.

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Mota, José Manuel. "Science Fiction as Language: Postmodernism and Mainstream: Some Reflections." In Speaking Science Fiction, 40–49. Liverpool University Press, 2001. http://dx.doi.org/10.5949/liverpool/9780853238348.003.0006.

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Ashley, Mike. "The Third Rebellion: The SF Underground." In Science Fiction Rebels, 167–88. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382608.003.0006.

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The emergence of cyberpunk and the appearance of a new generation of writers saw the development of a more radical set of magazines for whom OMNI, ASIMOV’S and F&SF did not go far enough. These were called the SF Underground by John Shirley and included Scott Edelman, Lewis Shiner, Bruce Sterling, Rudy Rucker, Paul Di Filippo and others. Like the New Wave of the 1960s they influenced the sf mainstream through broadening ideas, techniques and content. Some of the fiction was dubbed slipstream. Key magazines were PULPHOUSE, NEW PATHWAYS and NOVA EXPRESS.
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Jones, Gwyneth. "Introduction: Deconstructing The Starships." In Deconstructing the Starships, 3–8. Liverpool University Press, 1998. http://dx.doi.org/10.5949/liverpool/9780853237839.003.0001.

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‘Deconstructing The Starships’ references a speech originally given at the June 1988 presentation of the Arthur C. Clarke Award, at the Institute of Contemporary Arts. The speech discusses science fiction’s penetration into popular culture and its inclusion in 20th century mainstream fiction. It also analyses the structure and methodology of a science fiction novel, looking at the characterisation, narrative and literary conventions used in order to develop an understanding of the requirements of a science fiction text. The chapter references Star Wars and Star Trek throughout, and uses the two franchises to associate the Starship Enterprise with US Navy nuclear submarines in the Cold War, thus mirroring science fiction with reality.
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"Chapter 7. High Culture Aspirations and Transformations of Mainstream Fiction." In Literary Culture in Taiwan, 168–89. Columbia University Press, 2004. http://dx.doi.org/10.7312/chan13234-008.

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Burton, Tyra Anne Mitchell. "When Science Fiction Meets Reality." In Handbook of Research on the Impact of Fandom in Society and Consumerism, 280–304. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1048-3.ch014.

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Eighty years after the first science fiction convention, geek culture has gone mainstream and facilitated exponential growth in the fandom convention industry. With fandom conventions facing increasing competition and changing demographics, standing out in the crowded convention space is essential. Dragon Con founded in 1987 created the idea of the multi-genre convention that has something for everyone. Since its inception, Dragon Con has changed to fit fans' evolving tastes and formed strategic relationships with key partners. With growth comes issues related to registration, wait lines, harassment and security which need to be addressed while trying to take into account the younger and more diverse fandoms.
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