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Journal articles on the topic 'Non-fiction'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Вершинина, И. Я. "Non-fiction with Commentary." Музыкальная академия, no. 1(769) (March 29, 2020): 188–92. http://dx.doi.org/10.34690/48.

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2

Chomiuk, Aleksandra. "Fiction or Non-fiction? Observations on the Margin of a Certain Dispute." Białostockie Studia Literaturoznawcze, no. 4 (2013): 233–49. http://dx.doi.org/10.15290/bsl.2013.04.16.

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3

Gerrig, Richard J. "Reexperiencing Fiction and Non-Fiction." Journal of Aesthetics and Art Criticism 47, no. 3 (1989): 277. http://dx.doi.org/10.2307/431007.

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4

GERRIG, RICHARD J. "Reexperiencing Fiction and Non-Fiction." Journal of Aesthetics and Art Criticism 47, no. 3 (June 1, 1989): 277–80. http://dx.doi.org/10.1111/1540_6245.jaac47.3.0277.

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5

Olivier, Florence. "Chronique, fiction, roman de non-fiction." Caravelle, no. 113 (December 1, 2019): 23–34. http://dx.doi.org/10.4000/caravelle.6306.

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6

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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7

Losman, Danielle. "Translating non-fiction." Publishing Research Quarterly 14, no. 2 (June 1998): 50–52. http://dx.doi.org/10.1007/s12109-998-0023-6.

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8

Gittings, John, R. H. Cassen, Barry Munslow, Baruch Hirson, John Suckling, Aderemi Oyewumi, Charles Tripp, et al. "Non‐fiction reviews." Third World Quarterly 12, no. 3-4 (July 1990): 173–94. http://dx.doi.org/10.1080/01436599008420253.

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9

Woodward, Peter, David Nicholls, John Kent, Daniel N. Sifuna, Francis Robinson, Lek Hor Tan, Richard Tapper, et al. "Non‐fiction reviews." Third World Quarterly 13, no. 1 (January 1992): 201–16. http://dx.doi.org/10.1080/01436599208420271.

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10

Worsley, Peter, Harriet Friedmann, James Thomas, Bruce P. Corrie, Joyce Pettigrew, Barry Munslow, and Robert Fine. "Non‐fiction reviews." Third World Quarterly 13, no. 2 (January 1992): 399–407. http://dx.doi.org/10.1080/01436599208420284.

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11

Sidaway, James D., Jennie Walmsley, Mohamed M. El‐Doufani, Erika G. Alin, Camillia Fawzi El‐Solh, John Harriss, Robert L. Curry, et al. "Non‐fiction reviews." Third World Quarterly 13, no. 3 (January 1992): 567–80. http://dx.doi.org/10.1080/01436599208420296.

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12

Barnard, Rita. "Beyond Rivalry: Literature/History, Fiction/Non‐Fiction." Safundi 13, no. 1-2 (January 2012): 1–4. http://dx.doi.org/10.1080/17533171.2011.642585.

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13

Holm, Michael Juul. "So are you fiction or non-fiction?" Publishing Research Quarterly 16, no. 1 (March 2000): 31–34. http://dx.doi.org/10.1007/s12109-000-1007-3.

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14

Abdurakhmanova-Pavlova, Daria Vladimirovna. "“Non-fiction” and “fiction” in John Woolman’s Journal." Philology and Culture 65, no. 3 (2021): 46–55. http://dx.doi.org/10.26907/2074-0239-2021-65-3-46-55.

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15

B., J. L., Tom Norton, and H. K. B. "NOT-QUITE-INDEXERS IN FICTION (AND NON-FICTION)." Indexer: The International Journal of Indexing: Volume 14, Issue 4 14, no. 4 (October 1, 1985): 277–80. http://dx.doi.org/10.3828/indexer.1985.14.4.18.

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16

Matravers, Derek. "Recent philosophy and the fiction/non-fiction distinction." Collection and Curation 37, no. 2 (April 3, 2018): 93–96. http://dx.doi.org/10.1108/cc-07-2017-0031.

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17

Werle, Dirk. "Knowledge in Motion between Fiction and Non-Fiction." Daphnis 45, no. 3-4 (July 18, 2017): 563–77. http://dx.doi.org/10.1163/18796583-04503011.

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In epic poems of the seventeenth century written in German about the Thirty Years’ War, knowledge is set in motion, especially in the context of genre change and shifts in the generic tradition as well as in the conflictive area between fiction and non-fiction. The generic adjustments are partially caused by the transfer of a Greek and Latin genre model into German. This is illustrated by two examples, Martin Opitz’s Trost-Getichte in Widerwärtigkeit des Krieges, first published in 1633, and Georg Greflingerʼs Der Deutschen Dreißig-Jähriger Krieg, published in 1657.
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18

Palpacuer, Florence. "Unplugged - Academic Non Fiction." M@n@gement 22, no. 1 (2019): 130. http://dx.doi.org/10.3917/mana.221.0130.

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19

Yamburg, Eugene A. "Non-fiction pedagogy literature." National Psychological Journal 11, no. 3 (2013): 9–19. http://dx.doi.org/10.11621/npj.2013.0302.

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20

Yamburg, Eugene A. "Non-fiction pedagogy literature." National Psychological Journal 12, no. 4 (2013): 11–19. http://dx.doi.org/10.11621/npj.2013.0402.

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21

Mirchandani, Ravi. "Non-fiction: Gloriously irresponsible?" Publishing Research Quarterly 14, no. 2 (June 1998): 36–40. http://dx.doi.org/10.1007/s12109-998-0020-9.

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22

Malthête, Jacques. "Georges Méliès, de la non-fiction à la fiction." 1895 Mille huit cent quatre-vingt-quinze 18, no. 1 (1995): 70–83. http://dx.doi.org/10.3406/1895.1995.1105.

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23

Martin, Adrian. "The documentary temptation: Fiction filmmakers and non-fiction forms." NECSUS. European Journal of Media Studies 3, no. 2 (December 31, 2014): 5–20. http://dx.doi.org/10.5117/necsus2014.2.mart.

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24

Clingman, Stephen. "Writing Spaces: Fiction and Non-Fiction in South Africa." Safundi 13, no. 1-2 (January 2012): 51–58. http://dx.doi.org/10.1080/17533171.2011.642588.

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25

Brereton, Pat, and Chao-Ping Hong. "Audience responses to environmental fiction and non-fiction films." Interactions: Studies in Communication & Culture 4, no. 2 (October 1, 2013): 171–99. http://dx.doi.org/10.1386/iscc.4.2.171_1.

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26

Moroz, Grzegorz. "Provençal Landscapes in Aldous Huxley’s Fiction and Non-Fiction." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 357–67. http://dx.doi.org/10.36575/2353-2912/1(7)2019.357.

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The paper focuses on the analysis of different ways in which Aldous Huxley chose to represent Provençal landscapes in his novels, such as Eyeless in Gaza or Time Must Have a Stop, as well as in his essays, such as “Music at Night” or “The Olive Tree”. The analytical tools which have been developed by scholars of the so called ‘spatial turn’ have been used (particularly the notion of ‘polysensory landscapes’), while Huxley’s representations of Provence are considered in the context of Aldous Huxley’s biography and the political situation in France in particular and in the world in general in the 1930s.
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27

Crisp, Georgina. "Non-fiction in Motion: Connecting Pre-schoolers with Non-fiction Books Through Movement." Journal of the Australian Library and Information Association 66, no. 4 (July 27, 2017): 423–24. http://dx.doi.org/10.1080/24750158.2017.1357281.

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28

Tyree, J. M. "Nomad: Herzog, Chatwin and non-non-fiction." Film International 18, no. 4 (December 1, 2020): 148–52. http://dx.doi.org/10.1386/fint_00067_4.

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29

Morano, Michelle. "Against Loss: Choosing Non-Fiction." Iowa Journal of Cultural Studies 2000, no. 19 (2000): 42–45. http://dx.doi.org/10.17077/2168-569x.1326.

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30

Raeburn, John, and Ronald Weber. "Hemingway's Art of Non-Fiction." American Literature 63, no. 1 (March 1991): 139. http://dx.doi.org/10.2307/2926580.

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31

Rae, Gavin. "Artur DOMOSŁAWSKI, Kapuściński Non-Fiction." Debatte: Journal of Contemporary Central and Eastern Europe 18, no. 3 (December 2010): 355–60. http://dx.doi.org/10.1080/0965156x.2010.533869.

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32

Cossée, Eva. "What is literary non-fiction?" Publishing Research Quarterly 16, no. 1 (March 2000): 35–37. http://dx.doi.org/10.1007/s12109-000-1008-2.

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33

Keizer, Bert. "The language of non-fiction." Publishing Research Quarterly 16, no. 1 (March 2000): 49–54. http://dx.doi.org/10.1007/s12109-000-1011-7.

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34

Brugman, Emile. "The truth of non-fiction." Publishing Research Quarterly 14, no. 2 (June 1998): 16–18. http://dx.doi.org/10.1007/s12109-998-0014-7.

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35

Dekkers, Midas. "The fauna of non-fiction." Publishing Research Quarterly 14, no. 2 (June 1998): 19–21. http://dx.doi.org/10.1007/s12109-998-0015-6.

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36

Baghetti, Carlo. "Non fiction e working class." Cahiers d'études romanes, no. 38 (June 27, 2019): 287–98. http://dx.doi.org/10.4000/etudesromanes.9460.

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37

Rowe, M. "Transplant: a non-fiction narrative." Medical Humanities 28, no. 1 (June 1, 2002): 23–27. http://dx.doi.org/10.1136/mh.28.1.23.

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38

Bottomore, Stephen. "Rediscovering early non-fiction film." Film History: An International Journal 13, no. 2 (June 2001): 160–73. http://dx.doi.org/10.2979/fil.2001.13.2.160.

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39

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

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40

Raynaud, Claudine. "'Flesh and Blood': Autobiographical 'Material' between Fiction and Non-fiction." New Formations 67, no. 67 (June 1, 2009): 46–57. http://dx.doi.org/10.3898/newf.67.05.2009.

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41

Graefrath, Bernd. "Lem’s Philosophy of Chance in His Fiction and Non-Fiction." Filozofia i Nauka 1, no. 10 (October 15, 2022): 27–30. http://dx.doi.org/10.37240/fin.2022.10.1.4.

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42

Topping, Keith J. "Fiction and Non-Fiction Reading and Comprehension in Preferred Books." Reading Psychology 36, no. 4 (October 13, 2014): 350–87. http://dx.doi.org/10.1080/02702711.2013.865692.

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43

Kucała, Bożena. "Unspoken dialogues and non-listening listeners in Graham Swift's fiction." Brno Studies in English 41, no. 1 (2015): 117–29. http://dx.doi.org/10.5817/bse2015-1-7.

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44

Davidson, Meghan M., and Susan Ellis Weismer. "A preliminary investigation of parent-reported fiction versus non-fiction book preferences of school-age children with autism spectrum disorder." Autism & Developmental Language Impairments 3 (January 2018): 239694151880610. http://dx.doi.org/10.1177/2396941518806109.

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Background & aims Anecdotal evidence suggests that individuals with autism spectrum disorder prefer non-fiction books over fiction books. The current study was the first to investigate parent-reports of children with autism spectrum disorder’s fiction and non-fiction book preferences and whether these relate to individual differences in social communication, oral language, and/or reading abilities. Method Children (ages 8–14 years, M = 10.89, SD = 1.17) with autism spectrum disorder diagnoses ( n = 19) and typically developing peers ( n = 21) participated. Children completed standardized measures of social communication, oral language, and reading abilities. Parents reported children’s current favorite book, and from these responses, we coded children’s fiction versus non-fiction book preferences. Main contribution Contrary to anecdotal evidence, children with autism spectrum disorder preferred fiction similar to their typically developing peers. Fiction versus non-fiction book preference was significantly related to social communication abilities across both groups. Children’s oral language and reading abilities were related, as expected, but the evidence for a relationship between social communication and reading comprehension was mixed. Conclusions This study provides preliminary evidence supporting the association of social communication in fiction versus non-fiction book preference, which may be related to children’s comprehension and support the theoretical role of social communication knowledge in narrative/fiction. Implications It should not be assumed that all children with autism spectrum disorder prefer expository/non-fiction or do not read narrative/fiction. Children who prefer non-fiction may need additional social communication knowledge support to improve their understanding of narrative fiction.
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45

Neate, Bobbie. "Quality non‐fiction books: Non‐fiction as a major part of the National Literacy Strategy." New Review of Children's Literature and Librarianship 5, no. 1 (January 1999): 115–31. http://dx.doi.org/10.1080/13614549909510619.

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46

Zelinska, Anastasiia. "Semantic Limits of the Concept “Non-Fiction Book”." Current Issues of Mass Communication, no. 18 (2015): 62–73. http://dx.doi.org/10.17721/2312-5160.2015.18.62-73.

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In this study, the author proposed a terminologisation of the concept “non-fiction book” in the framework of Ukrainian theory of publishing. The relevance of the study is stipulated by the emergence in Ukrainian publishing space of the concept “non-fiction book”, which is widely used by publishers, authors, booksellers, literary managers and readers, while the term “non-fiction book” is not clearly defined in Ukrainian academic sphere and is absent in Ukrainian dictionaries. The main objectives of the study are: to summarize results of interdisciplinary discussions over the concept “non-fiction” in Ukrainian and foreign scientific discourses; to clarify the features and peculiarities of different professional approaches; and to define the semantic framework for interpretation of the concept “non-fiction book” in Ukrainian publishing. In the study, the author applied the following research methods: bibliographical method (to study the literature sources); conceptual analysis (to work out the basic terms and concepts); analysis and synthesis (to study the nature of the usage of terms and to identify their features); synthesis (to shape the own definition of the concept “non-fiction”). Having considered the various foreign definitions of the term “non-fiction”, the author came to the conclusions that it is predominantly used in two major senses – a broad and a narrow. In a broader sense, “non-fiction” is a literature that does not contain an artistic fiction. In this sense the term is widely used by the booksellers, authors and readers. In a narrow sense, ‘non-fiction” is a literature that is based on real events, documents, facts and biographies, interpreted by the author through artistic means without distorting the actual events of the story. The concept “non-fiction book” refers to the publications, the content of which is based not only on documents and facts, but also includes the author’s interpretation. The proposed terminologisation of the concept “non-fiction book” in the framework of Ukrainian theory of publishing can be used in further academic research in the relevant fields of study.
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47

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

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48

Жулинський, М. "Fiction чи non-fiction? Історичні сюжети в літературній спадщині М. Грушевського." Слово і час, no. 11 (671) (2016): 57–65.

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49

Dr. Charu Mehrotra. "A Suitable Boy: Blurring the Line Between Fiction and Non-Fiction." Creative Launcher 7, no. 1 (February 28, 2022): 37–42. http://dx.doi.org/10.53032/tcl.2022.7.1.07.

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Vikram Seth was the son of a judge and a businessman was raised in London and India. He has written about a variety of themes and topics including music, travel, work environments, family, homosexuality and Catholic belief. He wrote poetic novel The Golden Gate and turned to prose in his epic novel, A Suitable Boy. It functions as a political fable, a roman a clef, showing the emerging polity of the newly independent India. Seth has used a variety of characters to show how in the very first decade after independence the mood of the people changed from euphoria to despondence. While debating the role of students in politics, Seth briefly mentions his central theme thus, “Their post-independence romanticism and post-independence disillusionment formed a volatile mixture” (p. 815). His diagnosis-vote-bank politics and communalism as an election tool have corroded the soul of the fledgling Indian democracy.
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50

Бутенина, Евгения, and Марина Очковская. "Fiction and non-fiction in the courses «Marketing» and «Intercultural Communication»." Маркетинг и маркетинговые исследования 4 (2021): 282–89. http://dx.doi.org/10.36627/2074-5095-2021-4-4-282-289.

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