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Journal articles on the topic 'Popular fiction'

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Author: Grafiati

Published: 4 June 2021

Last updated: 7 July 2024

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1

Boon, Hussein. "Writing popular music fiction." Short Fiction in Theory & Practice 13, no. 1 (March 1, 2023): 37–51. http://dx.doi.org/10.1386/fict_00072_1.

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A recent short story I completed in a style area described as popular music fiction, using fiction to critically explore issues within popular music and communicate these to a wider audience, will be the main focus of this article. The ideas behind the short story and the incorporation of research and subject areas to create a fictional setting, especially intersections with otherness, diversity, resistance, technology, creative practice, business and the future, will be discussed. Key central themes were those relating to race, including lack of presence and attribution and concerns about AI, especially concerning how data is acquired to model music made by current music practitioners. The main character of the story is an AI and is used to foreground these concerns, the nature of musical work, its creation, transmission and consumption.

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2

Owens, Alison, and Donna Lee Brien. "Australian women writers’ popular non-fiction prose in the pre-war period: Exploring their motivations." Australasian Journal of Popular Culture 11, no. 1 (December 1, 2022): 63–80. http://dx.doi.org/10.1386/ajpc_00051_1.

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Since the 1970s, feminist scholars have undertaken important critical work on Australian women’s writing of earlier eras, profiling and promoting their fiction. Less attention has been afforded to the popular non-fiction produced by Australian women writers and, in particular, to that produced before the Second World War. Yet this writing is important for several reasons. First, the non-fiction writing of Australian women was voluminous and popular with readers. Second, this popular work critically engaged with a tumultuous political, social and moral landscape in which, as women’s rights were increasingly realized through legislation, the subjectivity of women themselves was fluid and contested. Third, as many of these women were also, or principally, fiction writers, their non-fiction can be shown to have informed and influenced many of their fictional interests, themes and characters. Lastly, and critically, popular non-fiction publication helped to financially sustain many of these writers. In proposing a conceptual framework informed by the work of Pierre Bourdieu to analyse examples of this body of work, this article not only suggests that important connections exist between popular and mainstream non-fiction works – newspaper and magazine articles, essays, pamphlets and speeches – and the fictional publications of Australian women writers of the early twentieth century but also suggests that these connections may represent an Australian literary habitus where writing across genre, form and audience was a professional approach that built and sustained literary careers.

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3

Latimer, Bonnie. "Popular Fiction after Richardson." Eighteenth-Century Fiction 29, no. 2 (January 2017): 241–60. http://dx.doi.org/10.3138/ecf.29.2.241.

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4

Pulkhritudova, Elizaveta. "Popular Fiction as Journalism." Journal of Communication 41, no. 2 (June 1, 1991): 92–101. http://dx.doi.org/10.1111/j.1460-2466.1991.tb02311.x.

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5

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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6

Stowe, William W. "Popular Fiction as Liberal Art." College English 48, no. 7 (November 1986): 646. http://dx.doi.org/10.2307/377366.

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7

Stanley Weintraub. "Reclaiming Late-Victorian Popular Fiction." English Literature in Transition, 1880-1920 53, no. 2 (2010): 170–81. http://dx.doi.org/10.2487/elt.53.2(2010)0057.

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8

Cohn, Jan, and Ernest J. Yanarella. "Political Mythology and Popular Fiction." American Literature 61, no. 1 (March 1989): 150. http://dx.doi.org/10.2307/2926554.

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9

Owomoyela, Oyekan. "Readings in African Popular Fiction." Comparative Literature Studies 42, no. 3 (January 1, 2005): 229–31. http://dx.doi.org/10.2307/40247493.

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10

Owomoyela, Oyekan. "Readings in African Popular Fiction." Comparative Literature Studies 42, no. 3 (January 1, 2005): 229–31. http://dx.doi.org/10.2307/complitstudies.42.3.0229.

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11

Linder, Daniel. "Translating Irony in Popular Fiction." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 2 (December 31, 2001): 97–108. http://dx.doi.org/10.1075/babel.47.2.02lin.

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Raymond Chandler published his first novel, The Big Sleep, in 1939. There are two Spanish translations of the novel, both titled El sueño eterno, one published in 1958 by Aguilar (Madrid) and the other in 1972 by Barral (Barcelona). This study analyzes irony in the two Spanish translations and concludes that both translations fail to reflect the degree of irony present in Chandler’s original, especially with respect to the translation of two key words, cute and giggle, and the dramatic effect of the novel’s climax is dampened as a consequence. Also, it is demonstrated that the 1972 version is, if not an outright plagiarism of the earlier 1958 version, at the very least a version which does not meet the criteria for originality.

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12

Moore, John Noell, and Jill Kerr Conway. "Autobiography: The Most Popular Fiction." English Journal 90, no. 3 (January 2001): 141. http://dx.doi.org/10.2307/821333.

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13

Susan Zieger. "From Decadence to Popular Fiction." Science Fiction Studies 38, no. 2 (2011): 340. http://dx.doi.org/10.5621/sciefictstud.38.2.0340.

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14

Wingfield, Rebecca. "Bestsellers: Popular Fiction Since 1900." Journal of Popular Culture 37, no. 4 (April 7, 2004): 748–50. http://dx.doi.org/10.1111/j.0022-3840.2004.96_16.x.

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15

Reynolds, Rachel R., and Stephanie Newell. "Readings in African Popular Fiction." International Journal of African Historical Studies 35, no. 2/3 (2002): 560. http://dx.doi.org/10.2307/3097672.

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16

Lempert, David. "Popular Fiction and Development Studies." Journal of Developing Societies 30, no. 4 (November 10, 2014): 389–414. http://dx.doi.org/10.1177/0169796x14550933.

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17

Hammill, Faye, and Clive Bloom. "Bestsellers: Popular Fiction since 1900." Modern Language Review 99, no. 3 (July 2004): 758. http://dx.doi.org/10.2307/3739021.

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18

McCracken, Scott. "The Field of Popular Fiction." Twentieth-Century Literature 53, no. 2 (2007): 218–23. http://dx.doi.org/10.1215/0041462x-2007-3004.

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19

Stowe, William W. "Popular Fiction as Liberal Art." College English 48, no. 7 (November 1, 1986): 646–63. http://dx.doi.org/10.58680/ce198611576.

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20

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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21

Idrus, Mohd Muzhafar, Ruzy Suliza Hashim, and M. M. Raihanah. "Popular Culture: Power and Position in Popular TV Fiction." Procedia - Social and Behavioral Sciences 118 (March 2014): 330–34. http://dx.doi.org/10.1016/j.sbspro.2014.02.045.

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22

Kolodinskiy, Mikhail N. "Evolution of Dramaturgy of Fiction Popular Science Films." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 30–39. http://dx.doi.org/10.17816/vgik7330-39.

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The article treats the problem of using dramaturgy means in fiction popular science films. Plot constructions of the most popular genres are analyzed such as: melodrama, social drama in fiction kulturfilms of the twenties. As well as the phenomenon of the fiction popular science film of the new type - scientific-feature.

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23

Frenkel, Ronit. "Pleasure as genre: popular fiction, South African chick-lit and Nthikeng Mohlele's Pleasure." Feminist Theory 20, no. 2 (February 21, 2019): 171–84. http://dx.doi.org/10.1177/1464700119831537.

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The success of popular women's fiction requires a mode of analysis that is able to reveal the patterns across this category in order to better understand the appeal of these books. Popular fiction, like chick-lit, can be contradictorily framed as simultaneously constituting one, as well as many genres, if a genre is the codification of discursive properties. It may consist of romances, thrillers, romantic suspense and so forth in terms of its discursive properties, but popular women's fiction will also have a pattern of similarity that cuts across these forms – that similarity, I will suggest, lies in the idea of pleasure as a genre of affect that ties various popular fictions together, thereby acting as a type of imperial genre. Pleasure is so ubiquitous and so diverse across the multiple forms that constitute popular women's fiction that I argue it has become a genre in itself. This is, however, not a genre that limits itself to one particular stylistic form, but rather, as a dynamic social construct, it has become a genre of affect that invokes feelings of pleasure. Nthikeng Mohlele's most recent novel, Pleasure, exemplifies the applicability and plasticity of the concept of pleasure, allowing me to examine this work as a type of fictionalised theory which I then apply to South African chick-lit texts: the Trinity series by Fiona Snyckers and Happiness Is a Four-Letter Word by Cynthia Jele. Mohiele's expansive theorisation of pleasure is inherently local in that it is depicted at the level of experience and imagination; yet it is simultaneously macro and global in the connections made to deeply political circuits of identity-based oppressions and structural inequalities. Mohlele reveals the mobility of pleasure as a genre that offers an opportunity to think through the circuits that connect popular fiction through the lens of African literature.

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24

Bruyère, Claire. "TEACHING AMERICAN CULTURE THROUGH POPULAR FICTION." Contemporary French Civilization 13, no. 2 (October 1989): 392–99. http://dx.doi.org/10.3828/cfc.1989.13.2.023.

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25

Flothow, Dorothea. "Historical Crime Fiction as Popular Historiography." Crime Fiction Studies 1, no. 2 (September 2020): 203–20. http://dx.doi.org/10.3366/cfs.2020.0021.

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Due to the current history boom in the UK, which manifests itself in the conspicuous popularity of historical novels, costume dramas, and in rising visitor numbers to museums, the study of popular historiography has become a growing and vibrant field. Popular historiography formats such as costume dramas, historical romances, and re-enactments have been recognised as a key influence on the public's knowledge of the past. Consumed informally and voluntarily, entertaining and easily accessible, popular histories are often more significant for the public's perception of ‘historical fact’ than ‘academic’ forms of historiography. This article examines historical crime fiction as a genre of popular historiography with a special focus on recent novels set in the late seventeenth century, a period that has lately been the focus of a number of exciting crime series. As a genre mostly written to a formula, concentrating on a narrow theme (i.e. crime and violence), and typically showing the life of ‘the mean streets’, crime fiction has a genre-specific view of the past. Due to its focus on the everyday, it shows aspects of history which are particularly popular with a wider public. Additionally, as it is frequently preoccupied with history's dark secrets, crime fiction is especially suited to re-writing established images of the past.

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26

Tangri, Daniel. "Popular Fiction and the Zimbabwe Controversy." History in Africa 17 (January 1990): 293–304. http://dx.doi.org/10.2307/3171818.

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The “Zimbabwe controversy” is a name by which disputes over the origins of the people who produced stone ruins and mines in southern Africa are known. Those disputes occurred between informed and lay opinion; informed opinion being represented by archeologists, and lay opinion by local cult archeologists and, at the turn of the century, explorers and excavators. One aspect of lay opinion that has seldom been discussed is the role of popular fiction. Popular novels are often mentioned in works on the Zimbabwe controversy as representing particular viewpoints, but there have been no detailed analyses of their role in that controversy. This paper will set popular novels into the context of the ideologies that influenced them, and gauge their influence on lay opinion and the degree to which they reflected viewpoints that were expressed in political disagreements over the site of Great Zimbabwe.There are four major nineteenth-century novels that are pertinent to the Zimbabwe controversy: H. M. Walmsley's The Ruined Cities of Zululand, and three works by H. Rider Haggard—King Solomon's Mines, She, and Elissa? The first novel was published in time to incorporate knowledge of recently-reported stone ruins and gold mines. In the 1820s and 1830s stone kraals were known to have been built by black people. By the 1860s, however, when other explorers “discovered” stone ruins, they argued that black people could not have built them. Their arguments were based on prevalent systems of classifying humanity. It was generally believed that races were tied to discrete levels of culture by their average intelligence and their blood. Consequently, races could be characterised in terms of a set number of items of culture. It was also generally accepted that the overall record of humanity was one of cultural progress, or step-by-step advancement toward ever better and more complex cultures. Racial characters were thought to set a limit on the level that each race could reach. It was argued, for instance, that black Africans had reached the limit of their potential progress, whereas Europeans were still undergoing advancement. Consequently, Europeans were seen to belong to the most advanced races in the world; other races were ranked below them, and were thought to represent primitive stages through which Europeans had already passed.

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27

Wood, Helen. "Dress in Popular Nineteenth-Century Fiction." Costume 24, no. 1 (January 1, 1990): 85–93. http://dx.doi.org/10.1179/cos.1990.24.1.85.

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28

Ang, Ien. "Popular Fiction and Feminist Cultural Politics." Theory, Culture & Society 4, no. 4 (November 1987): 651–58. http://dx.doi.org/10.1177/026327687004004005.

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29

Whitsitt, Novian. "Readings in African Popular Fiction (review)." Research in African Literatures 34, no. 3 (2003): 192–94. http://dx.doi.org/10.1353/ral.2003.0092.

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30

Hoppenstand, Gary. "Assembling Action: Collecting Popular Adventure Fiction." Journal of American Culture 43, no. 1 (March 2020): 41–48. http://dx.doi.org/10.1111/jacc.13116.

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31

Tirosh, Nurit. "Popular fiction in Israel: comparative perspectives." New Library World 105, no. 5/6 (May 2004): 218–24. http://dx.doi.org/10.1108/03074800410536658.

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32

Owomoyela, Oyekan. "Readings in African Popular Fiction (review)." Comparative Literature Studies 42, no. 3 (2005): 229–31. http://dx.doi.org/10.1353/cls.2006.0009.

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33

Belsey, Catherine. "Popular Fiction and the Feminine Masquerade." European Journal of English Studies 2, no. 3 (December 1998): 343–58. http://dx.doi.org/10.1080/13825579808574422.

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34

Whissell, Cynthia. "Mate selection in popular women’s fiction." Human Nature 7, no. 4 (December 1996): 427–47. http://dx.doi.org/10.1007/bf02732902.

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35

D. Leavitt, Jonathan, Arseny A. Ryazanov, and Nicholas J. S. Christenfeld. "Amazing but true." Scientific Study of Literature 4, no. 2 (December 31, 2014): 196–210. http://dx.doi.org/10.1075/ssol.4.2.04lea.

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People find it important to know if a story is factual, but still the most popular stories, in such forms as books and movies, are fictional. Research suggests that a story being true may add value to the reader’s experience, but other findings suggest that fiction may increase enjoyment by providing fewer disruptions to narrative comprehension. In three studies we explored the appeal of stories when they are presented as fiction or as non-fiction. Subjects read (1) story synopses, (2) vignettes from two popular websites, or (3) narratives on relationships and war. Results indicate that readers preferred stories when they were presented, externally, as non-fiction. Readers also preferred stories that seemed internally — that is, because of how they were written — like fiction. Additionally the results suggested that readers rely more heavily on factual stories to update their notions of reality. This study contributes to a body of literature on reader enjoyment in relation to truth labels made explicit or implicit in narratives as well as on the efficacy of arts-based research.

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36

Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-10-27.

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In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.

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37

Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/2500-4247-2021-6-2-10-27.

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In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.

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38

Bulfin, Ailise. "“Fast lapsing back into barbarism”: Social Evolution, the Myth of Progress and the Gothic Past in Late-Victorian Invasion and Catastrophe Fiction." Victorian Popular Fictions Journal 5, no. 1 (July 3, 2023): 37–57. http://dx.doi.org/10.46911/hnuv4351.

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While neo-barbarian dystopian futures are typically associated with contemporary popular culture, they were not, in fact, uncommon in late-Victorian popular fiction, especially in the politically charged, future-oriented popular fiction subgenres of invasion fiction and catastrophe fiction. Focusing on a representative tale from each subgenre – George Griffith’s Olga Romanoff (1894) and Richard Jefferies’ After London (1885) – this article shows how they made innovative use of the gothic to show the future following a large-scale war or natural disaster as a decline back into an exaggerated version of the barbaric past. Reworking the familiar gothic trope of doomed inheritance, the tales showed nemesis occurring not on an individual or familial level, but on an extensive societal scale in keeping with their sweeping narratives of mass death and its aftermath. In presenting a post-catastrophe relapse to barbarism, the tales were extrapolating from the social evolution theories of Herbert Spencer and Walter Bagehot which, though delineating the forward tendency of western social progress, allowed the fearful corollary that in periods of crisis advanced societies might also regress. While popular fiction’s engagement with theories of biological degeneration has been well researched, engagements with these theories of societal reversion have received less attention. Applying them to invasion and catastrophe fiction elucidates how the tales used their regressive futures to warn hubristic nineteenth-century modernity about its potential comeuppance if it continued to either aggressively militarise or unthinkingly exploit the non-human world, two major negative social tendencies which were the source of considerable contemporary anxiety.

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39

Hart, Kevin. "Criminal Bodies in Popular Victorian and Modernist Detective Fiction." Victorian Popular Fictions Journal 5, no. 1 (July 3, 2023): 73–90. http://dx.doi.org/10.46911/wayw2876.

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This paper will examine the representation of the criminal body in detective fiction from the popular Victorian story magazine The Strand in its relationship to modernist experimental fiction which draws on the detective genre. Offering a broad survey of the Sherlock Holmes and other detective stories published in the first fourteen years of The Strand (1891-1904), the paper will argue that the period’s theories of criminal anthropology and hereditary criminality are consistently called into question in the popular magazine, suggesting that late-Victorian detective fiction was ambivalent toward theories of biologically determined criminality and was alive to problems of racial and class prejudice, corruption, and misidentification in criminal detection. Moving from the popular press to the canon, the paper will then make a claim for reading literary texts like G. K. Chesterton’s The Man Who Was Thursday: A Nightmare and Joseph Conrad’s The Secret Agent: A Simple Tale alongside the classic detective fiction of the popular press. To understand these novels in their engagements with classic detective fiction is to reconceptualize the notion of a neat divide between the period’s genres of fiction and to reach for a broader frame of literary responses to early criminology.

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40

Woods, Derek. "Genre at Earth Magnitude: A Theory of Climate Fiction." New Literary History 54, no. 2 (March 2023): 1143–67. http://dx.doi.org/10.1353/nlh.2023.a907162.

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Abstract: What critics and publishers now call climate fiction is a growing genre that captures significant critical attention. This essay theorizes the relation between two of the genre's features, one formal and one political, in the scale frame they address: the planetary scale of climate, or what many scientists call the Earth system. The archive that articulates these features consists of a popular, digital discourse about climate fiction, much of which appeared since Hurricane Sandy. Instead of looking at individual works or narrating their history, I read this popular "metagenre" to draw out its implicit theory of the genre. According to the metagenre, climate fiction's abstract features consist of a didactic purpose and a normative form. Climate fiction's purpose, whatever its social effects, is ultimately to contribute to planetary climate stability. Second, the genre's definitive form is (or should be) extrapolative realism. Extrapolative realist narrative builds on scientific consensus to imagine plausible futures. The striking thing about climate fiction is that its purpose and form exist in a contradictory or inversely proportional relationship. If the genre fulfills its goal by contributing to the equilibrium of the climate, then its verisimilitude will diminish. If the climate continues to destabilize, then the genre's realism will have been vindicated at the expense of its purpose. Climate fiction is unique because it promises extrapolative realism in the content of individual novels and films but does so in the constitutive and paradoxical presence of a goal that would prevent such future climates from materializing. The point of analyzing climate fiction's constitutive paradox between purpose and realism is not to revel in irony, leave the final word to ideology critique, or dismiss the popular aesthetics of climate fiction. Rather, this paradox can be generalized to the worldview or grand narrative of the Anthropocene: the contradiction between climate fiction's purpose and form sheds light on a more general temporal structure bound up with technocracy and scientific legitimation.

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41

Montoro, Rocío, and Dan McIntyre. "Subordination as a potential marker of complexity in serious and popular fiction: a corpus stylistic approach to the testing of literary critical claims." Corpora 14, no. 3 (November 2019): 275–99. http://dx.doi.org/10.3366/cor.2019.0175.

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In this paper, we use a corpus stylistic methodology to investigate whether serious (i.e., ‘literary’) fiction is syntactically more complex than popular (i.e., ‘genre’) fiction. This is on the basis of literary critical claims that the structural complexity of serious fiction is one of the features that distinguishes it from popular literature (which, by contrast, is seen as easier to read). We compare the serious and popular fiction sections of the Lancaster Speech, Writing and Thought Presentation corpus (see Semino and Short, 2004 ) against various samples of the British National Corpus available in Wmatrix ( Rayson, 2009 ), focussing particularly (though not exclusively) on the identification of subordinating conjunctions. We find that, on this measure, there is no basis for claiming that serious fiction is any more complex syntactically than popular fiction. We then investigate the issue in relation to a specific genre of popular fiction, Chick Lit. Here we find that while syntactic simplicity exists, this is at a phrasal rather than a clausal level. We argue that by using a corpus stylistic approach we are able to qualify accurately certain literary critical claims about syntactic complexity as a distinguishing feature of serious and popular fiction, and to propose a refined hypothesis which might be used in further studies of the syntactic structures used in these two text types.

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42

Adania, Luthfina, and Muhammad Luthfi Zuhdi. "NARASI KONTRA TERORISME PADA LITERATUR INDONESIA DAN ANIMASI FIKSI POPULER." Academic Journal of Islamic Principles and Philosophy 4, no. 2 (December 29, 2023): 181–202. http://dx.doi.org/10.22515/ajipp.v4i2.8144.

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The author explores the potential of fictional media in counter-terrorism efforts, especially as an antidote to the spread of pro-terrorism narratives. Fiction media has the potential to bridge differences by spreading universal values that can transcend language, geography, and cultural boundaries. Multicultural culture helps teach tolerance and respect for one another. The method used is a literature study of previous research results. The selected studies used fiction and memoirs from Indonesia, as well as popular fiction from abroad, namely Avatar: The Legend of Aang and Fullmetal Alchemist. The conclusion of this research is that providing a sense of group or brotherhood arising from the similarity of favorite fictional media can transfer values that counteract the spread of terrorism. Lastly, there are suggestions for parents, teachers, and other stakeholders on how to select entertainment media that has counter-terrorism values to become learning media for children and adolescents based on the interests of the target audience, reviews from other adults, and ratings determined by government regulations.

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43

Weigand, Edda. "Words between reality and fiction." Literary Linguistics 3, no. 1 (June 3, 2013): 147–63. http://dx.doi.org/10.1075/ld.3.1.09wei.

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The transition from reality to fiction can be best illustrated by analysing autobiographies which claim to describe the life of the author. Essentially they are based on memories, which poses the question whether what is being remembered really happened in this way. In what respect do ‘real’ stories differ from ‘literary’ or ‘fictional’ ones? Several literary autobiographies are analysed and contrasted with popular autobiographies. Are there special literary devices by which we can recognize that a story is intended to be fictional? According to Searle there is ‘no textual property that will identify a stretch of discourse as a work of fiction’. The paper discusses Searle’s position and identifies an interesting textual difference in the way persons are introduced in fiction. Even if there is no sharp division between fiction and non-fiction, there are a few verbal and cognitive means of the game which enable us to recognize how the text is intended.

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Yusrina, Riris. "An Analysis of Popular Fiction Movie: Feminism in Movie Miss Peregrine’s Home for Peculiar Children (2016)." Rubikon : Journal of Transnational American Studies 9, no. 2 (November 1, 2022): 142. http://dx.doi.org/10.22146/rubikon.v6i2.73536.

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Film is one of American popular culture that attracts many people around the world. America has many movie genres, one of which is a fictional film genre. Fiction works do have very unique characters, from the storyline to the characters in the fictional film. In addition, in the modern era, feminism has been applied in everyday life, starting from education, politics, etc. This article analyzed the feminism of the character of Miss Peregrine in the American fiction film titled Miss Peregrine's Home for Peculiar Children (2016) by using semiotic theory. The results show that several scenes in the film represent feminism through Miss Peregrine's character, those are as a hero and as a leader. In addition, there is ecofeminism in the film.

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Anju Sosan George. "Shifting Autism Popular Fiction: Representing Asperger’s Syndrome in Select Works of Mark Haddon, Jodi Picoult and Steig Larsson." Creative Saplings 2, no. 09 (December 26, 2023): 1–18. http://dx.doi.org/10.56062/gtrs.2023.2.09.460.

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Increased disability awareness in the 21st century spurred a resurgence in autism popular fiction. Many autism fiction have emerged as International best sellers and have discussed Asperger’s syndrome (high functioning autism). This paper analyses how contemporary fiction has gleaned the Asperger from the autism spectrum and its subsequent representational politics. The signification of autism as narrative prosthesis forms the focus of this paper as it analyses and explores how the condition of autism has been re-presented in popular autism fiction. The study looks at the term ‘popular fiction’ as indicative of works that have had a wide readership, works that have evolved as best sellers and predominantly works that have been shelved as ‘popular fiction’. Mark Haddon’s The Curious Incident of the Dog in the Night-Time (2003), Jodi Picoult’s House Rules (2010) and Steig Larsson’s The Girl with the Dragon Tattoo (2008) are the works under consideration here.

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Jia, Yan. "“Trans-Asian Popular Aesthetics”." Journal of World Literature 4, no. 4 (December 6, 2019): 530–51. http://dx.doi.org/10.1163/24056480-00404005.

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Abstract From 1980 to 1991, seven titles of Gulshan Nanda’s Hindi popular fiction were translated into Chinese without Western involvement, and Kaṭī pataṅg alone spawned nearly twenty adaptations in both theatrical and picture-story book forms. This essay argues that Nanda’s popular fiction contributed to China’s cultural reconstruction in the 1980s by fulfilling the previously repressed need of Chinese readers for entertaining novels that conveyed a desired moral order, by enabling Chinese translators of Indian literature to engage with the literary debate about the re-evaluation of popular literature, and by helping revitalize Chinese theatre in a time of crisis. This paper shows the complexity of transnational flows of popular literature by presenting a Trans-Asian example that relies on the melodramatic appeal of the works, their relevance to local issues, and the scholarly engagement in the host culture, rather than the author’s global stardom or the marketing strategies of multinational publishing companies.

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Dobrescu, Caius. "Identity, Otherness, Crime: Detective Fiction and Interethnic Hazards." Acta Universitatis Sapientiae, Philologica 5, no. 1 (July 1, 2013): 43–58. http://dx.doi.org/10.2478/ausp-2014-0004.

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Abstract The topic of Otherness has been investigated from the point of view of popular culture and popular fiction studies, especially on the basis of the multiracial social environments of the United States. The challenges of addressing real or potential conflicts in areas characterised by an ethnic puzzle are to some extent similar, but at the same time differ substantively from the political, legal, and fictional world of “race.” This paper investigates these differences in the ways of overcoming ethnic stereotyping on the basis of examples taken from post-World War II crime fiction of Southern Europe, and Middle East. In communist and post-communist Eastern Central Europe there are not many instances of mediational crime fiction. This paper will point to the few, although notable exceptions, while hypothesizing on the factors that could favor in the foreseeable future the emergence and expansion of such artistic experiments in the multiethnic and multicultural province of Transylvania.

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Kolb, Martina. "Resisting Arrest: Detective Fiction and Popular Culture." Comparative Literature Studies 46, no. 3 (January 1, 2009): 545–49. http://dx.doi.org/10.2307/complitstudies.46.3.0545.

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Moey, Natalie. "Projecting Tomorrow: Science Fiction and Popular Cinema." Film Matters 8, no. 3 (December 1, 2017): 47–48. http://dx.doi.org/10.1386/fm.8.3.47_1.

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OGOLA, GEORGE. "MAPPING TEXTS: IMAGINING AUDIENCES IN POPULAR FICTION." English Studies in Africa 45, no. 2 (January 2002): 47–61. http://dx.doi.org/10.1080/00138390208691314.

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