Artículos de revistas:

1

Gultom, Feriyanti Elina. "The Relationship between Theme and Character in Fiction Movie Inside Out." BAHAS 33, no. 1 (2022): 3. http://dx.doi.org/10.24114/bhs.v33i1.35546.

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AbstractTheme is the main idea or thought in writing. Meanwhile character is the actor who experiences events and problems in the story or fiction so that the event become an interesting story. There is a close relationship between theme and character in story.The purpose of this study is to describe: (1) the relationship between theme and character through feelings, (2) the relationship between theme and character through thoughts, and (3) the relationship between theme and character through action. This study used a qualitative approach. The method used is descriptive analysis. Types of data were in the form of sentences, phrases, and paragraphs related to the character's feelings, character's thoughts, and character's actions. Inside Out is an American animated film produced by Disney Pixar about emotional instability of 11 year old girl. Conclusion, in this study, the theme that is influenced by feelings is dominated by the egoic theme. The theme which is influenced by the most dominating thought is the physical theme, and the theme which is influenced by action is dominated by organic theme.Keywords: Relationship of Theme, Character, Fiction

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2

Bennema, Cornelis. "A Theory of Character in the Fourth Gospel with Reference to Ancient and Modern Literature." Biblical Interpretation 17, no. 4 (2009): 375–421. http://dx.doi.org/10.1163/156851508x329700.

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AbstractBoth literary theory and biblical narrative criticism lack an articulate, comprehensive theory of character. Many Gospel critics perceive character in the Hebrew Bible (where characters can develop) to be radically different from that in ancient Greek literature (where characters are supposedly consistent ethical types). Most people also sharply distinguish between modern fiction and its psychological, individualistic approach to character and ancient characterization where character lacks personality or individuality. In Part I, we examine concepts of character in ancient Hebrew and Greek literature as well as modern fiction, arguing that although there are differences in characterization, these are differences in emphases rather than kind. It is better to speak of degrees of characterization along a continuum. In Part II, we develop a comprehensive theory of character in the Fourth Gospel, consisting of three aspects. First, we study character in text and context, using information in the text and other sources. Second, we analyze and classify the Johannine characters along three dimensions (complexity, development, inner life), and plot the resulting character on a continuum of degree of characterization (from agent to type to personality to individuality). We observe that many Johannine characters are more complex and round than has been believed so far. Third, we analyze and evaluate the characters' responses to Jesus in relation to the Fourth Evangelist's evaluative point of view, purpose and dualistic worldview.

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3

Hnatkovska, Olena. "The Syntax of Unreliable Narrators’ I-Utterances in ‘Gone Girl’ by G. Flynn." Linguaculture 9, no. 1 (2018): 69–83. http://dx.doi.org/10.47743/lincu-2018-1-0114.

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Unreliable narration research raises the problem of truthful information presented in fiction, which is for the most part made up. However, the truth in the fictional world is what the reader believes to be true. Therefore, deliberate deluding or confusing the reader by an untrustworthy character creates an additional fictional layer consisting of false facts. This represents the contradiction between the imaginary and the fake, the latter being untrue in terms of fiction. The paper examines how the author of the best-selling novel Gone Girl realizes her intention of deceiving or misleading the readers on the syntactic level of speech of the two main characters who are unreliable narrators. The analysis of sentence structure variety, average sentence length and syntactic stylistic peculiarities of I-utterances aims at ascertaining whether these devices and their frequency indicate that the author gives the readers a hint at the unreliability of the narration. Sentence complexity and types of clauses in composite sentences are also taken into consideration as possible signs of unreliability. As one main character is male and the other is female, the quantitative analysis of syntactic features is carried out separately to detect gender differences.

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4

Namukuru, Milcah, Dr Joseph Musungu, and Felix Orina. "Contemporary Kenyan Contexts and Adult Character types in Select Children’s Literature." International Journal of Research and Innovation in Social Science VII, no. VIII (2023): 839–50. http://dx.doi.org/10.47772/ijriss.2023.7861.

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This present article focuses on the relationship between contemporary Kenyan Context and Adult Character types present in select Kenyan children’s literary texts. The texts include; “Uncle Sese and The Sunday School Project” by Kabaji, and “Naomi and Cindy” and “Naomi in her New School” by Muleka. The study aims at identifying different contexts that give rise to the various adult character types present in the texts. The study shows that there is a close link between the contexts the writers have painted in their works and the characters in those works. This indicates that perhaps there is as much realism in children’s literature as there is in most adult fiction. Character and characterization being an aspect of technique, the theory of formalism serves as the main analytical tool. The study is descriptive in the manner it delineates contexts and character types. The paper helps to bring out not only the serious nature of children’s literature but also adds to the appreciation of the aesthetic value of children’s literature.

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5

McCorkell, Tobias. "Colonial Australian fiction: character types, social formations and the colonial economy." Journal of Postcolonial Writing 55, no. 2 (2019): 290–91. http://dx.doi.org/10.1080/17449855.2019.1614263.

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6

Ratih, Ni Wayan Nari, Made Buadiarsa, and Gede Primahadi Wijaya Rajeg. "Characterization of the Characters in The Pursuit Of Happyness Movie." Udayana Journal of Social Sciences and Humanities (UJoSSH) 6, no. 1 (2022): 5. http://dx.doi.org/10.24843/ujossh.2022.v06.i01.p02.

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This study intended to identify the types of the main and secondary character and to describe the characterization method used by the author to represent the characters in the movie. This study applied the theory proposed by William Kenney (1966) in the book How to Analyze Fiction and the theory by Pickering and Hoeper (1962) in the book Concise Companion to Literature. The data of this study were analyzed by descriptive qualitative method. The result of this study shows the types of characters, which are Chris Gardner and Christopher. Based on the data analysis, they are can be categorized as round character. The author used telling method of characterization to represent the characters through their appearance. He is also used showing method of characterization through the dialogue between the characters and their action.

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7

KAYA, Ahmet. "TYPES IN THE NOVEL "A WEDDING NIGHT"‎." RIMAK International Journal of Humanities and Social Sciences 04, no. 02 (2022): 417–25. http://dx.doi.org/10.47832/2717-8293.16.27.

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One of the most important authors of Turkish literature, Adalet Ağaoğlu, the second book in the Dar Zamanlar trilogy, tells the social transformation of the country by focusing on the inner world of the characters. A Wedding Night; describing the people of the period on the brink of social, political, political and historical events; this is a novel that shows us the identity conflict that these people experience. Adalet Ağaoğlu has an important place among contemporary novelists. In his novels, he examined the time period starting from the first generations raised by the Republic until the 1980s, the structure of the society, and the unrest in life and made the subject of his novels. The phenomenon of time in the aforementioned trilogy of Adalet Ağaoğlu, who made time the most important figure of her novels, has been evaluated in terms of the logic of fiction and types. The types in the study constitute the essence of the subject. A Wedding Night includes many new types/characters that appear for the first time in the Turkish novel. The novel-fictional time, which runs parallel to social life, naturally included the types in the life it conveyed into the novel. Under which character name did the roles assigned to the types struggled? All these determinations will be discussed in the study. Key words: Adalet Ağaoğlu, A Wedding Night, Type And Typology.

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8

González-Díaz, Victorina. "‘A patient act of adjustment’: Subjectivisation, adjectives and Jane Austen." Language and Literature: International Journal of Stylistics 30, no. 3 (2021): 276–98. http://dx.doi.org/10.1177/09639470211023245.

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Previous scholarship on Jane Austen has often commented on the moral overtones of her lexical choices; more specifically, the fact that “incorrect” lexical innovations and fashionable words (i.e. new usages) tend to be deployed as part of the idiolect of foolish, gullible or morally reprehensible characters. By contrast, ethically sound characters normally move within the limits of established (‘old’) usages and the “correct” Standard English repertoire. Taking the historical linguistic concept of subjectivisation as starting point, this case-study explores the use of two adjectives ( lovely and nice) in Austen’s novels. The article (a) demonstrates that a straightforward socio-moral classification of ‘old’ and ‘new’ word-senses in Austen’s fiction is not fully adequate and (b) advocates, in line with recent scholarship, a more nuanced approach to the study of her fictional vocabulary, where old and new senses of a word (in this case, lovely and nice) move across the idiolect of different character-types for ironic, character- and plot-building purposes.

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9

KINSUI, Satoshi, and Hiroko YAMAKIDO. "Role Language and Character Language." Acta Linguistica Asiatica 5, no. 2 (2015): 29–42. http://dx.doi.org/10.4312/ala.5.2.29-42.

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Since Kinsui's (2000, 2003) initial proposal, research on role language has progressed with the topics growing more diverse. In this paper we propose that a peculiar speech style assigned to a certain character in fiction should be treated as character language rather than role language. Role language, which is based on social and cultural stereotypes, is a subset of character language. Given that role language is also a linguistic stereotype, its knowledge should be widely shared by members of the speech community, and its patterns within limits. Character language, on the other hand, allows for various types, being far from being a closed class. We examine and give examples of four types of character language: speech styles that could become actual role language, once shared widely in the speech community; speech styles that are effectively adopted by characters outside of their expected speaker's social and cultural groups; speech styles employed to represent something other than their stereotypes; and uniquely created speech styles.

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10

Ensslin, Astrid. "The Interlocutor in Print and Digital Fiction: Dialogicity, Agency, (De-)Conventionalization." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no. 3 (2018): 21–34. http://dx.doi.org/10.14195/2182-8830_6-3_2.

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Digital fiction typically puts the reader/player in a cybernetic dialogue with various narrative functions, such as characters, narrative voices, or prompts emanating from the storytelling environment. Readers enact their responses either verbally, through typed keyboard input, or haptically, through various types of physical interactions with the interface (mouseclick; controller moves; touch). The sense of agency evoked through these dialogic interactions has been fully conventionalized as part of digital narrativity. Yet there are instances of enacted dialogicity in digital fiction that merit more in-depth investigation under the broad labels of anti-mimeticism and intrinsic unnaturalness (Richardson, 2016), such as when readers enact pre-scripted narratees without, however, being able to take agency over the (canonical) narrative as a whole (Dave Morris’s Frankenstein), or when they hear or read a “protean,” “disembodied questioning voice” (Richardson, 2006: 79) that oscillates between system feedback, interior character monologue and supernatural interaction (Dreaming Methods’ WALLPAPER). I shall examine various intrinsically unnatural examples of the media-specific interlocutor in print and digital fiction and evaluate the extent to which unconventional interlocutors in digital fiction may have anti-mimetic, or defamiliarizing effects.

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11

Aksenova, Anastasia A. "Dynamic types of artistic image: Roman Ingarden’s phenomenology and literary theory." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (2020): 487–96. http://dx.doi.org/10.22363/2312-9220-2020-25-3-487-496.

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The article is devoted to the question of some data obtained by Polish philosopher Roman Ingarden, and primarily to his study of the literary work of art. Development upon Ingardens ideas is associated with use of Russian authors which are rarely treated in phenomenological aesthetics. The dynamic types of the image structure is that appear as potential states and actualize themselves in the readers reception as problem of imageability of fictional entities. Thus the dynamic character of types of an image structure is a transition from non-thematic background into its actual state and back. To study the visual in fiction, one must understand that the readers encounter with the literary work actualizes potential types, which, according to R. Ingarden, sparkle and go out. The visual nature of the aesthetic object directly depends on which of these potential states are actualized.

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12

Ramazanov, T., and A. Sadyk. "DIALOGUE IN A LITERARY TEXT: STRUCTURE AND FUNCTIONS." Tiltanym, no. 2 (June 30, 2023): 200–210. http://dx.doi.org/10.55491/2411-6076-2023-2-200-210.

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The paper is dedicated to the structure and function of dialogue in the text of a work of fiction. The human traits have many different characteristics. Each person is known by his/her own character. In a work of fiction, a character remains in the reader's memory along with his appearance and character. The character of every personage in the text of a literary work can be different. That is why the character of the personage leaves a positive or negative, pleasant or unpleasant impression. In the paper, character traits are differentiated and clarified through dialogues.The research paper defines that the structure of the dialogue in the text of a work of art can be called a complex syntactic unity. It consists of such parts as a dialogue introduction, a dialogue, and an author's introduction, and these parts are closely related to each other in meaning, structure, and intonation. The function of the remark in the structure of the dialogue in the artwork is special. It is believed that the simplest and first function of a remark is to express whose opinion it is, for what purpose, under what circumstances, and how it was expressed. Through the remark, various movements, views, and faces of the speakers are revealed, thereby revealing the inner world of a person. At the same time, the remark expresses the author's opinion and his/her point of view. The phenomenon of repeating remarks in the structure of the dialogue is illustrated by examples. The function of dialogue in the text of a work of fiction is represented by such types of dialogue as dialogue-story, dialogue-humor, dialogue-dispute, dialogue-characteristic, as well as the internal character of the personages, appearance, attitude to other characters, and the character is clearly identified. The function of the dialogue is analyzed in the paper using examples. Repetitions in the structure of the dialogue also have their place. This shows the stylistic features of the writer. The paper says that repetitions, reference words (replicas), and the connections between them show the special traits of the character, his/her own expression in colloquial speech.The research work was based on studies related to dialogue participation in teaching foreign languages and mother tongues. The study takes into account the fact that in literary works the speech act is linguistically analyzed and the speech act of the characters corresponds to speech ethics, the communicative units of the language are clearly expressed in the nationalcultural aspect. A descriptive method is used for context-pragmatic analysis, a structural-semantic method – for analyzing the function and structure of dialogical conversations.

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13

Brauneis, Adrian. "Fiktive Tatsachen, ihre Relativität und deren Angabe." Scientia Poetica 24, no. 1 (2020): 133–72. http://dx.doi.org/10.1515/scipo-2020-005.

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AbstractThe present article is concerned with the term realism. It develops an argument to distinguish between two different types: epistemically reflexive and non-reflexive realism. Wherever a fiction prompts its readers to distinguish between speaker-utterances from utterances not tied to a fictive character realism of the epistemically non-reflexive variety is at hand. Such a fiction posits a reality not to be reduced to the conceptual scheme of its fictive inhabitants. Realism of the epistemically reflexive sort indicates the relativity of the very conceptual fabric by which utterances not tied to a fictive entity give access to a fictive reality. In such a game of make believe there is, ontologically speaking, no room for the conjecture of a reality providing its fictive inhabitants as well as its non-fictive interpreters with concepts to name things as they are in themselves. How this comes to pass is shown by making use of Roland Barthes’ famous term ›reality effect‹ and subsequently illustrated by using the example of Franz Innerhofer’s novel Schöne Tage (Beautiful Days, 1975). The main argument is framed by a discussion of 19th century literary realism, on the one hand, and some concluding remarks on the potential cognitive benefits of epistemically reflexive realism, on the other hand. Whereas epistemically non-reflexive realism is a part of the family resemblance of a large portion of 19th century narrative fiction, so-called poetic realism is, according to the present article, to be considered as epistemically reflexive realism. Finally, it is argued that whenever a fiction, so to speak, loosens the connection between a fictive reality and certain concepts by suggesting the conceptual relativity of its own prescriptions to imagine certain things as fictionally true readers might be all the more willing to transfer those very same concepts into their own world.

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14

Sen, Erhan, and Sedat Karagul. "A Study of Secondary School Students’ Perceptions of Fictional Characters." International Journal of Educational Methodology 7, no. 3 (2021): 433–46. http://dx.doi.org/10.12973/ijem.7.3.433.

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<p style="text-align: justify;">Fictional characters give literary works a sense of reality. The actions of fictional characters play a crucial role in children's personality development. Young readers who lack critical reading skills are more likely to incorporate fictional characters into their lives because they have a hard time telling reality from fiction. Therefore, we should determine how children perceive fictional characters and teach them that they are imaginary figures. In this way, we can help them approach those characters' actions from an external and critical perspective. This study adopted a qualitative research design (case study) to investigate secondary school students' perceptions of fictional characters. The sample consisted of 45 secondary school students (28 female and 17 male). Data were collected through interviews and document review techniques. Data were analyzed using content analysis. Results showed that participants were more likely to be interested in and identify with characters with appealing personality traits. They had four types of approaches to fictional characters: (1) Wanting to change the storyline depending on what the fictional character goes through, (2) being influenced by them, (3) seeing them as role models, or (4) ignoring them. They wanted to change the storyline, especially when the villain got what he wanted or when the hero or the victim was unhappy, suggesting that they mostly took the protagonist's side (the good guy). While most participants attributed an ontological meaning to anthropomorphic characters, the symbolic meaning became of secondary importance. They were more interested in and identified more with characters with good living conditions and no death experiences.</p>

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15

Sukalenko, Tetiana. "Verbalization of evaluation in prose and dramatic genres." 89, no. 89 (December 13, 2021): 59–65. http://dx.doi.org/10.26565/2227-1864-2021-89-10.

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The article deals with the study of the peculiarities of linguistic expression of the category of assessment, which as a universal language category operating at different language levels, plays an important role in the choice of native speakers and, consequently, culture, language means of information and is equally important for mental processes of perception, comprehension and acceptance or non-acceptance of this information. The publications in the scientific literature on various aspects of the study of the category of evaluation in terms of language have been reviewed. The analysis of the peculiarities of verbalization of the category of evaluation is carried out on the material of fictional and dramatic discourse, which is a productive language environment for studying the category of evaluation, because through verbalized national-cultural ideas and stereotypes are reflected the conceptual and linguistic pictures of the world. First of all, this category is manifested in the language and characteristics of the characters. Special attention is paid to the characters of a (chynovnyk, pan, a pani, a panna and a cossack, verbalized in the fictional and dramatic discourse of the XIX century. Evaluative characteristics, which are the elements of language modeling of fictional images, served as a basis for distinguishing the following types of evaluation: positive and negative evaluation in the structure of the text narrative, neutral evaluation, hidden positive evaluation, author's evaluation, evaluation by other characters. A positive evaluation in the language of fiction is shown by the linguistic means of creating the character of a cossack. Negative assessment was found in the linguistic means of creating the image of the pan (landlord), the images of the pani and panna are ambivalent. Evaluation is present both in the language of the characters and in the author's characteristics or comments. The object of evaluation in the fictional and dramatic genres can be both internal and external characteristics of the characters, and external characteristics are often marked by positive evaluation, while internal features have either negative or ambivalent evaluation characteristics. It was found that the ways of realization of positive or negative evaluation in the language of fiction are quite diverse. They depend on the literary and fictional methods, the creative manner of the writer and reflect his worldview.

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16

Djenar, Dwi Noverini, and Michael C. Ewing. "Language varieties and youthful involvement in Indonesian fiction." Language and Literature: International Journal of Stylistics 24, no. 2 (2015): 108–28. http://dx.doi.org/10.1177/0963947015573387.

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This article explores new functions served by language varieties in fiction. Focusing our analysis on two types of texts in Indonesian – teen fiction and comics – we examine the interplay between standard and colloquial varieties to show how they are used together with non-verbal elements to promote youthful involvement. We identify three ways in which involvement is created in the texts: through free indirect discourse, non-verbal cues, and the gradual building of empathy indicated by shifting perspectives. We show that shifts from narrator’s to character’s perspective are shifts in alignment. By shifting to colloquial language, the narrator aligns their perspective with that of both the character and the reader, thus blurring the divisions between them. Non-verbal cues can also signal a shift in narrator roles, from a teller to a keen commentator and interlocutor who directly addresses the reader and invites them to share story-world experience. The frequent shifts between varieties represent a new style of writing which gives salience to the role of narrator as agent with a double persona: an anonymous agent who tells the reader about the characters in relation to the unfolding events, and an agent-participant who makes their presence known to the reader through direct address and evaluative commentary.

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17

CHERKASHYNA, Tetiana, and Bohdan PARAMONOV. "NONFICTIONAL LITERATURE: NATURE, TYPOLOGY, TERMINOLOGY." 6, no. 6 (December 9, 2021): 72–100. http://dx.doi.org/10.26565/2521-6481-2021-6-04.

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The article is devoted to the reviewing of theoretical aspects of nonfiction literature. Similar in semantic content, but not identical terms as nonfictional literature, nonfictional writing, literature of fact, factography, fiction-documentary literature, fiction-documentary prose, fiction-documentary writing, literary nonfiction, literature of non-fiction, nonfictional prose, factual narrative, which have become commonly used in American, Spanish, Ukrainian, French, Slavic terminology, are analyzed. All these terms refer to a set of texts written on the basis of real events without the use of fiction. Typical features of this type of literature are the synthesis of documentary components and fiction, veracity, factuality, authenticity, objectivity, the use of real names, dates and geographical indications. At the same time, the reflection of real events and their participants is presented through the prism of the author’s self, and therefore subjectivity, personal component, merging of images of the author and the narrator are added to the leading features of nonfiction literature. The article focuses on the main structural and typological branches of nonfiction literature – historical nonfiction, literary biography, fictional journalism and memoirs. In compiling this classification, the main object of the non-fiction narrative was taken into account in the first place; sources of documentary information; varieties of author's presence in the text (in particular, as an outside observer, witness or main character); subjective factor of personal participation in the events described in the work, or personal acquaintance with the direct participants in the events; genre-typological characteristics of nonfictional works. The article highlights the main typological characteristics of each type of non-fiction, analyzes their genre system, presents the characteristics of varieties and subvarieties. Particular attention is paid to the analysis of memoirs, which is a complex and multilevel type of non-fiction, which, in turn, consists of several subvarieties – the memoirs, the autobiography, the diary, the epistolary. The article differentiates the subvarieties of memoir literature, considers options for the synthesis of its types and forms.

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Fukson, Leonid Yu. "Fiction cosmos as an object of interpretation." Sibirskiy filologicheskiy zhurnal, no. 4 (2021): 49–55. http://dx.doi.org/10.17223/18137083/77/4.

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The degree of comprehensibility of any art creation depends on its perception as a coherent whole. It is one of the axioms of hermeneutics. Nonetheless, the internal links of a fictional text can be divided into two different types by similarity and by contrast. This fact allows for an analogy that is due to the fiction world being somewhat similar to the real world, i.e., arranged quite in line with the doctrine of the ancient Greek philosopher Empedocles. This philosopher thought the complex unity of the cosmos to be organized by two opposite powers - Love (φιλία) and Feud (νέικος). A modern physicist would call them the forces of attraction and repulsion. The analogs of “love” attraction and “hostile” repulsion are a symbolic representation and a tension of opposite values in a fiction world. When drawing the above analogy, one should take into account the fact that the art world, unlike the real one, has a purely intentional character, that is, all its objects and the connections between them are mediated by the consciousness and value-based intention of the author, the protagonist, and the reader. These opposing powers of “Love” and “Feud” may also be called the integral and differential axes of the value-semantic structure coordinates of the fiction cosmos. It is in these coordinates that the aesthetic event and the comprehensive participation of the reader take place. The paper provides a number of analyses of various works and fragments of fiction to substantiate the above-formulated thesis.

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Khabibullina, Lilia F. "Postcolonial Trauma in the 21st-Century English Female Fiction." Imagologiya i komparativistika, no. 15 (2021): 89–104. http://dx.doi.org/10.17223/24099554/15/5.

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The postcolonial fiction of the 21st century has developed a new version of family chronicle depicting the life of several generations of migrants to demonstrate the complexity of their experience, different for each generation. This article aims at investigating this tradition from the perspective of three urgent problems: trauma, postcolonial experience, and the “female” theme. The author uses the most illustrative modern women’s postcolonial writings (Z. Smith, Ju. Chang) to show the types of trauma featured in postcolonial literature as well as the change in the character of traumatic experience, including the migrant’s automythologization from generation to generation. There are several types of trauma, or stages experienced by migrants: historical, migration and selfidentification, more or less correlated with three generations of migrants. Historical trauma is the most severe and most often insurmountable for the first generation. It generates a myth about the past, terrible or beautiful, depending on the writer’s intention realized at the level of the writer or the characters. A most expanded form of this trauma can be found in the novel Wild Swans by Jung Chang, where the “female” experience underlines the severity of the historical situation in the homeland of migrants. The trauma of migration manifests itself as a situation of deterritorialization, lack of place, when the experience of the past dominates and prevents the migrants from adapting to a new life. This situation is clearly illustrated in the novel White Teeth by Z. Smith, where the first generation of migrants cannot cope with the effects of trauma. The trauma of selfidentification promotes a fictitious identity in the younger generation of migrants. Unable to join real life communities, they create automyths, joining fictional communities based on cultural myths (Muslim organizations, rap culture, environmental organizations). Such examples can be found in Z. Smith’s White Teeth and On Beauty. Thus, the problem of trauma undergoes erosion, because, strictly speaking, with each new generation, the event experienced as traumatic is less worth designating as such. Compared to historical trauma or the trauma of migration, trauma of self-identification is rather a psychological problem that affects the emotional sphere and is quite survivable for most of the characters.

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Stephens, John. "Impartiality and Attachment: Ethics and Ecopoeisis in Children's Narrative Texts." International Research in Children's Literature 3, no. 2 (2010): 205–16. http://dx.doi.org/10.3366/ircl.2010.0108.

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Social movements taken up in children's literature since the 1960s have foregrounded the ethical concerns of changing societies in a range of areas that includes environmental and ecological issues. While philosophers align ethical responsibility with a need to be impartial, fiction will routinely violate impartiality because of social and emotional attachments deemed desirable for personal and general well-being. Such attachments are rendered strongly in children's fiction because of the textual dominance of heavy character focalisation in both first person and third person narratives, and thence a basis for reader response analogous to an interpersonal relationship. Questions of ethics, attachment and representation come together in a recent strand, or sub-genre, in environmental literature in which issues in environmental ethics are explored by constructing a parallel between ecoconsciousness and interpersonal human relationships of various types according to the age of the participant characters. A common narrative strategy in such texts is to construct parallel narratives underpinned by a metonymic interrelationship, whereby threatened or damaged nature is matched by threatened or damaged lives. The thematic outcome blends an interweaving of nature and culture with a more pragmatic environmentalism than usually pertains in children's texts.

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21

Krylova, Maria N. "The preposition of Comparasion vrode in various types of discourse in the modern Russian language: history, morphological status, functioning." Current Issues in Philology and Pedagogical Linguistics, no. 1(2021) (March 25, 2021): 246–55. http://dx.doi.org/10.29025/2079-6021-2021-1-246-255.

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The study raises the issue of the preposition of comparasion vrode functioning in various types of discourse in the modern Russian language. The goal was to identify various ways of introducing a unit into a text, both separately and in combination with other linguistic units, and expanding the possibilities of its use in different discourses. The research was carried out on a representative selection of language material with the employment of the resources of the Russian National Corpus. The preposition vrode, actively used by a native speaker, who with its help makes the comparison more convincing, creates an atmosphere of intimate conversation. The comparative preposition vrode is used in various discourses: colloquial discourse, media discourse, fiction discourse, popular science discourse, etc. The colloquial coloring of the preposition determines its wide use in the fictional discourse, if the author needs to depict the direct communication of the characters or convey his attitude to the described subject, character. Also considered are language units derived from a preposition vrode – phraseological combinations nechto vrode, chto-to vrode, kto-to vrode, comparative conjunctions vrode kak and vrode togo kak. It is noted that the semantics of constructions with the preposition vrode in Russian is influenced by the modal particle homonymous to it, but the comparative meaning of the given linguistic unit in most cases prevails over the modal one and combined with it. The author concludes that the preposition vrode is important in the system of operators, which express comparative semantics in various types of discourse of the modern Russian language.

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22

S. Green, Mitchell. "From Signaling and Expression to Conversation and Fiction." Grazer Philosophische Studien 96, no. 3 (2019): 295–315. http://dx.doi.org/10.1163/18756735-09603002.

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This essay ties together some main strands of the author’s research spanning the last quarter-century. Because of its broad scope and space limitations, he prescinds from detailed arguments and instead intuitively motivates the general points which are supported more fully in other publications to which he provides references. After an initial delineation of several distinct notions of meaning (Section 1), the author considers (Section 2) such a notion deriving from the evolutionary biology of communication that he terms ‘organic meaning’, and places it in the context of evolutionary game theory. That provides a framework for a special type of organic meaning found in the phenomenon of expression (3), of which the author here offers an updated characterization while highlighting its wide philosophical interest. Expression in turn generalizes to a paradigmatic form of human communication—conversation—and section 4 provides a taxonomy of conversation-types while arguing that attention to such types helps to sharpen predictions of what speakers say rather than conversationally implicate. We close (5) with a view of fictional discourse on which authors of fictional works are engaged in conversation with their readers, and can provide them with knowledge in spite of the fictional character of their conversation. Such knowledge includes knowledge of how an emotion feels and is thus a route to empathy.

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23

Smoręda, Agnieszka. "The breakthrough character of The X-Files: Genre hybridity and narrative structure." Literatura i Kultura Popularna 24 (April 18, 2019): 173–83. http://dx.doi.org/10.19195/0867-7441.24.13.

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The breakthrough character of The X-Files: Genre hybridity and narrative structureThe X-Files should be considered a breakthrough television series, based on its approach to genre hybridity and narrative structure. The series defies traditional genre classifications, combining elements usually attributed to police procedurals, science fiction, and including elements that can be found in horror and sitcom, as well. The article examines how the series mixes these mainstream and cult genres to create a unique genre hybrid attractive to various types of audience. Furthermore, the article analyzes the narrative strategies employed in The X-Files, such as narrative special effects e.g. voice-over narration and multi-episode story arcs that engage viewers and bridge seasons. Finally, the balance between two distinctive episode categories mytharc and standalone/monster-of-the-week will be discussed to understand the series’ innovative character.

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24

Filippova, Olga I. "Frame Analysis of Redundancy Means in a Fiction Text." Nizhnevartovsk Philological Bulletin 9, no. 1 (2024): 123–32. http://dx.doi.org/10.36906/2500-1795/24-1/10.

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The article examines the phenomenon of redundancy, analyzed as one of the main means of highlighting key information in a fiction text. The purpose of the scientific research is to identify the conceptual significance of the cognitive category of redundancy and to substantiate the expediency of using frame analysis in interpreting the means of redundancy in a fiction text. The research uses taxonomic, descriptive-analytical, functional, stylistic, conceptual and frame scientific methods of analysis. The conducted taxonomic analysis revealed the main means of redundancy: various types of repetitions, periphrasis and convergence of stylistic means, which are characterized by functional diversity, namely the implementation of communicative-pragmatic, cognitive and stylistic functions, which are the main functions of a fiction text and in most cases are used in clusters. As a result of the research, it is concluded that redundancy in a fiction text not only has an intentional character, but also represents one of the main categories of a fiction text; in combination and in interaction with other categories of text, redundancy contributes to strengthening the expressive potential of a fiction text; means of redundancy not only contribute to increasing the level of emotional impact of a fiction text on the reader, but also have conceptual significance; means of redundancy play a significant role in the verbalization of frames, since it is the features of verbal representation that ensure their implementation; frame analysis can be effectively used in the process of interpreting a fiction text, its categories, in particular the cognitive category of redundancy. The direction of subsequent research is determined by the need to further develop the issues of the cognitive category of redundancy in a fiction text in general and the frame analysis of the category of redundancy in particular.

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25

Ripoll, Élodie. "Les chants des oiseaux dans les fables : topoï, types et savoirs zoologiques." Topiques, études satoriennes 6 (February 15, 2023): 1–16. http://dx.doi.org/10.7202/1096699ar.

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From the end of the 17th century, the rich bestiary of the fables offers an ideal field of exploration to test the hypothesis of the topics of sound. Among the many crows, storks, roosters, owls, pigeons, sparrows, eagles, peacocks, nightingales, most of them have a singular, recognisable, imitable voice. All or almost all of them are anthropomorphised, as well as speak and play a major role in fiction. This article seeks to address the following questions based on the fables of La Fontaine, Perrault, Furetière, Fénelon and Mme de Villedieu in addition to Philippe Desprez and Houdar de la Motte: are bird songs always treated according to aesthetic criteria or according to their effects on the audience? Are there any narrative topoi associated with the songs of birds, or even with the songs of certain birds? Or are birds rather character types with a specific song as a characteristic? What is the place of zoological knowledge in these representations?

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26

Bayakhmetova, Aysulu Akhmetbekovna, and Zauresh Kalikhanovna Omarova. "Multi-aspect of the use of diminutives in the texts of art works." Bulletin of Toraighyrov University. Philology series, no. 2,2021 (June 1, 2021): 27–36. http://dx.doi.org/10.48081/heqk5677.

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Derivatives in the modern Russian language fulfill a certain functional and stylistic role and, as a rule, express emotional, expressive and evaluative meaning. Appellatives with diminutive formants in works of art are the means of characterizing a character and a message about the emotional state of the characters. This article examines the multifaceted nature of the use of diminutive formants in the texts of works of art. Works of fiction involve the search for a variety of means of expression and depiction. This leads to the creation of different stylistic contexts necessary to convey a particular idea of the author. The multidimensional use of diminutives in literary texts is a vivid means of expression. The use of evaluative words is associated with certain types of contexts, the expressiveness of derivatives appears in the communicative act. A different type of assessment is conveyed by a different tonal coloring intonation or context.

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27

Anindya, Grace, and Emanuella C. Natalia Mau. "Dian-Tara: A Final Project of Gothic and Tragedy Novelette." International Dialogues on Education Journal 9, no. 1 (2022): 8–19. http://dx.doi.org/10.53308/ide.v9i1.275.

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This paper explains the process of creating a novelette entitled Dian-Tara. The novelette was written in one linear plot with external narration using narrative theory or narratology. Tragedy and gothic fiction were chosen as the genres since they could create a sense of eeriness in the audience. The issues and phenomena raised in the novelette were the impact of a broken family on children and also what society can do to help the victims. This undergraduate final work adapted Aristotle’s Poetics by having the three-act structure and catharsis for the resolution. The theory of narrative by Tzvetan Todorov was applied for the plot development. Sigmund Freud’s psychoanalytic theory was also used for the characters’ design in terms of creating their past and how it influenced their decision-making in the story. For the character types, this novelette used a protagonist and an antagonist. The characters’ design was separated into three aspects of life (professional, personal, and private). The result of the final work showed that the past life of each protagonist and antagonist character contributed to their decision-making and helped to drive the plot forward as a tragedy was chosen to end the story. Their bad childhood memories and the tragic ending were meant to raise the awareness of the readers, as the impact of this phenomenon cannot be denied.

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28

Atamanchuk, V. P. "MODELLING OF FICTIONAL CONSCIOUSNESS OF THE CHARACTER IN THE DRAMATIC SCENE OF LESYA UKRAINKA “IPHIGENIA IN TAVRIDA”." Literary Studies, no. 61 (2021): 14–19. http://dx.doi.org/10.17721/2520-6346.2(61).14-19.

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The intellectual and aesthetic complexity of Lesya Ukrainka’s dramas forms multidimensional artistic spaces of her works, the appropriate means of interpretation of which are the methods of literary cognitive studies. The aim of the article is to outline the basic principles of modeling the fictional consciousness of the character in the dramatic scene “Iphigenia and Tavrida”, in particular to determine the internal and external dimensions of the construction of fictional consciousness of the heroine. The analysis of the scientific problem is carried out by using the methodology of cognitive literary criticism, according to which the study of works of art is carried out by updating cognitive phenomena and establishing their relationships with forms of artistic reflection. For example, T. Cave’s concept structures the main principles of the cognitive approach to literary analysis, which express the intratextual dimensions of works of fiction from a cognitive perspective. At the same time, scientists pay attention to the relevance of transgenre researches. M. Fludernik’s work “Towards “Natural” Narratology” is devoted to substantiating the expediency of studying drama with the help of narratological methodology. The researcher outlines various forms of narrative, but emphasizes the similarity of the reflection of the processes of consciousness in different types of verbal, theatrical, dramatic and cinematic art. The study of the problem mentioned in the title of the article is based on the definition of fictional consciousness: “The fictional consciousness of the personage appears in the form of the character’s constructed ability to realize internal and external realities in complexes and systems of their correlations, which determines the formation of a network of certain meanings that determines the character’s identification and actions within the fictional world”. Lesya Ukrainka models the fictional consciousness of the heroine by reflecting the deep contradictions in her perception of the reality in which she found herself. In the dramatic scene, Iphigenia perceives reality through the prism of the role of Artemis’ priestess, which she performs with the necessary external attributes, but with feelings of internal dissonance caused by sadness for the homeland.

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29

Revutska, S. K., and S. V. Stadniichuk. "PSYCHOLOGISM IN THE WORKS OF S. LENZ ("THE OLDEST WOMAN")." INTELLIGENCE. PERSONALITY. CIVILIZATION, no. 2 (27) (December 30, 2023): 76–81. http://dx.doi.org/10.33274/2079-4835-2023-27-2-76-81.

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Objective. The objective of the article is to identify and characterise the peculiarities of the forms and types of psychologism in the works of S. Lenz translated into Ukrainian (on the basis of “The Oldest Woman” translated by Volodymyr Vasyliuk). Methods. The main scientific results are obtained through a component analysis of the manifestations of the psyche of the characters in the story "The Oldest Woman". The main attention is paid to the psychoanalytic interpretation of emotions, states, feelings of the main character, and the means of expressing the psychological character of the work. Results. In national literary studies, the works of the twentieth-century German writer S. Lenz have not often been the object of attention, although the themes and issues of this writer's works are quite relevant. The problem of the psychologism of S. Lenz's short fiction, his mastery of depicting the psyche and psychology of the characters in his works has been touched upon tangentially in academic works. In “The Oldest Woman”, the organisation of the text plays an important role in achieving psychologicalism. The psychological tension is maintained by an inexplicable dramatic change in the main character's state and moods. For the character of the short story "The Oldest Woman", the decisive feeling is fear. Such a contrast in the tone of the narrative also creates a considerable psychological tension both in the text itself and for the reader. Because of the fear of losing her pension, the woman completely and consciously changes her lifestyle. At first, due to the enthusiastic description at the beginning of the novel, it does not occur to the reader that someone like Birta could be afraid of anything. The author does not reveal the reasons for Birta's frailty until the end of the novel. In addition, the description of the protagonist's states, moods, and feelings is constantly accompanied by a vivid artistic detail, which sometimes reveals the essence of the experience. The narrator in the work helps the reader create a psychological portrait of the characters, revealing their characteristics, thoughts, and aspirations. Particularly valuable are the statements and comments on the characterisation of Birt. The reader's perception and understanding of the character's character and main experiences is based on the narrator's vision of her: he shares his admiration for the physical strength of 92-year-old Birta and creates an image of a strong and unwavering, physically enduring woman, which he supports throughout the text with comments, encouragements to the reader to think, imagine, etc.

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30

Xie, Zihan. "The Evolution of doppelgangers: Exploring the “Mo Yan” in Mo Yan’s Novels." SHS Web of Conferences 159 (2023): 01003. http://dx.doi.org/10.1051/shsconf/202315901003.

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There are two main types of doppelgangers in Mo Yan’s novels. The first is the use of his own personal experiences in his early works, where he takes on the persona of the main character and portrays him. The second is when Mo Yan takes the initiative to explore the techniques and structure of his novels and chooses to use the metafictional narrative technique, entering the narrative directly under his real name “Mo Yan”, exposing the fiction and confusing the real with the fake. The two doppelgangers have a sequential relationship in time and a progressive relationship in technique.

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31

Viktorovna, Savenko Olesya. "PERSONAL PROPER NAME IN LITERARY TEXT TO DEPRESENT THE EXTERNAL AND INNER WORLD OF A PERSON." European International Journal of Philological Sciences 4, no. 4 (2024): 31–35. http://dx.doi.org/10.55640/eijps-04-04-07.

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The article gives an interpretation of the term "proper name", defines the types of nouns in the literary text, and examines how the external and internal world of a person is described through the name of a person. Factual material -based on the works of Russian writers, describing a person's appearance through a personal name is an important element of Russian fiction. The analysis of Russian personal names in the texts taken from the works of Russian writers shows that carefully selected names of heroes can serve as an important tool in the development of the inner world, moral qualities and character.

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32

Rüsse, Paul, and Karita Nuut. "Rehepapp and Robin Hood: Tricksters or Heroes?" Interlitteraria 21, no. 1 (2016): 130. http://dx.doi.org/10.12697/il.2016.21.1.11.

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In reference books and specialised literature, the traditional distinction between the culture hero and the trickster remains surprisingly unequivocal: the latter mythological character is usually defined as the demonic or comical counterpart of the former. While it might be a useful if rigid description for an encyclopaedia, does it always hold true in works of fiction? The present essay attempts to demonstrate that the interaction of the two types is much more ambiguous, and this complex and contradictory relationship is traced through the juxtaposition of probably the best-known characters in Estonian and English folklore, Rehepapp and Robin Hood. Albeit to a different degree, these personages possess traits of both the trickster and the hero but play somewhat different roles in their respective societies. The aim of the article, therefore, is to compare these functions in Rehepapp ehk november by Andrus Kivirähk and The Adventures of Robin Hood and His Merry Outlaws by J. Walker McSpadden and Charles Wilson.

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33

Matveyeva, Anna A. "The precedent name structure actualization (Based on the names from Macbeth by Shakespeare in BNC and COCA)." Theoretical and Applied Linguistics, no. 7 (2021): 104–15. http://dx.doi.org/10.22250/2410-7190_2021_7_1_104_115.

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The article aims to investigate the peculiarities of the precedent name structure actualization on the material of the British National Corpus and the Corpus of Contemporary American English. Such components of the precedent name structure as relevant features (appearance, character, precedent situation) and attributes are under analysis. The frequency of the reference to each component of the precedent name structure has been calculated. It turned out that the precedent names of Shakespeare's “Macbeth” are most often actualized through the connection with the precedent situation and the least often – through character. 3 types of connections were identified between the precedent name and a proper name as its source: 1) full similarity of appearance / character / precedent situation between the original text and modern fiction from the corpora; 2) partial similarity of the features; 3) imaginativeness of the features. It has been discovered that when there is no direct connection between the appearance / character / precedent situation / attribute of the bearer of a precedent name and the bearer of the original proper name, the meaningful recurrence of a precedent name is ensured by a stable associative linkage and the invariant evaluation.

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34

Demina, Elena Anatolyevna. "Linguistic markers of represented speech in science fiction novels: a polyphonic approach." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2021): 88–92. http://dx.doi.org/10.20339/phs.4-21.088.

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This paper aims to investigate the linguistic aspect of represented speech in the novel “The Martian Chronicles” by Ray Bradbury within the framework of M. Bakhtin’s concept of polyphony. The article provides a classification of linguistic signals of voices, determines their frequency, types of represented speech, the number of voices. The results of the study show that fragments with represented speech in the novel are few; as a rule, there are two voices in them. In other passages, despite the presence of several voices, the dialogical perspective is not expressed. Moreover, one linguistic marker can be simultaneously a lexical, syntactic and graphic signal; ideological markers creating a slight polyphonic effect. Syntactic means, being the most frequent ones, convey the perception of the character and form Bradbury’s special narration style.

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35

Markulyak, Larysa Vasylivna. "Means of Character Portraying in Mykhailo Kotsiubynsky's Literary Works." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 14, no. 24 (2021): 36–43. http://dx.doi.org/10.34079/2226-3055-2021-14-24-36-43.

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The article examines a portrait as a means of creating a character in the works of Mykhailo Kotsiubynsky, an outstanding Ukrainian writer of the fin de sièclе period. It is traced that an important category of poetics is the portrayal of a character. It helps to better understand the writer's intention, to reveal his creative individuality, to understand the problems of prose. Various types of portraits are identified, and the features of portraying in the novels of M. Kotsiubynsky's works are analysed. It is proved that the portrait is an emphasis on the anthropocentrism of fiction. The significance of portraing in the context of the formation of the character's image is clarified. The author of the article believes that Mykhailo Kotsiubynsky was one of the first among the modernist writers to feel the need to search for new approaches in the depiction of artistic images in order to create not only his own world, but also an integral paradigm of the Ukrainian cultural space. In the end, the research helped him develop his own holistic and unique style, a creative manner in which the writer translates the vision angle from a blind reflection of reality into the psychology of his characters. This work of M. Kotsiubynsky went beyond the realism discourse, absorbing the main features of neo-romanticism. It is traced that the neo-romantic stream of the story is more expressive with the ethnographic part, which is complemented by the portraits of the characters. It is due to the ethnographic portrait that the mental characteristics of the characters are reflected. In the story “Shadows of Forgotten Ancestors” M. Kotsiubynsky skilfully uses an ethnographic portrait, supplementing it with a psychological one, which helps to strengthen the mental features of the characters, to create vivid images. It has been proved that it is the character's portrait as a component of the human image that acquires special significance in the repertoire of Mykhailo Kotsiubynsky's works. It helps to better reveal the nature of the character and to better understand the nature of his actions. At the same time, M. Kotsiubynsky goes beyond the limits of ethnographic descriptiveness: he is interested in the soul of a person and human nature in general, therefore the writer resorts to a combination of ethnographic features of a portrait with its psychological manifestations. It is proposed to consider a portrait as a means of expressiveness in revealing the ideological content of a prose work. The role of the artistic detail is substantiated, which emphasizes the semantic content of the psychological portrait on the one hand, and, on the other, it enriches the ethnographic gamma of the writer's prose. It is traced that the use of contrast creates a dynamic that serves the emergence of a cohesive image. Portrait descriptions are not only plot elements, but are full-fledged components of the work. It has been established that the image of the writer himself also appears through the portrait characterization of the characters, so the representation of a work of art occurs through the prism of the artist's individual perception.

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36

Hauswald, Rico. "Fiktive Figuren als Träger von Wissen und als epistemische Autoritäten." Journal of Literary Theory 13, no. 2 (2019): 161–84. http://dx.doi.org/10.1515/jlt-2019-0006.

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Abstract This essay examines the question of whether and under what conditions a fictitious character can be an epistemic authority for (real) readers; more precisely: it asks whether and under what conditions readers can acquire (propositional) knowledge from the character, thus learning something from it. In answering this question, the essay brings together two debates that have so far hardly been related to each other: an epistemological debate on the concept of epistemic authority and a literary-theoretical debate on aesthetic cognitivism, i. e., the discourse about what can be learned from the reception of fictional texts. In order for a person to be an epistemic authority for another person, two conditions must be met: 1) the first person must have an advantage in knowledge over the second person that the second person recognizes and acknowledges as such; and 2) the second person must have appropriate access to this knowledge. In order to clarify to what extent a fictitious character and a real reader can be related in this way, I first examine what it means to attribute knowledge to a fictitious character. To do so, I suggest the following analysis: In story S, character C knows that p if and only if C believes in S that p; p is true in S; and C is justified in S to believe that p (this suggestion, based on the classical definition of knowledge, can easily be adapted for other suggested analyses: all that is required is that all conditions in the analysis – whatever they might be – lie inside the scope of the fiction operator). Furthermore, a knowledge attribution of the form »In S, C knows whether p« is true if and only if in S, C knows that p or knows that not-p. On the question of the correctness-conditions for knowledge attributions of the form »In S, C knows that p« and »In S, C knows whether p«, I will then enter the debate about fictional truths. This is necessary for two reasons. On the one hand, the attribution of knowledge is nothing but the assertion of a particular fictional truth. And on the other hand, an attribution of knowledge involves another fictional fact, namely the fact p (which I call the »underlying fact«). The view that is largely held in the discussion about fictional truth following Lewis is that what is true in a story does not result solely from the explicit assertions in the text, but also from plausible consequences [Plausibilitätsschlüssen] that we can be further justified in drawing. More precisely, the following possibilities arise for both facts – the underlying fact as well as the attribution of knowledge: Either the text explicitly contains a reference to the fact. Or it does not contain such an explicit reference, but the question of whether the fact obtains can still be answered on the basis of plausibility conclusions. Or there are no explicit references and plausibility conclusions cannot be drawn. In this case, there is a point of indeterminacy. These distinctions result in a number of possible combinations corresponding to different types of situations, some interesting instance of which I examine in more detail. One case that is especially remarkable is when there is a point of indeterminacy in the text with regard to the underlying fact, which – as I illustrate with an example – does not exclude the possibility that knowledge can be attributed to a character with regard to the proposition in question. The claim is often made about indeterminate passages that not even God can know whether the facts in question obtain – and this is correct. Hence if we are entitled to attribute the knowledge in question to a character, this shows that fictitious characters can not only know more than the reader or the author, but even more than God. Such situations also illustrate that more knowledge does not have to go hand in hand with more epistemic authority. For readers, the indeterminate passage remains unresolvable, and readers cannot learn anything from the character in this regard. This leads me to the question of under which conditions the reader can learn something from a character to whom knowledge is attributed that the reader does not possess. A fundamental problem for the idea that there could be something like a transfer of knowledge between a fictitious character and a real reader is that both belong to different ontological spheres, so to speak: the reader is real, the character merely fictitious. If a character were to be an epistemic authority for a reader, this would be a case of a transfictional epistemic authority, which must be distinguished from »ordinary« epistemic authorities as well as from fictitious epistemic authorities and from epistemic authorities for fictitious truths. I propose to analyze transfictional epistemic authorities using the make-believe theory and the extended-pretense operator: When readers find themselves in extended pretense and pretend to be part of the fictitious world, they become at least imaginatively capable of interacting with the characters, so that the characters can become imaginary epistemic authorities for the readers. I also discuss the cognitivism debate and argue that the (fictitious) knowledge of a character can affect not only intra-fictional but also extra-fictional objects and truths. A main objection to the cognitivist view that readers can acquire propositional knowledge of reality from reading fictional texts is that fictional texts are not reliable sources and that the beliefs the reader may form through reading cannot be justified. I reject this objection and argue that readers can also acquire knowledge about reality through the attribution of knowledge to fictitious characters or even from speech acts that the characters make in the story. Finally, I will deal with a possible objection that the epistemic authority that a character can have is completely parasitic on that of the author: the objection here is that if readers learn something, it’s actually from the author. In contrast, I argue that fictitious characters can acquire an independent epistemic authority that cannot be reduced to that of the author.

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37

Cavaliere, Mauro. "Metaficción historiográfica y autoficción: diferentes compromisos con la referencialidad en Estação das Chuvas de José Eduardo Agualusa y Soldados de Salamina de Javier Cercas." Interlitteraria 24, no. 2 (2020): 479–94. http://dx.doi.org/10.12697/il.2019.24.2.16.

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Historiographic metafiction and autofiction: different commitments with the referentiality in Estação das Chuvas by José Eduardo Agualusa and Soldiers of Salamina by Javier Cercas. This article offers a comparative analysis of the novels Estação das Chuvas (1996) by the Angolan writer José Eduardo Agualusa (born in 1960) and Soldados de Salamina (2001) of the Spaniard Javier Cercas (born in 1962). The two novels belong to different geographical and cultural contexts. Nevertheless, a common sensibility – due perhaps to the same generational affiliation or to the prevalence of topics in force in the 1990s – makes evident the emergence of both a historical theme and the presence of a subject involved in historical processes. Ultimately, in both novels, we come across a subject that makes history although in quite different ways: involved firsthand in historical events with tragic implications, in the case of Agualusa, and absorbed in a reflection on apparently distant events in the case of Cercas. However, the result of the emphasis on the presence of a subjectivity within historical processes causes the two novels to share a common element, that is, a double generic affiliation. Both Estação das Chuvas and Soldados de Salamina actually share semantic traits that make it possible to classify them at the same time as autofictional novels and historiographic metafictions. Despite their common architectural matrix, the two novels represent two very different expressions within these genres. This manifests itself at different levels: first, the treatment of the autofictional character and, secondly, the treatment of the other characters. Through the analysis of the characters that populate these two novels, I will try to show how the two writers adopt divergent attitudes regarding the degree of referentiality in their works and how they end up proposing two different poetic options. In the analysis of the characters, I consider it useful to introduce a taxonomy that, in addition to including already existing types (referential, historical, fictitious characters), introduces other types hopefully useful to the study of the currently abundant number of fictions that, through an ambiguous narrative pact, are located between fiction and faction.

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38

Oberyukhtina, M. V. "Speech portrayal of a PR officer as a means of artistic expression (based on the material of Christopher Buckley's novels)." Vestnik of Samara University. History, pedagogics, philology 28, no. 1 (2022): 126–32. http://dx.doi.org/10.18287/2542-0445-2022-28-1-126-132.

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A lot of research is devoted to both the language of advertising and politics and a character`s image in the works of fiction, respectively. However, some issues related to the specificity of PR officers' work regarding public relations as a separate form of business different from advertising or marketing practices might require some clarification. In the present article the author concentrates, in particular, on the determination of types of stylistic means and other means of artistic expression in the speech of a particular character, as well as on the formation of speech portrayal of a specialist in the field of public relations. In addition, the article concerns itself with considering the functions of such specific linguistic and phraseological units, and stylistic, syntactic and graphic means that may be typical of the speech of the same character in several novels by Christopher Buckley. Using the material of such novels as No Way to Treat a First Lady and Thank You for Smoking, the author seeks to analyse Nick Naylors speech in order to see how consistently his speech portrayal is constructed in the two novels and to what extent his profession defines him as a person. As far as the theoretical background of the article is concerned, the author relies on and does research into the following issue: is it possible to challenge the research results stating the correspondence of a characters speech characteristics to his work environment and employment sphere? In addition, the author gives credit to the research of the Russian linguists for investigating philological aspects of advertising texts production and word play.

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39

Hall, Leo, and Simon Grennan. "Literary and Historic Flâneuses: Observation, Commentary, Enterprise and Courage in Late-Nineteenth-Century Women’s Professional Lives." Journal of Victorian Culture 24, no. 3 (2019): 380–97. http://dx.doi.org/10.1093/jvcult/vcy070.

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Abstract Discussions of the conception of that exemplar of late-nineteenth-century and early-twentieth century urban modernity, the flâneur, have focused on both critique of the figure’s masculinity and more radical and nuanced conceptions of women’s flânerie. This article considers both the re-gendering and ungendering of flânerie in the character of three flâneuses in fiction published in the 1870s, 1880s and 1910s: Madame Sidonie, Henrietta Stackpole, and Elsie Bengough, and related dissonances and synergies in the career and work of London actress and cartoonist Marie Duval, active 1869–1885. It will argue that changes in types of reading supervened upon the boom in the production and distribution of serial publications during this period, resulting in the embodiment of new female professional identities, relative to both changing experiences of urban life and changing experiences of reading. The article makes a distinction between new ideas of these types of urban professional woman and the development of the identity of the New Woman after 1894. It examines the historic comprehensibility of the fictional flâneuses to readers of Zola, James, and Onions, according to the new opportunities and prohibitions that constituted the lived experiences of the developing urban entertainments industry of the period, in Duval’s comic strips and vignettes in the weekly London magazine Judy, or The London Serio-Comic Journal.

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40

Qasim, Hafiz Muhammad, Mubina Talaat, Qamar Khushi, and Musarrat Azher. "Linguistic Choices in Hamid’s Moth Smoke: A Transitivity Analysis." International Journal of English Linguistics 8, no. 3 (2018): 303. http://dx.doi.org/10.5539/ijel.v8n3p303.

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The present study is aimed at an investigation of how meanings are construed in a literary text. The main theoretical framework employed for the data analysis was transitivity, which finds its roots in Halliday’s (1994) Systemic Functional Grammar. 21 texts from Hamid’s novel, Moth Smoke (MS) were selected as data. A sample size of 1100 complex clause sentences containing different processes, participants and circumstances was drawn for analysis. The focus of the study was the identification of transitivity patterns associated with the main characters of the novel following Simpson (2004) who viewed it “useful indicator of character in prose fiction” (p. 119). The findings of transitivity constructions showed that all types of processes were found in MS. Based on the rank of frequency, material processes were computed the most frequent processes. They did have frequency of occurrence as (1076=51.45%). The projection of mental processes was (13.91%) in the second position. The verbal processes were (11.23%), relational processes (19.75%) while the lowest projection was found in behavioural (2.63%) and existential (0.86%) processes. Male characters were ascribed with more material and verbal processes while females were drawn as having mental and attributive process clauses. The current study concluded that transitivity options can function as a useful analytical tool in the analysis of a literary text.

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Petel, Adir H. "Moral Geometries." Common Knowledge 26, no. 3 (2020): 453–551. http://dx.doi.org/10.1215/0961754x-8521645.

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The literary and critical discourse about characters and characterization in Anglophone drama and fiction since the Renaissance shows a persistent but underrecognized presence of three idioms and vocabularies, two highly developed and one nascent, that either derive from the rhetoric of mathematics in classical antiquity or participate in its modern afterlife. Those discourses—which this article studies in detail—are, first, an explicitly Theophrastan one, in which taxonomies of character are constructed; second, an explicitly Euclidean one, in which characterization is discussed and accomplished in relatively conventional or commonsensical geometric terms; and third, a non- or post-Euclidean one, in which characterization is discussed and inchoately accomplished in the terms of the “new geometries” that emerged during the nineteenth century. What taxonomy in the Aristotelian mode (Theophrastus was Aristotle’s student) and geometry in the Euclidean mode have in common is that when their vocabularies are applied to characterization, they delimit characters in terms of established categories—whether of ideal shapes or statistically probable types—while discounting whatever features may be unique to individuals. An obliviousness to these three discourses can limit seriously what can be said about, and what can be said on behalf of, the literary and critical texts framed in their terms and also, most importantly, what can be said about the nature of literary characters.

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Bazhenova, Elena A., and Ekaterina E. Dymont. "Plotand Event-Driven Functions of Perfect Verbs in a Fiction Text." Vestnik Tomskogo gosudarstvennogo universiteta, no. 468 (2021): 5–14. http://dx.doi.org/10.17223/15617793/468/1.

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The article examines the role of Russian perfect verbs in text formation. Based on the texts of modern Russian writers (S. Vasilenko, D. Granin, E. Limonov, V. Pelevin, T. Tolstaya, V. Tokareva, L. Ulitskaya), the functions of the verb forms with perfect meaning in the plot organization of a fiction text are considered. The principal attention is paid to the analysis of the functions of 1) regression of the narrative, 2) progress of the narrative with a pause in the external environment or in the inner world of the character, 3) pause in the narrative. Narrative regression is interpreted as a reference to the past, progress as a perspective of the narrative, and pause as a fixation of the state of the environment or the internal state of the character. It has been established that these functions are realized within the framework of a perfect situation as a functional-semantic field. The nucleus of the field is a perfect verb or passive past participles; the periphery of the field is formed by multi-level language units that actualize the perfect meaning in the context. It has been revealed that the perfect situation has a complex semantic structure, in which three components are holistically represented: pre-perfect state, action, and post-perfect state. This structure allows expressing different types of links: between the temporal plans of the text, between the cause of an event and the consequent state of the event, between a mental action and the object of this action. In a fiction text, each component of syncretic perfect semantics can become a basis for the plot situation. It has been shown that plot- and event-driven functions of perfect verbs are determined by the position of the verb in the complex syntactic whole, by interaction with other predicates, by the syntactic structure, and by the lexical meaning of the verb. In particular, it has been established that the function of regression of the narrative is represented by perfect verbs as a part of complex sentences with temporal, causal, and deliberative subordinate clauses. The function of progress of the narrative with a pause in the external environment is performed by perfect verbs inside a complex syntactic whole. This function may also be realized on the border of two complex syntactic wholes. Progress of the narrative with a pause in the inner world of the character is expressed by mental verbs (ponyal, dogadalsya, osoznal, pochuvstvoval, reshil, etc.). A pause in the narrative is typically expressed by passive past participles. The contextual and semantic analysis of perfect situations allows concluding that perfect verbs have an impact on encoding and decoding of the meaning of the fiction text.

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Episiana Sari, Misnawati Misnawati, Lazarus Linarto, Petrus Poerwadi, and Ibnu Yustiya Ramadhan. "Nilai Pendidikan Karakter Dalam Novel Si Anak Savana Karya Tere Liye Dan Implikasinya Pada Pembelajaran Sastra Di SMA." PROSIDING SEMINAR NASIONAL PENDIDIKAN, BAHASA, SASTRA, SENI, DAN BUDAYA 2, no. 1 (2023): 83–107. http://dx.doi.org/10.55606/mateandrau.v2i1.223.

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This study aims to describe (1) the value of character education in Tere Liye's Novel Si Anak Savana (2) the implications for learning literature in high school.This study uses qualitative methods and types of library research. Qualitative research was used to describe the value of character education in Tere Liye's Novel Si Anak Savana and to describe its implications for teaching literature in high school. The results of the study were 14 values of character education and 28 quotes of character education values in Tere Liye's novel Si Anak Savana by Tere Liye. The 14 values of character education are: (1) Religious (form: obedient to worship, always pray, be grateful, believe, put your trust in and pray). (2) Honest (form: not lying) (3) Discipline (form: not delaying work). (4) Hard Work (its form: always trying and never giving up), (5) Independent (its form: not depending on other people) (6) Creative (its form: always having ideas and ideas) (7) Democratic (its form: expressing opinions ) (8) Curiosity (its form: curiosity), (9) Friendly (its form: always doing work together), (10) Peace-loving (its form: not wanting to fight), (11) Caring for the environment (its form : environmental cleanliness and natural preservation), (12) Social care (its form: helping others and social service). (13) Likes to read (form: likes to read) (14) Responsibility (form: obligation that must be carried out. The most dominant character education value in Tere Liye's novel Si Anak Savana by Tere Liye is the value of social care character education, and curiosity From the results of the analysis of the 28 values of character education in Tere Liye's novel Si Anak Savana, it can be implicated in teaching literature in class XI high school, according to KD 3.20 analyzing the messages from the two fiction books (novels and poetry) that have been read. , students can learn the value of character education.Students can also find the value of character education in novel.

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Stan, Petruța. "Genurile biograficului, între timpul trăirii și timpul mărturisirii – invitație la re-lectură." Revista de Istorie și Teorie Literară 17 (December 30, 2023): 98–109. http://dx.doi.org/10.59277/ritl.2023.17.10.

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This paper refers to the way in which the critic Eugen Simion customises the diary into a wider and quite problematic category of writing with a biographic nature (character), always placed at the fragile border between clandestinity and publicity, establishing the fact that this type of writing, despite rejecting the literary conventions, builds its own system of rules which makes it functional, turning itself into a “fiction of nonfiction”. We identify a series of essential questions which refer to the necessity of an intimate diary, to its function, to the existence of a poetics of a diary. Simion (re)establishes some concepts related to this kind of writing, and to identifying a relation between the author, the narrator and the characters of a diary. A possible receiver and many types of readers are discovered, and a new mythology is (re)constructed, specific for this taciturn writing, populated with phantasms and “images of the inner self”. Moreover, Eugen Simion makes a list of traumas, be they physical or spiritual, which may lead one to the need of turning oneself into a diarist. The Romanian theorist follows both the evolution of the diarist’s place in the literary system and the evolution of the way in which the diary is received by its readership.

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Ragachewskaya, Marina S. "MYSTICAL DISTANCE IN D.H. LAWRENCE’S SHORTER FICTION: THE SPIRIT OF PLACE AND THE LANDSCAPES OF THE HEART." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 4 (2021): 42–63. http://dx.doi.org/10.18522/2415-8852-2021-4-42-63.

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This article uses the Jungian archetypal theory to analyze a selection of shorter fictions by D.H. Lawrence (the novellas The Princess (1924), St Mawr (1925), The Woman Who Rode Away (1928), The Escaped Cock (1929) and a few short stories) where the enigmatic aspect of place and distance plays an important role in the narrative, character development and personality individuation. I single out four types of the mystical distance in D.H. Lawrence, and focus on the spatial aspect. The paper shows that each novella or short story treats “the spirit of place”, albeit in a deferent light: the place may embody the Spirit, the Shadow, the Anima or Animus archetypes. Each travelling protagonist undergoes a spiritual transformation, which is presented in non-identical patterns, and the distance they cross bears the signs of the mystical. The place serves as the physical location of the quest, while the workings of the soul reveal such forms of spiritual and mystical aspects as Spirit-Animus, Spirit-Shadow, sacrifice and rebirth.

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Lee, Chae-eun. "Multilayers of Masculinities and Male Gender Practice in the ‘Hwejeol Fiction(Stories about Men Breaking His Faith)’ of the Late Joseon Dynasty." Research of the Korean Classic 64 (February 28, 2024): 261–300. http://dx.doi.org/10.20516/classic.2024.64.261.

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In the late Joseon Dynasty, a group of novels called ‘Hwejeol Fiction(Stories about Men Breaking His Faith)’ appeared. They shared the narrative that the heterosexual sexuality of the male character is confirmed through tests. This narrative means the process of confirming the heterosexual sexuality of individual men and granting them membership in the homosocial communities. This work was examined the homosocial between mens through three works of Hwejeol Fiction: ‘Jibong-jeon’, ‘Oyuran-jeon’, and ‘Samseon-gi’. First, in ‘Jibong-jeon’, a dominant man who rejects heterosexual sexuality and has the potential to discord with homosocial standards appears as the main character. In this text, as the relationship between the dominant men is focused, the virtue of the public relationship between them is particularly emphasized to sustain the male bond. The dominant male protagonist never becomes profanity in the process, and is embraced into the community after the interruption. Next, in ‘Oyuran-jeon’, an immature man who pursues hegemonic masculinity appears. The narrative deals with the process of growing these immature men into true dominant men. He grows up with the help of men in private relationships such as family and friends, and in the process, a humorous episode in which they are shown there naked bodies. At the end of the narrative, they transforms into a being who embodies full hegemonic masculinity and lives happily as a member of the homosocial community. Lastly, ‘Samseon-gi’ is distinguished from the previous two types in that it shows the practice of a newly adjusted ‘alternative masculinity’ rather than actively incorporating into the homosociality by breaking personal beliefs. Here, women have much more active voices and self-awareness than in the previous two types. Since the gender practice of the male protagonist poses the greatest threat to the maintenance of male same-sex society, unlike other narratives, hostile forces that block him appear, showing explicit hostility toward the protagonist. In the end, the protagonist is not fully incorporated into the existing homosocial society but is incorporated into a different world. The fact that most of these narratives written in Chinese characters, have been mainly enjoyed between male readers. It suggests that the enjoyment of narratives itself can be an practice for male readers’ homosocial solidarity. The existence of a long-running these narratives clearly reveals that the concept of masculinity, which on the other hand seems to be a firm power, is only a fragile component that is constantly challenged, but it also has great implications today in that it also tells us how difficult and can have a great influence on the existing male model holding hegemony.

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Mbewe, Ian. "Application of Political Satire in Mission to Kala and Devil on The Cross." Journal of Law and Social Sciences 5, no. 1 (2022): 69–83. http://dx.doi.org/10.53974/unza.jlss.5.1.793.

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The study attempted to demonstrate how political satire is applied in a pre-independence African fiction Mission to Kala and a post- independence African fiction Devil on the Cross. Satire, mild or bitter, has a history of being used to expose the negative socio-economic and political realities perpetrated by both the sympathisers of colonialism and later the agents of neo-colonialism in the post-independence phase. The study employed the Marxist literary theory and Literary Onomastics through stylistic analysis and demonstrated how satire exposed the evils and how a ‘training camp’ in the colonial era was transformed into a ‘jungle’ in post-independent Africa. Character types in both periods exhibited parasitic traits such as greed, selfishness, narrow appetites and sadistic violence leading to exploitation and oppression. This historical transition was delineated on the basis of the colonised African elite and subordinates as the direct off-shoot of the African bourgeoisie groups, which created a symbolic connection between the two periods of time in the African context. The findings indicated that both texts maintained the Marxist outlook, employed ironic juxtaposition to satirise capitalism, each satirist employed a different style and Beti had the colonised African elite and subordinates as his targets of satire as opposed to Ngugi’s comprador politicians, comprador and national bourgeoisie. The masses were not spared of criticism.

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Utebekova, A. S., Zh Kh Salkhanova, and O. A. Valikova. "Invariant art forms in the essays of Gerold Belger." Bulletin of the Karaganda university Philology series 104, no. 4 (2021): 110–15. http://dx.doi.org/10.31489/2021ph4/110-115.

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The article contemplates the genre of the essay and its invariant forms. The authors of the article point out that the essay is a genre that has a close proximity with scientific, journalistic and fiction literature, however, it does not apply entirely to any of them. From the perspective of the authors, the structure-forming principle of the essay is the leading part of the personality of the author’s production. The author-essayist can act in several roles: a real author, a social person, a private person. The entirely building of the text, its form, composition, vocabulary, and techniques are interconnected with the final author's character. The authors highlight that another equally important feature of the style of the essay is the presence of figurativeness, expressivity — which is an expression of artistry. The aim of the article is to try to educe the specificity of invariant artistic forms in the essayism of the writer and publicist Gerold Belger. As follows from the analysis, the authors enunciate conclusions that the essayism of Gerold Belger is typologically multifarious and involves such types as: essay-sketch, essay-artistic word, essay-reflection, essay-investigation. The authors assert that the creations of this writer should be accounted as invariant forms of artistic and journalistic essay, meaningfully and compositionally unifying the features of fiction and journalism

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Chemodurova, Zinaida. "The Art of Storytelling in the Digital Age: A Multimodal Perspective." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 6 (December 2022): 110–20. http://dx.doi.org/10.15688/jvolsu2.2022.6.9.

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Using Dan Brown's Wild Symphony, Craig Silvey's The Amber Amulet, and Jon McGregor's In Winter the Sky as its case studies, this article attempts to explore a number of mechanisms and strategies contributing to the multimodal fiction construction and posing challenges for modern readers of all ages. The article proposes to examine multimodal resonance as a cognitive mechanism enhancing the emotional impact of multimodal stories on recipients and triggering the receptive mechanism of narrative empathy. Various semiotic resources, both free resources, such as photos, maps, and illustrations, and bound ones, including font types and typographical experiments, are analyzed from the standpoint of their role in fictional world creation. The article makes an original contribution to the Multimodal Stylistics Studies by hypothesizing the relevance of identifying two distinctive mechanisms of foregrounding: visual foregrounding as a range of formal ways to construct a multimodal text that focuses the reader's attention with the help of free semiotic resources, and graphic foregrounding, which has bound semiotic resources at its heart. The findings of the research prove that it is the combination of elements of stylistic, cognitive and linguo-semiotic analyses that might provide a new and effective methodology for interpreting a multimodal literary text. The overall outcome testifies to the importance of further research into varied mechanisms of foregrounding as a complex phenomenon essential for our better understanding of the embodied character of reading.

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Dieter, Daniel G., and Elyse C. Gessler. "A preferred reality: Film portrayals of robots and AI in popular science fiction." Journal of Science & Popular Culture 4, no. 1 (2021): 59–76. http://dx.doi.org/10.1386/jspc_00025_1.

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The increasing frequency and depth of human interaction with robots and artificial intelligence (AI) prompts this research study into how media-framed portrayals of technology in popular visual media might construct social reality. Cinema serves as an important and influential form of media, and portrayals of technology in film media can influence public perceptions, specifically confirming or creating perceptions of artificial or robotic intelligence. Previous research identifies frequent portrayals of robots and AI as deceptive, aggressive monsters in films like Fritz Lang’s Metropolis and James Cameron’s The Terminator. However, as the distance between fantastic technology collapses into a new social reality where humans, AI and robots exist together, film portrayals reflect a more nuanced view and changing expectations for human-robot, human-AI interactions. The study applies framing theory and a content analysis methodology to examine filmmakers’ choices to determine robot and AI character types frequenting popular cinema. Seventeen popular films yielded 592 scenes to analyse. Findings from this quantitative content analysis revealed patterns portraying robots and AI more often as friendly, helpful companions of humans, rather than menacing or harmful to humans. Therefore, the researchers conclude that modern films primarily depict cohesive and complimentary interactions between humans and living technology, reflecting on heavy technology use and dependency. Furthermore, individuals who create these films may be illustrating scenes of a preferred reality, where AI and robots are meant to be our helpers, rather than threatening replacements in both society and industry.

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