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Cussen, John. "The People Jhumpa Lahiri Little Likes". Theory in Action 16, n.º 1 (31 de enero de 2023): 100–132. http://dx.doi.org/10.3798/tia.1937-0237.2304.
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This paper makes the claim that despite the culture-page and scholar classes' favorable reception of just about everything she offers, Bengali-American writer Jhumpa Lahiri thinks meanly of them and of their progressive mindsets. Telling in the second's regard are her counter-normative usages of their favored tropes--of, for example, the madwoman-in-the-attic trope. Telling in the first's regard are the literary academics who appear in her fictions. Nine for nine, they are shallow, feckless, and bullying sorts. Yes, literary academics--they are the people Jhumpa Lahiri little likes. In its later pages, the paper also observes that for much of her career writer Lahiri has been in the throes of a crisis of literary faith. An early symptom of this crisis is discernible in that plot strand of her second book, The Namesake, wherein the protagonist Gogol does everything in his power to dispossess himself of his literary name. Another symptom of the crisis is the sparsity of literary allusions that mark her fourth and latest fiction's pages (as opposed to the great number that marked her earlier works). And, lastly, toward the end of the latest fiction, Whereabouts, when the writing-prof protagonist begins her journey out of the city that has been her lifelong residence, that’s Lahiri wishing she could do the same vis á vis her literary faith. KEYWORDS: Jhumpa Lahiri, Critical Reception, Academic Culture, Immigrant Fiction
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Fathallah, Judith. "Reading real person fiction as digital fiction: An argument for new perspectives". Convergence: The International Journal of Research into New Media Technologies 24, n.º 6 (19 de enero de 2017): 568–86. http://dx.doi.org/10.1177/1354856516688624.
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‘Real person fiction’ (RPF) is a subset of fanfiction that has gone largely unnoticed by academics. A handful of articles have argued for the justification of stories about real (living) people as a legitimate and morally sound art form, but only a very few studies have begun to consider RPF as a genre with its own aesthetics and conventions. This article argues that, to understand fannish RPF, we need to incorporate tools developed by scholars of digital fiction. Almost all fanfic is now produced for and on digital platforms, and moreover, the natural fit between RPF specifically and the study of metalepsis, or self-conscious movement between ‘levels’ of reality and fiction, makes this tool and others imported from the study of digital fiction an illuminating set of lenses through which read it. Along the way, I will incorporate further narrative theory to suggest that we understand appeals to the putative subject of RPF as directed to a ‘fictiona lized addressee’, that is, an addressee who is neither purely fictional nor purely nonfictional, but a construct of mediated activity that demonstrates fandom’s participation in the construction of the subcultural celebrity.
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Kartika, Tyas Willy y Maria Elfrieda C.S.T. "FEMSLASH FANFICTION AND LESBIANISM: EFFORTS TO EMPOWER AND EXPRESS ASIAN AMERICAN WOMAN SEXUALITY". Rubikon : Journal of Transnational American Studies 8, n.º 2 (11 de octubre de 2021): 106. http://dx.doi.org/10.22146/rubikon.v8i2.69689.
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The existence of fan fiction nowadays shows more progressive development especially in this digital era when people does not only use internet for communicating and socializing across time and space but they also show their creativity, one of them is by writing a fan fiction. By writing fan fiction in online platforms, people get the opportunity to express their interests and their identities. This opportunity is also obtained by minority groups such as LGBTQ+ where they can express their identity through fan fiction. LGBTQ+ community utilizes online platform as the tool that brings benefit for them. In this case, writing fan fiction in online platforms allows people to create the preferable representation of minority groups and empower them as the part of LGBTQ+ community. This phenomenon can be seen through a website named Asianfanfics.com which shows an increasing number of fan fictions especially the ones with lesbian related tags such as girl x girl, lesbian, and femslash. Particularly, through the femslash subgenre, people use fan fiction to question the heteronormativity. Regarding to this phenomenon, an interview was conducted by choosing three Asian American fan fiction writers from Asianfanfics.com as the interviewees. Furthermore, by using gender theory and intersectionality, this article focuses on how fan fiction becomes a safe space to express their sexual identities and how lesbian relationship is viewed by Asian families.
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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction". Journal of Literary Theory 12, n.º 2 (3 de septiembre de 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Gao, Jiali y Yan Hua. "On the English Translation Strategy of Science Fiction from Humboldt's Linguistic Worldview —Taking the English Translation of Three-Body Problem as an Example". Theory and Practice in Language Studies 11, n.º 2 (1 de febrero de 2021): 186. http://dx.doi.org/10.17507/tpls.1102.11.
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In recent years, many science fictions have been published, such as The Three-body Problem, The Wandering Earth, and so on. The number of people who are interested in science fiction is increasing. Meanwhile, the translation of science fiction has become more important. The Linguistic Worldview proposed by Humboldt is of great importance to the translation of science fiction. This thesis is based on Linguistic Worldview. It analyzes The Three-body Problem (English version) and the importance of such theory to the translation of science fiction. It proposes three translation strategies: free translation, literal translation, and transcreation.
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Van De Mosselaer, Nele. "Imaginative Desires and Interactive Fiction: On Wanting to Shoot Fictional Zombies". British Journal of Aesthetics 60, n.º 3 (9 de diciembre de 2019): 241–51. http://dx.doi.org/10.1093/aesthj/ayz049.
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Abstract What do players of videogames mean when they say they want to shoot zombies? Surely they know that the zombies are not real, and that they cannot really shoot them, but only control a fictional character who does so. Some philosophers of fiction argue that we need the concept of imaginative desires (or ‘i-desires’) to explain situations in which people feel desires towards fictional characters or desires that motivate pretend actions. Others claim that we can explain these situations without complicating human psychology with a novel mental state. Within their debates, however, these scholars exclusively focus on non-interactive fictions and children’s games of make-believe. In this paper, I argue that our experience of immersive, interactive fictions like videogames gives us cause to reappraise the concept of imaginative desires. Moreover, I describe how i-desires are a useful conceptual tool within videogame development and can shed new light on apparently immoral in-game actions.
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Sparkes, Andrew C. "Fictional Representations: On Difference, Choice, and Risk". Sociology of Sport Journal 19, n.º 1 (marzo de 2002): 1–24. http://dx.doi.org/10.1123/ssj.19.1.1.
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This article is intended to stimulate debate regarding recent calls for fictional representations to be used within the sociology of sport. Based on the notion of “being there,” it differentiates between ethnographic fiction and creative fiction. Examples of the former are provided, and their grounding in the tradition of creative nonfiction is established. Moves toward the use of creative fiction are then considered in relation to the willingness of authors to invent people, places, and events in the service of producing an illuminative and evocative story. The issue of purpose is highlighted and various reasons why researchers might opt to craft an ethnographic fiction or creative fiction are discussed. Next, some risks associated with choosing fictional forms of representation are considered. Finally, the issue of passing judgment on new writing practices is briefly discussed.
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Prasad, Amar Nath. "The Non-fictions of V.S. Naipaul: A Critical Exploration". Creative Saplings 1, n.º 8 (2022): 1–11. http://dx.doi.org/10.56062/gtrs.2022.1.8.168.
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V. S. Naipaul is an eminent literary figure in the field of modern fiction, non-fiction, and travelogue writing in English literature. He earned a number of literary awards and accolades, including the covetous Nobel Prize and Booker Prize. His non-fiction e.g., An Area of Darkness, India: A Wounded Civilization, The Loss of El Dorado, India: A Million Mutinies Now and Beyond Belief are a realistic portrayal of the various types of religion, culture, customs, and people of India. As an author, the main purpose of V. S. Naipaul is to deliver the truth; because poets are the unacknowledged legislators of mankind. The fact that V. S. Naipaul has presented in his non-fiction is more authentic and realistic than that of his fiction. Nonetheless, it is fictional work that is elaborately explored, discussed, and analyzed in abundance. On the other hand, his non-fiction, by and far, remains aloof. In the last few decades, non-fictions are also taking the ground strongly. Now non-fiction writings are being analyzed, elucidated, and explored based on various theoretical principles of literary criticism. V. S. Naipaul carried the new genre to new heights and achievements. He is of Indian descent and known for his pessimistic works set in developing countries. He visited India several times, like Pearl S. Buck and E. M. Forster. So, his presentation of Indian religion, society, culture, and politics are very realistic. His vision and ideas are very close to the modern thoughts and visions of both the east and the west.
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Rusli, Devi y Ali Arben. "PENGARUH BUKU FIKSI TERHADAP THEORY-OF-MIND ANAK PRASEKOLAH". Jurnal RAP (Riset Aktual Psikologi Universitas Negeri Padang) 14, n.º 2 (19 de diciembre de 2023): 144. http://dx.doi.org/10.24036/rapun.v14i2.124769.
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Fiction books are learning media that can be used to introduce various experiences about other people's views and emotions to preschoolers through story characters. At preschool age, children already have a need to interact with other people, especially with their peers. Children's understanding of the desires and feelings of other people known as theory of mind (ToM) helps them to be more accepted and adjust when playing with their friends. The effect of fiction books on the ToM development of preschoolers was tested through experimental research on 44 (forty four) preschoolers (23 boys and 21 girls). Two experimental groups read fiction and non-fiction books and one control group (coloring). Based on the results of data analysis, it is known that there is an average difference between the 3 groups. It is known that the fictional experimental group has a better ToM score than the non-fiction experimental group and the control group with a significant p value <0.05 (Ⅹ² = 7.07 , p = 0.029 ). In conclusion, fiction books have an influence on the ToM development of preschoolers.
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Jacobs, Arthur M. y Roel M. Willems. "The Fictive Brain: Neurocognitive Correlates of Engagement in Literature". Review of General Psychology 22, n.º 2 (junio de 2018): 147–60. http://dx.doi.org/10.1037/gpr0000106.
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Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. The brain processes which play a role in the mental construction of fiction worlds and the related engagement with fictional characters, remain largely unknown. The authors discuss the neurocognitive poetics model ( Jacobs, 2015a ) of literary reading specifying the likely neuronal correlates of several key processes in literary reading, namely inference and situation model building, immersion, mental simulation and imagery, figurative language and style, and the issue of distinguishing fact from fiction. An overview of recent work on these key processes is followed by a discussion of methodological challenges in studying the brain bases of fiction processing.
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Klassen, Shamika y Casey Fiesler. "The Stoop". Proceedings of the ACM on Human-Computer Interaction 7, GROUP (29 de diciembre de 2022): 1–24. http://dx.doi.org/10.1145/3567567.
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Inspired by previous research examining the challenges and benefits of Black Twitter (a community gathered on a platform used by Black people but not created by or for them), this design fiction presents a fictional study of a successful yet speculative social media platform named The Stoop. We envision this digital space as one that a Black woman created and a predominantly Black team designed and developed. Imagining what future online communities of marginalized people could be based on current struggles and shortcomings provides the inspiration for this design fiction. Proactively addressing content moderation, harassment, content controls, and the need for reducing appropriation while centering on the lived experiences and preferences of Black people allows this design fiction to joyfully speculate on what it can look like to get it right as a way of thinking through best practices for current technology design.
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De Roest, Karla. "Maak een vuist als je geen hand hebt. Inclusiviteit in (pre)historische jeugdromans". Paleo-aktueel, n.º 33 (16 de julio de 2024): 39–48. http://dx.doi.org/10.21827/pa.33.39-48.
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The one-handed hero: Inclusiveness in historical fiction for childrenHaving grown up with a sister in a wheelchair meant that I took this normalcy into the fictional world of the past. So when I crossed paths with Drem in Rosemary Sutcliff’s 1958 novel Warrior Scarlet, he was to me just a boy with one functional arm. It was not until much later that I realised he was one of the very few protagonists in historical fiction with a disability. A lack of inclusiveness is problematic, first, when it comes to readers identifying with the physical condition of the hero(ine) and, second, because, from an archaeological perspective, the proportion of healthy people in historical fiction seems improbably high, while the representation of people with a disability is often stereotyped. Maybe archaeologists should provide authors of historical fiction with a more informed description of the past.
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Grillmayr, Julia. "Speculations, fabulations, incantations: Science fiction, contemporary futurology and how to change the world". European Journal of American Culture 41, n.º 3 (1 de septiembre de 2022): 267–79. http://dx.doi.org/10.1386/ejac_00079_1.
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After giving a short insight into the ambivalent relationship between science fiction (SF) and futurology, this article sheds light on the current trend of what can be called science-fictional scenario writing, focusing on the publications of the Center for Science and the Imagination at the Arizona State University. The stories published in projects, such as Hieroglyph, the Climate Fiction short story contest Everything Change or the Tomorrow Project, are indistinguishable from conventional SF short stories. However, the frameworks of these projects share a certain futurological ambition. Also, they seek to enable the readers and writers of these stories to actively shape possible futures. In search for a label for this specific text form, Rebecca Wilbanks aptly coined the term ‘incantatory fictions’. This article explores the nature, the self-understanding und the practices of these speculations, fabulations and incantations by considering the metatexts of the afore-mentioned publications and by talking to people who work at the interface between SF and futurology.
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Marston, Elsa. "Palestinians in Fiction for Young People". Wasafiri 24, n.º 4 (diciembre de 2009): 27–33. http://dx.doi.org/10.1080/02690050903205678.
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Khan, Mir hazar. "گل بنگلزئی نا افسانہ غاتا کتاب، دڑد آتا گواچی؛ نا جاچ اس". Al-Burz 13, n.º 1 (23 de diciembre de 2021): 36–44. http://dx.doi.org/10.54781/abz.v13i1.271.
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When the industrial revolution and progressive tendencies in the nineteenth century influenced every sphere of life, literature could also not escape such trends. At that time, fiction (short story) was introduced as a new genre in literary world and soon it managed to generate a distinction. Like the other languages of the world, fiction writers of Brahui literature also effectively adopted this genre. Among the pioneer Brahui fiction writers, the name of Gul Bangulzai is also well known who initiated the fiction writing. The effects of the progressive literary movement can be seen in his fiction writings. Gul Bangulzai in his book of fiction, Darhd ata Guachi, centralized the topic on the problems of ordinary individuals and lower class of the region. The book was first published in 1984, thus, standing the second book in Brahui literature after Dr. Taj Raisani's book, Anjeer na Phul. In, Darhd ata Guachi, Gul Bangulzai mainly reflected the problems of village life in a unique manner. Gul Bangulzai skillfully identified the problems of farmers, laborers, women, shepherds, and gypsies. Additionally, the themes also include poverty, starvation, the hardships of weather, cruelties of higher class, the culture and traditions of people of Baluchistan, and their mentality. The fiction also depicted the stunning natural landscapes of this region. In the fictions of Gul Bangulzai frustration, deprivation, helplessness, cruelties, and poverty are observable. However, ultimately, the message it conveys that after the dark night there is a dawn of new morning and hope which is another distinguished beauty of the fictions of Gul Bangulzai, bestows him a unique status in Brahui literature wherein most fictions revolves around the complications of village life.
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Nandi, Shibasambhu. "Science Fiction and Film: An Analytical Study of Two Select Indian Movies". International Journal of English Learning & Teaching Skills 5, n.º 4 (3 de julio de 2023): 3438–46. http://dx.doi.org/10.15864/ijelts.5407.
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Science fiction is a genre of art that caters to the popular taste of the people. It presents a world mixed with science and fictional elements. It can be taken as a microcosm of fictional literature. It uses to present unfamiliar and unknown things in a familiar and known way. It provides its diverse themes and issues not only in texts but also in films. When science fiction is adapted into movies, it is able to attract a large number of audiences specially the young generation of writers. Science fictional films cover the issues like future society, challenges created by scientific developments, human enhancement through science and technology, human-machine clash, hybrid identity, world of aliens, and Artificial Intelligences. There are many films in western countries covering the issue of science fiction. Production houses designed the films in such a way that it can make an appeal to the audience. Even in India, there are several science fiction films. From 1952 to the present, Indian cinema contributes a lot by producing one after another attracting films on the theme of science fiction. The present paper is going to analyze two films Koi...Mill Gaya and its sequel Krish 3 from the perspectives of science fiction. The paper will also try to present the history of science fiction films in India and in the West. It attempts to depict the science fictional elements and new techniques shown in the films. These films are the representations of future society which accepts the inhabitation of different beings like modified human, superhuman and aliens.
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Abad, Jordi Valor. "Singular Terms in Fiction. Fictional and “Real” Names (III Blasco Disputatio)". Disputatio 11, n.º 54 (1 de diciembre de 2019): 111–42. http://dx.doi.org/10.2478/disp-2019-0014.
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Abstract In this introduction, I consider different problems posed by the use of singular terms in fiction (section 1), paying especial attention to proper names and, in particular, to names of real people, places, etc. As we will see (section 2), descriptivist and Millian theories of reference face different kinds of problems in explaining the use of fictional names in fiction-related contexts. Moreover, the task of advancing a uniform account of names in these contexts—an account which deals not only with fictional names but also with “real” names—will prove to be very hard no matter whether we favour realist or antirealist intuitions about fictional discourse (section 3). Section 4 offers an overview of the content of this volume, with emphasis on the discussion between Manuel García-Carpintero and Stacie Friend about the meaning of “real” names in fiction-related contexts, the main topic of the Third Blasco Disputatio.
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Dr. Shazia Akbar. "Desire of Death in Sadiq Hidayat,s selected short stories". DARYAFT 15, n.º 02 (26 de diciembre de 2023): 57–70. http://dx.doi.org/10.52015/daryaft.v15i02.345.
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Sadiq Hidayat is renown Persian writer. He is one of the few Iranian Persian writers whose many fictions have been translated into Urdu. He introduced modern techniques in Persian fiction. In some of his stories Sadiq Hidayat has presented the subject of death from different angles. somewhere in the human being there is a desire to escape from his problems in the death. This desire of death can be found in some of his short stories because he also committed suicide by suffocating poison gas on April 9, 1951 in Paris. This research article is based on an effort to find different aspects of sadness and sensitivity in his Urdu translated short stories. He has skillfully made the individual and collective problems and psychological confusions of people in his fiction. He also tried to reflect the lives of depressed people and their emotional downfalls. In his fiction there is a noticeable deep observation of marital attitudes depression۔ He has also mentioned the life of animals and their death. The death, as solution of problems can be seen especially in his stories. This is an analytical research study, based on Urdu translations of his fiction. We can observe that death; especially suicide is very favorite subject of his characters.
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Elphinstone, Margaret y Caroline Wickham-Jones. "Archaeology and fiction". Antiquity 86, n.º 332 (junio de 2012): 532–37. http://dx.doi.org/10.1017/s0003598x0006292x.
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In the summer of 2006 author Margaret Elphinstone, embarking on a novel set in the prehistoric period (Elphinstone 2009), sought out archaeologist Caroline Wickham-Jones to discover more about Mesolithic Scotland. The resulting process proved to be more than a simple question and answer session: over three years, the two of us, novelist and archaeologist, each renegotiated the boundaries of our perceptual frameworks. This paper is intended to examine the learning process that most students of archaeology unconsciously experience, and it goes on to champion a respected role for fiction. As the status of history is reduced in the school syllabus, the number of people learning about their past from fiction will increase. Very few people learn much about the Mesolithic through formal education; indeed we are both astonished at how many well-educated people have no idea when or what the Mesolithic was. As representatives of our professions, we here demonstrate the special and timely benefits of what we term the informed novel.
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Raghunath, Riyukta. "Possible worlds theory, accessibility relations, and counterfactual historical fiction". Journal of Literary Semantics 51, n.º 1 (1 de abril de 2022): 1–18. http://dx.doi.org/10.1515/jls-2022-2047.
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Abstract Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relations from logic to literary studies, distinguishes between four text types depending on the extent to which their fictional worlds can be seen as possible, probable, or impossible in the actual world. Developing Maître’s work, Ryan, Marie-Laure. 1991a. Possible worlds and accessibility relations: A semantic typology of fiction. Poetics Today 12. 553–576, c.f. Ryan, Marie-Laure. 1991b. Possible worlds, artificial intelligence, and narrative theory. Bloomington: Indiana University Press) creates a comprehensive taxonomy of accessibility relations that may be perceived between fictional worlds and the actual world. This includes assuming compatibility with the actual world in terms of physical laws, general truths, people, places, and entities. Using her taxonomy, she then offers a typology of 13 genres to show how fictional worlds created by different genres differ from each other. As it stands, Ryan’s typology does not contain the genre of counterfactual historical fiction, but similar genres such as science fiction and historical confabulation are included. In this article, specific examples from counterfactual historical fiction are analysed to show why it is problematic to place these texts within the genres of historical confabulation or science fiction. Furthermore, as I show, Ryan’s typological model also does not account for some of the characteristic features of the genre of counterfactual historical fiction and as such the model cannot account for all texts within the genre. To resolve this issue, I offer modifications to Ryan’s model so it may be used more effectively to define and distinguish the genre of counterfactual historical fiction.
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Abraham, Anna, D. Yves von Cramon y Ricarda I. Schubotz. "Meeting George Bush versus Meeting Cinderella: The Neural Response When Telling Apart What is Real from What is Fictional in the Context of Our Reality". Journal of Cognitive Neuroscience 20, n.º 6 (junio de 2008): 965–76. http://dx.doi.org/10.1162/jocn.2008.20059.
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A considerable part of our lives is spent engaging in the entertaining worlds of fiction that are accessible through media such as books and television. Little is known, however, about how we are able to readily understand that fictional events are distinct from those occurring within our real world. The present functional imaging study explored the brain correlates underlying such abilities by having participants make judgments about the possibility of different scenarios involving either real or fictional characters being true, given the reality of our world. The processing of real and fictional scenarios activated a common set of regions including medial-temporal lobe structures. When the scenarios involved real people, brain regions associated with episodic memory retrieval and self-referential thinking, the anterior prefrontal cortex and the precuneus/posterior cingulate, were more active. In contrast, areas along the left lateral inferior frontal gyrus, associated with semantic memory retrieval, were implicated for scenarios with fictional characters. This implies that there is a fine distinction in the manner in which conceptual information concerning real persons in contrast to fictional characters is represented. In general terms, the findings suggest that fiction relative to reality tends to be represented in more factual terms, whereas our representations of reality relative to fiction are colored by personal subjectivity. What modulates our understanding of the relative difference between reality and fiction seems to be whether such character-type information is coded in self-relevant terms or not.
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Topash-Caldwell, Blaire. "“Beam us up, Bgwëthnėnė!” Indigenizing science (fiction)". AlterNative: An International Journal of Indigenous Peoples 16, n.º 2 (junio de 2020): 81–89. http://dx.doi.org/10.1177/1177180120917479.
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The popularity of Indigenous-authored science fiction art, literature, film, and even video games has exploded in recent years. More than just a niche interest, these works have material effects on the possibilities young Indigenous people envision for themselves. Contrary to research on the negative effects of Native American stereotypes on youth, positive representations of Native peoples found in Indigenous science fiction portray alternative futurisms to those represented in mainstream science fiction. Developed in concert with traditional knowledge and value systems, alternative futurisms as depicted in Indigenous science fiction forefront Indigenous agency in a genre where Indigeneity is either absent or made irrelevant. This article investigates the ways in which Indigenous science fiction creators leverage traditional knowledge systems to paint a picture of Indigenous futures that depart from mainstream science fiction in material ways.
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D. Leavitt, Jonathan, Arseny A. Ryazanov y Nicholas J. S. Christenfeld. "Amazing but true". Scientific Study of Literature 4, n.º 2 (31 de diciembre de 2014): 196–210. http://dx.doi.org/10.1075/ssol.4.2.04lea.
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People find it important to know if a story is factual, but still the most popular stories, in such forms as books and movies, are fictional. Research suggests that a story being true may add value to the reader’s experience, but other findings suggest that fiction may increase enjoyment by providing fewer disruptions to narrative comprehension. In three studies we explored the appeal of stories when they are presented as fiction or as non-fiction. Subjects read (1) story synopses, (2) vignettes from two popular websites, or (3) narratives on relationships and war. Results indicate that readers preferred stories when they were presented, externally, as non-fiction. Readers also preferred stories that seemed internally — that is, because of how they were written — like fiction. Additionally the results suggested that readers rely more heavily on factual stories to update their notions of reality. This study contributes to a body of literature on reader enjoyment in relation to truth labels made explicit or implicit in narratives as well as on the efficacy of arts-based research.
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Cooper, Neil. "Understanding People". Philosophy 75, n.º 3 (julio de 2000): 383–400. http://dx.doi.org/10.1017/s0031819100000462.
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The division between “erklaren” and “verstehen” is not as sharp as the conventional wisdom maintains, for all understanding, including the understanding of people, consists in the connecting, ordering and appraising of things encountered, believed or known. The understanding of people is a distinctive kind of cognitive understanding which has a practical side, involving the emotions. The education of the emotions, needed for us to understand ourselves and others, can be achieved both by the observation of real life and importantly by the study of realistic fiction and of biography.
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Imyaminova, Shukhratkhon Salijanovna. "The Relationship Issue of Phraseologism and Proverb-Sayings in Language". International Journal of Multicultural and Multireligious Understanding 8, n.º 5 (1 de mayo de 2021): 232. http://dx.doi.org/10.18415/ijmmu.v8i5.2645.
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Phraseologisms are symbolic and figurative means of expression that people have created through language over the centuries. Therefore, fiction cannot be imagined without phraseology. Fiction bus-relies entirely on artistic expression, imagery, and narrative. Therefore, the extensive and effective use of phraseology is extremely powerful in fiction. Phraseologisms are symbolic (figurative) means of expression and imagery that people have created through language over the centuries. That is why language and fiction cannot be imagined without phraseology.
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Ratner-Rosenhagen, Jennifer. "The Real Lives of Fake People". Modern American History 1, n.º 3 (17 de octubre de 2018): 437–42. http://dx.doi.org/10.1017/mah.2018.29.
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Don Quixote is remembered as a dreamer, but he was, in the first instance for his creator, a cautionary tale about the bewitching danger of reading fiction. When Cervantes wrote what is considered to be the first modern novel, he did so having witnessed the explosion of printed texts thanks to the invention of the printing press, and his story chronicles what happens to hapless readers who are sucked into the dreamy world of fiction's unreality. Poor Don Quixote envisioned himself as a swashbuckling knight like those in the chivalric stories he consumed, and his metastasized imagination got him into heaps of trouble. He mistook inns for castles, flocks of sheep for advancing armies, and, most memorably, windmills for giants. Cervantes did not just give readers a unique portrait of an outlandish, romantic, and impractical schemer—he also inspired the word “quixotic” to describe others like him.
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Kortenaar, Neil Ten. "“If It No Go So, It Go Near So”: Marlon James and Collective Memory". Novel: A Forum on Fiction 56, n.º 2 (1 de agosto de 2023): 186–207. http://dx.doi.org/10.1215/00295132-10562799.
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Abstract Marlon James's A Brief History of Seven Killings fictionalizes a historical incident, the shooting of Bob Marley in Kingston in 1976, and the larger political, economic, and cultural forces that led to it and emerged from it. Real people can enter fiction and retain their names if they have already entered history or journalism—if, in other words, they are already part of a shared imagination. But there is a difference between the local Jamaican and global collective memories, a difference that determines which people keep their names and how people are remembered. People seek to enter the imagination of others, but to do so is also to risk being hollowed out and rendered imaginable, becoming a fictional character and less than a full person. But if there is only fiction, fiction also contributes to the collective memory. An awareness of the performative nature of identity and action is precisely how one can control how one is remembered and, just as important, how one eludes the imagination of others. A Brief History adds to the collective memory of readers everywhere but recognizes that Jamaicans already have their own collective memory, that they are self-conscious about what it means to come to the attention of others, and that they have always contributed to shaping the larger collective memory, including when they do not appear in it.
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Yusrina, Riris. "An Analysis of Popular Fiction Movie: Feminism in Movie Miss Peregrine’s Home for Peculiar Children (2016)". Rubikon : Journal of Transnational American Studies 9, n.º 2 (1 de noviembre de 2022): 142. http://dx.doi.org/10.22146/rubikon.v6i2.73536.
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Film is one of American popular culture that attracts many people around the world. America has many movie genres, one of which is a fictional film genre. Fiction works do have very unique characters, from the storyline to the characters in the fictional film. In addition, in the modern era, feminism has been applied in everyday life, starting from education, politics, etc. This article analyzed the feminism of the character of Miss Peregrine in the American fiction film titled Miss Peregrine's Home for Peculiar Children (2016) by using semiotic theory. The results show that several scenes in the film represent feminism through Miss Peregrine's character, those are as a hero and as a leader. In addition, there is ecofeminism in the film.
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Liu, Xinrui, Jiawen Yang y Xinran Zhao. "An investigation into the causes of science fiction animation influencing young people’s awareness of science and technology based on the DIMT model - Love, Death and Robots as an example". SHS Web of Conferences 159 (2023): 02018. http://dx.doi.org/10.1051/shsconf/202315902018.
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As a medium, science fiction animation has a special significance for the construction of science and technology awareness among youth. As the science fiction animation market is booming and popular among young people, it is more and more urgent to explore ways to improve the impact of science fiction animation. This research report analyzes the science fiction symbolic landscape presented by the animation through the questionnaire analysis and interviews of Love, Death and Robots, and explores the meaning construction of the science fiction symbols in the animation and the dissemination path of the scientific spirit kernel, in order to explore the law of its construction of science and technology consciousness for young people, with a view to providing some reference for the innovative development of science fiction animation in China in the future.
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Harrington, John. "Today's conviction – tomorrow's fiction". Psychiatric Bulletin 12, n.º 11 (noviembre de 1988): 465–69. http://dx.doi.org/10.1192/pb.12.11.465.
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Trying to put one's career into perspective is like selecting those eight records for the Desert Island; what should one choose? My recollections are more of people than events. A few individuals have had a lasting influence on me, many more have enriched my life, only rarely have I met somebody I would not care to meet again. People of all types have always fascinated me, and this is perhaps why I have greatly enjoyed my time in psychiatry. My career lacked any master plan, things happened, opportunities arose but my path was determined as much by chance as anything else.
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Perfilova, Anna A. "The attitude of young people to classical fiction". Человек. Общество. Наука 4, n.º 2 (2023): 100–113. http://dx.doi.org/10.53015/2686-8172_2023_4_2_100.
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Rogovin, Or. "From “German Wolfhounds” to “Ordinary People”". New German Critique 46, n.º 2 (1 de agosto de 2019): 65–89. http://dx.doi.org/10.1215/0094033x-7546167.
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Abstract The image of the perpetrator in Israeli Holocaust fiction changed fundamentally in the mid-1980s: from one-dimensional Nazi beasts, typical of earlier Israeli writing, to humanized individuals, whose vulnerability and multidimensionality may blur the divide between victims and victimizers. This development, which corresponds to similar patterns in other literatures (e.g., George Steiner’s Portage to San Cristobal of A.H.; Jonathan Littell’s Kindly Ones) has received relatively little critical attention, and it is discussed here through a close reading of major Israeli works of fiction—Ka-Tzetnik’s Salamandra, David Grossman’s See Under: Love, A. B. Yehoshua’s Mr. Mani—as well as more minor texts. Using theoretical work in narrative (E. M. Forster, James Phelan) and imagology (Manfred Beller and Joep Leerssen on German national character), this article formulates the recent shift in modes of perpetrator characterization in terms of its poetics and its place in Israel’s literary history.
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Rizvi, Noureen y Muhammad Shouket Ali. "Analytical study of Rajindar singh Bedi’s Fiction". DARYAFT 14, n.º 01 (31 de octubre de 2022): 59–78. http://dx.doi.org/10.52015/daryaft.v14i01.211.
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Rajindar singh Bedi was a great writer. He was one of the best fiction writers. Bedi looked at life closely and presented the problems of life in his fiction. His writing style is also unique. Bedi wrote on all topics. He explains the problems of women in his writings. Different forms of women are presented in his stories. Bedi also describes the problems of children and the elderly. The people of subcontinent fought and sacrificed in the pursuit of freedom. All this was witnessed by Bedi and he saw rivers of blood flowing. He saw people were psychologically affected by this bloody situation. Bedi has portrayed their psychological confusion in fiction. Bedi describes minor incidents, common feelings and emotions of people. Bedi is a big name in the golden age of Urdu fiction.
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Guangzhao, Lyu. "Waste People and the Vampiric Society". Extrapolation: Volume 62, Issue 3 62, n.º 3 (1 de diciembre de 2021): 309–29. http://dx.doi.org/10.3828/extr.2021.17.
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Chen Qiufan’s 2013 novel Waste Tide has become one of the most popular stories in Chinese New Wave Science Fiction, especially after the publication of its English version in 2019. This essay argues that in addition to the environmental concerns Waste Tide brings to the fore, the novel also calls for a discussion centered on migrant workers in China. Rendered as waste people on Silicon Isle, these migrant workers find themselves trapped in the duality of "economic acceptance" and "social rejection," forming an autonomous community that can be read through Michel Foucault’s notion of heterotopia. Out of the humiliation imposed by the Silicon Isle natives and the resulting mentality of failure and trauma, the waste people have developed a desire for change and transgression. However, their efforts and sacrifice for self-liberation turn out to be in vain, because in doing so, they are consumed by the vampiric logic of market competition. Such a competition, in fact, is evident not only in the fictional Silicon Isle, but also in the real cities benefitting from China’s market-oriented transition.
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Ohagwam, Uchenna y Ndubuisi Ogbuagu. "Helon Habila and the Trauma of Disposable People in Oil on Water". American Journal of Literature Studies 2, n.º 1 (14 de abril de 2023): 13–22. http://dx.doi.org/10.47672/ajls.1418.
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Trauma studies is no doubt a burgeoning area of discourse that has captured the literary imagination of academic scholars for a few decades running. This study examined the complex relationship between socio-cultural influences and intimate personal relations portrayed in a trauma fiction as Helon Habila’s Oil on Water. Specifically, how does these depictions in Habila’s fiction direct the awareness of the catastrophic effects of war, poverty, hostage taking, domestic abuse on the individual psyche? How do traumatised people respond? To what extent can one theorize trauma studies and ecocritical studies? How traumatized is the physical landscape portrayed in Habila’s fiction? The study concludes by insisting that government of nations and relevant international organisations, owe the people the responsibility of intentionally committing to rearticulating and rehabilitating the social conditions, voices; indeed, the lives of marginalized people.
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Mendrofa, Melania Priska. "READING FICTION FOR BETTER LIFE IN LUIS SEPULVEDA’S THE OLD MAN WHO READ LOVE STORIES". Elite English and Literature Journal 7, n.º 2 (10 de diciembre de 2020): 125. http://dx.doi.org/10.24252/10.24252/elite.v7i2a2.
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Reading is therapeutic. This statement reflects reading as a technique to heal people’s mental problems and increase self-ability. Researches prove that reading is not only for entertainment, but also a tool to solve problem in people’s life. Meanwhile, the question comes up in the term of what kind of book suggested to read. In Luis Sepulveda’s The Old Man Who Read Love Stories, it is implied that reading fiction helps the old man, Antonio, to deal with his old age and loneliness. Reading a love story enlightens the old man’s mind and feelings. Life is overloaded by complex problems, such as war, poverty, gender problem, and nature destruction. People become sentimental to life; there is no happy ending story in life, only death. Meanwhile, Sepulveda sees fiction as the rescuer for a problematic life. This paper will discuss why people read fiction and the effects of reading fiction for someone’s life. The positive impacts of reading fiction for mental health and self-transformation are supposed to encourage people to start a new habit of reading for a better life.
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Lenoir, Norbert. "Le concept de domination politique chez Jean-Jacques Rousseau". Dialogue 39, n.º 2 (2000): 317–38. http://dx.doi.org/10.1017/s0012217300005953.
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AbstractRousseau develops a genealogical reflection on political domination. The intelligibility of the genealogy does not rest on the psychological category of craving for power. That is why Rousseau differentiates between tyranny and despotism. Rousseau stresses this difference in two works: Discours sur l'origine de l'inégalité parmi les hommes and Rousseau juge de Jean-Jacques. Tyranny and despotism differ in that the latter produces an ideological speech. Political domination depends upon a double process. In the first process, ruling implies creating inequality in the political order, thus excluding people from political decisions. In order to mask this political inequality, the ideological speech produces two fictions: the fiction of the guaranty and the fiction of the community. In the second process, ruling implies generating public opinion which, in turn, adheres to this political order.
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Kyobutungi Tumwesigye, Alice Jossy. "Young Adult Vulnerabilities in the Fiction of a Ugandan Woman Writer". Global Research in Higher Education 5, n.º 1 (8 de marzo de 2022): p22. http://dx.doi.org/10.22158/grhe.v5n1p22.
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Questions of identity, power, autonomy and vulnerability carry a particular weight in cultures that have emerged from colonialism. Although few writers of fiction focus on the conflicts between African and European characters, a focus on power and marginalisation remains. One category in which this focus may be plainly seen is writing for and about young people. The study’s aim was to analyse young adult fiction written by a Ugandan female author, Barbara Kimenye to investigate this writing to find out how young adult vulnerability is depicted in literature. Although literature targeting young people in Uganda has flourished and though issues of limited representation have been scrutinised in literary studies, like gender discrimination, very limited attention has been accorded young adult representation in literature. This research analyses fiction written by a female author Barbara Kimenye to expand knowledge about the criticism of young adult representation in literature with particular focus on young adult vulnerability in an adult dominated world. The methodology was mainly qualitative research design, where a document analysis method was used to aid analysis and make critical appreciation of the fictional works. The study investigated the state of young adult characters in literature with special focus on their vulnerability.
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Iyer, Anupama. "Depiction of intellectual disability in fiction". Advances in Psychiatric Treatment 13, n.º 2 (marzo de 2007): 127–33. http://dx.doi.org/10.1192/apt.bp.106.002485.
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I explore some of the ways in which intellectual disability (learning disability) is depicted in fiction. My premise is that literature both reflects and shapes societal attitudes to people in this vulnerable minority group. People with intellectual disabilities are seldom able to determine, confirm or counter narratives about themselves. This situation, in which the subject is fundamentally unable to participate in their representation, raises unique ethical considerations. I use examples from various English-language novels to discuss how subjective accounts, observable behaviours and physical attributes are all employed to characterise people with intellectual disabilities.
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Sharma, Navin y Priyanka Tripathi. "Human Rights and Literature: A Study of The Seven Moons of Maali Almeida". Southeast Asian Review of English 60, n.º 1 (16 de julio de 2023): 171–91. http://dx.doi.org/10.22452/sare.vol60no1.10.
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This article examines the use of symbolic representations in The Seven Moons of Maali Almeida (2022) to narrate the history of Human Rights (HR) violations. The article argues that the genre of fiction has emerged as a cultural medium for promoting the discourse of HR, moving beyond legal, judicial, and political forums. Building upon the concept of Human Rights Literature (HRL) developed by Pramod K. Nayar, the article conducts a critical analysis of the novel. It analyses 1) the use of fictional narratives to depict HR violations, 2) the role of language and cultural discourse that contribute to the dehumanization and demonization of people and massacres, and 3) how the discursive description of HR violations due to riots, civil war, and massacres transforms into a popular language of fiction. The article emphasizes the significance of fiction as a valuable addition to ethical literature within the HR movement and as a tool for spreading awareness.
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Shah, Seema. "Piercing the Veil: The Limits of Brain Death as a Legal Fiction". University of Michigan Journal of Law Reform, n.º 48.2 (2015): 301. http://dx.doi.org/10.36646/mjlr.48.2.piercing.
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Brain death is different from the traditional, biological conception of death. Although there is no possibility of a meaningful recovery, considerable scientific evidence shows that neurological and other functions persist in patients accurately diagnosed as brain dead. Elsewhere with others, I have argued that brain death should be understood as an unacknowledged status legal fiction. A legal fiction arises when the law treats something as true, though it is known to be false or not known to be true, for a particular legal purpose (like the fiction that corporations are persons). Moving towards greater transparency, it is legally and ethically justifiable to use this fiction to determine when to permit treatment withdrawal and organ transplantation. However, persistent controversy and recent conflicts between hospitals and families over the treatment of brain-dead patients demonstrate the need for clearer limits on the legal fiction of brain death. This Article argues that more people should recognize that brain death is a legal fiction and further contends that existing scholarship has inadequately addressed the appropriate use of the legal fiction of brain death in legal conflicts. For instance, as in Jahi McMath’s case (in which a mother wanted to keep her daughter on a ventilator after she was determined brain dead), families may distrust physicians and hospitals who fail to acknowledge that brain death is a legal fiction. Legislators in most states have ignored the need to permit statutory exceptions for individuals with strong sanctity of life views. When hospitals treat braindead pregnant women, as in Marlise Mu˜ noz’s case, courts have failed to weigh the fundamental constitutional rights of pregnant women against the state’s interests. Finally, judges and legislators should sometimes “pierce the veil” of brain death and should not use the legal fiction in cases involving: (1) religious and moral objections, (2) insurance reimbursement for extended care of brain-dead patients, (3) maintenance of pregnant, brain-dead women, and (4) biomedical research. The Article concludes with general guidance for judges, legislators, and other legal actors to use regarding legal fictions.
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Costello, Eamon, Tiziana Soverino y Prajakta Girme. "Books (Are Not Like People): A Postdigital Fable". Postdigital Science and Education 4, n.º 2 (4 de octubre de 2021): 519–39. http://dx.doi.org/10.1007/s42438-021-00256-2.
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AbstractWhat are books? In 2054, where reading and writing have been banned, a scholar in a dystopian academy known as University V might legitimately pose such a question. This article uses speculative fiction as a form of narrative enquiry to explore the socio-materiality of the iconic educational artefact of the textbook. It gives an empirical account of socio-material practices of textbook use (and non-use) gathered from a series of interviews with online distance education students. We analyse these interviews via speculative fiction. We engage in a sense-making activity of the student testimony by narrating their story, via a scholar looking back at our times from a post-literature future. We seek to contribute to a relative dearth of future studies that use real student data. We give an example of how speculative fiction may be used as a form of research method to analyse and interpret such data. In so doing, we seek to cast a light on current educational practices, to show how books and people are entangled. As people, objects and spaces of education intertwine, they call our attention to the interplay of form and function. They decentre the human actor. We attempt to show how form legitimates certain types of knowledge, certain people, indeed people themselves from other non-human actors. We conclude that knowledge is not disembodied, is not stable and is not locked up in books. In our final analysis, we conclude what may seem obviously true, that books are not like people.
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Costello, Eamon, Tiziana Soverino y Prajakta Girme. "Books (Are Not Like People): A Postdigital Fable". Postdigital Science and Education 4, n.º 2 (4 de octubre de 2021): 519–39. http://dx.doi.org/10.1007/s42438-021-00256-2.
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AbstractWhat are books? In 2054, where reading and writing have been banned, a scholar in a dystopian academy known as University V might legitimately pose such a question. This article uses speculative fiction as a form of narrative enquiry to explore the socio-materiality of the iconic educational artefact of the textbook. It gives an empirical account of socio-material practices of textbook use (and non-use) gathered from a series of interviews with online distance education students. We analyse these interviews via speculative fiction. We engage in a sense-making activity of the student testimony by narrating their story, via a scholar looking back at our times from a post-literature future. We seek to contribute to a relative dearth of future studies that use real student data. We give an example of how speculative fiction may be used as a form of research method to analyse and interpret such data. In so doing, we seek to cast a light on current educational practices, to show how books and people are entangled. As people, objects and spaces of education intertwine, they call our attention to the interplay of form and function. They decentre the human actor. We attempt to show how form legitimates certain types of knowledge, certain people, indeed people themselves from other non-human actors. We conclude that knowledge is not disembodied, is not stable and is not locked up in books. In our final analysis, we conclude what may seem obviously true, that books are not like people.
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Oyebode, Femi. "Fictional narrative and psychiatry". Advances in Psychiatric Treatment 10, n.º 2 (marzo de 2004): 140–45. http://dx.doi.org/10.1192/apt.10.2.140.
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This article addresses how mental illness and psychiatry are dealt with in fictional narrative. The starting point is Charlotte Bronte's novel Jane Eyre. The characterisation of madness in that novel provides the basis for exploring how the physical and psychological differences of mentally ill people are portrayed, and how violence and the institutional care of people with mental illnesses are depicted. It is also argued that the fact that in Jane Eyre, Bertha Mason, the madwoman in the attic, is rendered voiceless is not accidental but emblematic of the depiction of mentally ill people in fiction. A number of novels are used to illustrate these issues.
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Zuykina, Kristina L. y Daria V. Sokolova. "Fake News: Can Young People Distinguish Fact from Fiction?" Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, n.º 71 (1 de junio de 2021): 310–26. http://dx.doi.org/10.17223/19986645/71/19.
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McLeod, John. "July's People: Adoption and Kinship in Andrea Levy's Fiction". ariel: A Review of International English Literature 53, n.º 1-2 (2022): 167–92. http://dx.doi.org/10.1353/ari.2022.0007.
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Mallan, Kerry. "Dystopian Fiction for Young People: Instructive Tales of Resilience". Psychoanalytic Inquiry 37, n.º 1 (2 de enero de 2017): 16–24. http://dx.doi.org/10.1080/07351690.2017.1250586.
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Newby, Mike. "The ‘God beyond God’ in Fiction for Young People". International Journal of Children's Spirituality 3, n.º 1 (junio de 1998): 69–74. http://dx.doi.org/10.1080/1364436980030108.
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Armstrong, Neil. "Young people are fit and active – Fact or fiction?" Journal of Sport and Health Science 1, n.º 3 (diciembre de 2012): 131–40. http://dx.doi.org/10.1016/j.jshs.2012.05.003.
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Dar, Karim. "Alcohol use disorders in elderly people: fact or fiction?" Advances in Psychiatric Treatment 12, n.º 3 (mayo de 2006): 173–81. http://dx.doi.org/10.1192/apt.12.3.173.
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The number of older people is increasing in populations throughout the world. Alcohol use disorders in elderly people are a common but underrecognised problem associated with major physical and psychological health problems. Owing to the negative attitudes and inadequate training of healthcare professionals, alcohol misuse is not always being detected or effectively treated. Current diagnostic criteria and common screening instruments for alcohol use disorders may not be appropriate for elderly people. Older people are as likely to benefit from treatment as younger people and the basic principles of treatment are much the same. Better integrated and outreach services are needed. Training of healthcare professionals in this area and pragmatic research should be prioritised to improve detection, treatment and service provision for this vulnerable and neglected population.