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Artículos de revistas sobre el tema "L fiction"

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Autor: Grafiati

Publicado: 25 de julio de 2024

Última modificación: 31 de julio de 2024

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1

Mikkonen, Kai. "Minimal Departure and Fictional Narrative Situations". Storyworlds: A Journal of Narrative Studies 13, n.º 2 (diciembre de 2021): 71–96. http://dx.doi.org/10.1353/stw.2021.a925851.

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Abstract: Readers understand fictional worlds at least to some extent by drawing on background knowledge of their own world. Some theories of fiction, however, hold that such realistic expectations, or processes of naturalization, are the default attitude in experiencing fictions. Thus, what Marie-Laure Ryan has called the principle of minimal departure (MD) states that readers understand fictional worlds and their components by drawing on background knowledge of their own world, unless otherwise indicated. This article is a critical examination of the relevance of the principle of MD and a contextualization of other theoretical notions of readerly attitude, including Thomas Pavel's principles of maximal departure (MxD) and optimal departure (OD) and Kendall L. Walton's principle of charity, within the broader framework of fictional verisimilitude and believability. The question of relevance will be discussed in relation to the idea of the contract of fiction by which is meant the knowledge that one is reading fiction. The analytic sections of this article focus on the question of fictional narrative situation, which in Ryan's possible-worlds theory functions as the trademark of fiction—as narrators and narratees (or narrative audiences) are exempted from the operations of MD. The "impossible" narrative situations that serve as examples include Jorge Luis Borges's loosely autobiographical story "Funes el memorioso" (1942) and two nineteenth-century French fictions: Guy de Maupassant's short story "La nuit" (1887) and a passage from Émile Zola's roman à thèse, Lourdes (1894).

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2

Carter, Lief. "“Supreme Fictions”: L. H. LaRue's Constitutional Law as Fiction". Law & Social Inquiry 21, n.º 04 (1996): 1061–75. http://dx.doi.org/10.1111/j.1747-4469.1996.tb00109.x.

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3

Carter, Lief. ""Supreme Fictions": L. H. LaRue's Constitutional Law as Fiction". Law & Social Inquiry 21, n.º 4 (1996): 1061. http://dx.doi.org/10.1086/492575.

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4

Gorlée, Dinda L. "Kenneth L. Pike and science fiction". Semiotica 2015, n.º 207 (1 de octubre de 2015): 217–31. http://dx.doi.org/10.1515/sem-2015-0043.

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AbstractKenneth L. Pike’s tagmemic explanation of his etic-emic equivalence corresponds to the notion of “approximate” translation. According to a weaker version of the Sapir-Whorf hypothesis, Pike’s cross-cultural and multilingual perspective of Bible translation approximates the duality and triadicity of Peirce’s immediate/emotional, dynamical/energetic, and final/logical interpretants. Pike’s astronautical examples of the artificial language Kabala-X translated into English and the science fiction story of the Earthmen who invaded Mars are fictional and creative artifacts of human-alien cryptography leading, as argued here, to false semio-logical reasoning.

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5

Bernd, Zilá. "DION, Robert. Des fictions sans fiction ou le partage du réel. Montréal : Les Presses de l´Université de Montréal, 2018. Collection Espace Littéraire. 222p." Interfaces Brasil/Canadá 18, n.º 2 (1 de septiembre de 2018): 169. http://dx.doi.org/10.15210/interfaces.v18i2.13769.

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6

Li, Jialu, Hong Zhang y Meng Guo. "On the Unnatural Spaces Narration of the Film Stranger Than Fiction". Learning & Education 10, n.º 2 (16 de septiembre de 2021): 10. http://dx.doi.org/10.18282/l-e.v10i2.2248.

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Space is one of the important dimensions of film narrative strategy, and the space narrative of film has received more and more attention from narratologists The film “Stranger Than Fiction” uses unnatural narration to The film “Stranger Than Fiction” uses unnatural narration to convey the themes of love, death and life to the audience through the presentation of unnatural narrative space. discusses the unnatural spaces narration of “Stranger Than Fiction” from the perspective of external materialization of inner This paper discusses the unnatural spaces narration of Stranger Than Fiction from the perspective of external materialization of inner psychological state, fantasy narrative space and ontological transcription. The use of these three unnatural space narrative methods not only helps the film to better shape its plot, highlight its themes and interpret its connotations, but also enhances The use of these three unnatural space narrative methods not only helps the film to better shape its plot, highlight its themes and interpret its connotations, but also enhances the film its own sense of fun and level, provoking people to rethink about life, emotions and moral values.

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7

Dumas, Dominique. "Les avertissements de l’« éducation-fiction »". Commentaire Numéro 98, n.º 2 (1 de junio de 2002): 498–503. http://dx.doi.org/10.3917/comm.098.0498.

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8

Kaye, Jofish. "L-Space and Large Language Models". Communications of the ACM 66, n.º 8 (25 de julio de 2023): 116. http://dx.doi.org/10.1145/3596900.

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From the intersection of computational science and technological speculation, with boundaries limited only by our ability to imagine what could be. Design fiction is an approach to understanding and speculating about alternate futures. One part of this can involve creating representative artifacts or prototypes from the future, as if they fell through a time warp to the present day. This column is a piece of such speculative fiction, set in 2025.

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9

Idol-Maestas, Lorna. "Getting Ready to Read: Guided Probing for Poor Comprehenders". Learning Disability Quarterly 8, n.º 4 (noviembre de 1985): 243–54. http://dx.doi.org/10.2307/1510587.

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An advance organizer, TELLS Fact or Fiction, was used to orient students to stories prior to reading them. The steps represented by the acronym were: (T) study story titles, (E) examine and skim pages for clues as to what stories were about, (L) look for important words, (L) look for hard words, (S) think about the story settings, and (Fact or Fiction) decide whether stories were factual or fictional. Teachers used the probing technique to guide 4 LD elementary students and 2 secondary students from general special education classes. Analysis of performance on comprehension questions showed that, in general, students' average performance on factual, sequential, and inferential questions improved when they used the technique. The two older students maintained acceptable performance on inferential questions when the technique was removed; the remainder of the subjects were unable to maintain their improved performance after teacher-guided assistance was removed.

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10

Compton, Bob. "LN2 Handling—Fact and Fiction". Microscopy Today 8, n.º 7 (septiembre de 2000): 26–30. http://dx.doi.org/10.1017/s1551929500054651.

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“I will be getting my first SEM/EDS shortly, and to obtain the required operating permit from my safety group, I need a written procedure for handling LN2. Specifically I need a written procedure for filling the 3 L dewar on the EDS detector from a 50 L dewar mounted on a cart. I plan to make the transfer by using a lab source of LN2 to pressurize the 50 L dewar and have obtained all the valves and fittings required to do this from another SEM lab. I would appreciate copies of the procedure.”This question recently posed to the Microscopy List Server unleashed a flurry of comments, not only on the safety of various LN2 procedures but on the safety of other materials as well. Also discussed was the necessity of formal LN2 handling procedures.

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11

Mickel, Emanuel. "Debra L. Wentz.Fait et fiction: les formules pédagogiques". Romance Quarterly 34, n.º 4 (noviembre de 1987): 490–91. http://dx.doi.org/10.1080/08831157.1987.11000494.

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12

Hirshbein, Laura. "L Ron Hubbard's science fiction quest against psychiatry". Medical Humanities 42, n.º 4 (11 de noviembre de 2016): e10-e14. http://dx.doi.org/10.1136/medhum-2016-010927.

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13

Lundquist, Charles A. "The Science and Fiction of Robert L. Forward". Physics Procedia 38 (2012): 109–15. http://dx.doi.org/10.1016/j.phpro.2012.08.016.

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14

Stewart, Victoria. "Constructing the Crime Canon: Dorothy L. Sayers as an Anthologist". Literature & History 30, n.º 2 (noviembre de 2021): 105–20. http://dx.doi.org/10.1177/03061973211041252.

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A consideration of Dorothy L. Sayers's work as an anthologist of short detective fiction during the late 1920s and early 1930s shows how, though hemmed in by considerations of cost and copyright, Sayers used the compiling of anthologies both as a means of promoting her ideas about the detective form and to foster connections with fellow practitioners. An analysis of Sayers's five anthologies shows her favouring particular authors and stories, even while accommodating different audiences and venues of publication. She thus constructed a canon of short detective fiction, one that continues to exert influence on understandings of the form.

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15

Milenkovic, Ivan. "La volonté générale comme une fiction théorico-politique: Rousseau et le concept de la souveraineté". Filozofija i drustvo 23, n.º 3 (2012): 135–47. http://dx.doi.org/10.2298/fid1203135m.

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Dans ce texte l?auteur examine les rapports entre les concepts du contrat social, de la souverainet? et de la volont? g?n?rale chez Jean-Jacques Rousseau. D?un c?t? ils sont dans les intrins?ques relations mutuelles. De l?autre ce n?est que le concept de la souverainet? qui evite les implications metaphisiques et le statut de la fiction th?orico-politique dans l?oeuvre de Rousseau. La volont? g?n?rale, au contraire, reste en ?tat de la fiction th?orico-politique ? cause de la pressuposition rousseau?nne sur l?unit? du corps politique qui, donc, ne doit ?tre dommager par l?existences des fractions et des parties en dedans. ? savoir, Rousseau ne pouvais pas renonc? de la communaut? comme un ensemble organique, il ne pouvait pas donner l?avantage d?une partie ? l?egard du tout, car il n?avait pas, ? l?epoque, les instrum?ments conceptuels adequats.

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16

Siraeva, Gul'zira Razamirovna. "“THE MARCH” BY E. L. DOCTOROW: HISTORY AND FICTION". Philological Sciences. Issues of Theory and Practice, n.º 3-2 (marzo de 2018): 252–54. http://dx.doi.org/10.30853/filnauki.2018-3-2.8.

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17

Rao, A. "(Re)Writing Women's Wor(l)ds: Fact and Fiction". Comparative Studies of South Asia, Africa and the Middle East 11, n.º 1 and 2 (1 de marzo de 1991): 84–100. http://dx.doi.org/10.1215/07323867-11-1_and_2-84.

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18

Delcuvellerie, Jacques. "R�el, fiction, hallucination�: le�combat avec l�ange". �tudes th��trales N�50, n.º 1 (2011): 135. http://dx.doi.org/10.3917/etth.050.0135.

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19

Moiseev, P. A. "Boltanski, L. (2019). Mysteries and conspiracies. Translated by A. Zakharevich. St. Petersburg: Izdatelstvo Evropeyskogo universiteta. (In Russ.)". Voprosy literatury, n.º 2 (17 de junio de 2021): 264–69. http://dx.doi.org/10.31425/0042-8795-2021-2-264-269.

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The review deals with Luc Boltanski's Mysteries and Conspiracies [Enigmes et complots]. The following is noted as defects of the reviewed book: detective fiction is associated with anxieties that question the framework of modern reality. Such attribution, it is argued, results from inaccurate comparison of detective fiction to a spy novel. The reviewer identifies contradictions in the definition of detective fiction: on the one hand, it is characterised by the proverbial anxiety. On the other, the writer suggests that unravelling a mystery normalises the ‘integrity of predictable expectations.' In addition, Boltanski confuses detective fiction with police procedural novels as well as the concepts of genre and theme with regard to spy novels (as a result, he dwells on ‘the genre of the spy novel,' even though spy novels are written in a number of genres). The review particularly criticises Boltanski's assessment of A. Conan Doyle's prose.

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20

Lu, Wei. "Post--colonialism of Robinson Crusoe". Learning & Education 10, n.º 3 (7 de noviembre de 2021): 238. http://dx.doi.org/10.18282/l-e.v10i3.2470.

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Robinson Crusoe is a realistic fiction. From the perspective of realism, Robinson’s perseverance, courage and never give up spirit on the desert island inspired generations of colonists and explorers. From the point of view of post-colonialism, Daniel Defoe reflected the imperialism and colonialism of that time through this work. Robinson’s occupation, development and rule of the desert island is exactly the process of colonizers creating colonies, which is a true portrayal of colonizers’ overseas expansion and occupation. This paper makes a deeper interpretation of Robinson Crusoe and analyzes the colonialist thoughts in it.

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21

Powell, Gareth L. "The Robot will See You Now". Engineer 302, n.º 7931 (octubre de 2021): 46. http://dx.doi.org/10.12968/s0013-7758(22)90690-7.

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22

Jacquinot, Geneviève. "Le Documentaire, une fiction (pas) comme les autres". Cinémas 4, n.º 2 (4 de marzo de 2011): 61–81. http://dx.doi.org/10.7202/1001023ar.

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En vue de chercher à expliquer comment un film documentaire (n’) est (pas) une fiction comme les autres, l’auteur analyse, après avoir réexaminé certaines oppositions connues (telles réel/imaginaire, histoire/récit, vrai/faux, objectivité/subjectivité, etc.), trois exemples documentaires différents où la « fiction » est utilisée en vue d’augmenter ce que l’on appelle l’« effet de réel ».

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23

Spies, Marijke. "'Poeetsche fabrijcken' en andere allegorieën, eind 16de-begin 17de eeuw". Oud Holland - Quarterly for Dutch Art History 105, n.º 4 (1991): 228–43. http://dx.doi.org/10.1163/187501791x00137.

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AbstractThe French poets of the 15th and 16th centuries (the 'rhétoriqueurs') attached importance to 'poetrie' in the sense of fiction- primarily mythological fiction. This view was adopted by rhetoricians in the South Netherlands (De Castelein), where early Renaissance poets subsequently invested mythological 'poetrie' with a neo-platonic theory of inspiration (De Heere). There was however some resistance to this kind of 'poetic' rendering in the North Netherlands, as well as to the allegorical interpretation directly linked with it (Coornhert). There was a twofold reason for this: the Reformatory rejection of allegorical bible interpretation, and the general humanist respect for the literal meaning of texts. Consequently, a different kind of poetry emerged which was more rhetorically argumentative than artistically fictional. Only later Van Mander was to introduce firmly the neo-platonic interpretation of myths, about which he entered into discussion with H. L. Spiegel, a friend of Coornhert's and a leading light in De Eglentier, the Amsterdam chamber of rhetoric.

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24

Powell, Gareth L. "Smart Clothes and Future Fabrics". Engineer 302, n.º 7940 (octubre de 2022): 40. http://dx.doi.org/10.12968/s0013-7758(23)90028-0.

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25

Lochert, Véronique y Anne Teulade. "Usages de la fiction dans le théâtre allégorique de Calderón". Revue de littérature comparée 384, n.º 4 (21 de septiembre de 2023): 464–79. http://dx.doi.org/10.3917/rlc.384.0084.

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L’Espagne se distingue des autres pays européens par l’important développement qu’y connaît encore un théâtre allégorique religieux au XVII e siècle. Calderón, qui en est le principal auteur, adapte les sujets de plusieurs de ses comedias profanes pour en faire des autos sacramentales . Cette pratique permet d’étudier quels sont les usages de la fiction dans les dispositifs du théâtre allégorique. L’article analyse les transformations subies par les personnages et les intrigues de la fiction lors du passage de la comedia à l’ auto pour le mettre ensuite en rapport avec la théorisation interne de l’allégorie proposée par l’ auto , que l’importance prise par le medium théâtral tend cependant à déconstruire.

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26

Vickers, John A. y Kenneth Roy. "A Marshland index— or ‘Indexing for the Hell of it’". Indexer: The International Journal of Indexing: Volume 19, Issue 4 19, n.º 4 (1 de octubre de 1995): 276–78. http://dx.doi.org/10.3828/indexer.1995.19.4.10.

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27

Powell, Gareth L. "Logistical nightmares". Engineer 302, n.º 7927 (mayo de 2021): 31. http://dx.doi.org/10.12968/s0013-7758(22)90022-4.

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28

Parks, John G. "The Politics of Polyphony: The Fiction of E. L. Doctorow". Twentieth Century Literature 37, n.º 4 (1991): 454. http://dx.doi.org/10.2307/441658.

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29

Ramin, Zohreh y Seyyed Mohammad Marandi. "History/ Fiction: An Intertextual reading of E. L. Doctorow’s Ragtime". 3L: The Southeast Asian Journal of English Language Studies 20, n.º 01 (1 de marzo de 2014): 157–66. http://dx.doi.org/10.17576/3l-2014-2001-12.

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30

Henry, Matthew A. "Problematized Narratives: History as Fiction in E. L. Doctorow'sBilly Bathgate". Critique: Studies in Contemporary Fiction 39, n.º 1 (diciembre de 1997): 32–40. http://dx.doi.org/10.1080/00111619709599517.

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31

Oltarzewska, Jagna. "Projecting Wor(l)ds: The Descriptive in Theory and Fiction". Polysèmes, n.º 9 (2 de enero de 2007): 187–99. http://dx.doi.org/10.4000/polysemes.1788.

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32

Bleiler, E. F. ": Haunted Presence: The Numinous in Gothic Fiction. . S. L. Varnado." Nineteenth-Century Literature 43, n.º 3 (diciembre de 1988): 394–96. http://dx.doi.org/10.1525/ncl.1988.43.3.99p0184f.

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33

Calkin, Siobhain Bly. "Marcia L. Colish.Faith, Fiction and Force in Medieval Baptismal Debates." American Historical Review 120, n.º 5 (diciembre de 2015): 1954.2–1955. http://dx.doi.org/10.1093/ahr/120.5.1954a.

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34

Medina, Carmen L. "Drama Wor(l)ds: Explorations of Latina/o Realistic Fiction". Language Arts 81, n.º 4 (1 de marzo de 2004): 272–82. http://dx.doi.org/10.58680/la20042905.

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This article looks at fifth gradersâ€™ interpretations of Friends from the other side/Amigos del tro lado by Chicana/Mexican American feminist writer Gloria AnzaldÃºa (1993). Drama-in-Education strategies were the pedagogical tools used to facilitate the studentsâ€™ engagement in dialogues that moved them from understanding aspects of the life and social reality of Mexican undocumented immigrants on the US/Mexico border to questioning issues of citizenship and justice. Three (3) overarching themes were identified that extended through the dialogues and the drama: First, Making sense of the issues, where the students began to talk and make sense of social issues presented in the text such as citizenship, representation and language. Second, Friendship and compassion. Finally, Becoming critical: Understanding the multiple perspectives involved.

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35

POWELL, GARETH L. "Herders of mars". Engineer 302, n.º 7928 (junio de 2021): 40. http://dx.doi.org/10.12968/s0013-7758(22)90491-x.

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36

POWELL, GARETH L. "Thinking big". Engineer 302, n.º 7933 (febrero de 2022): 48. http://dx.doi.org/10.12968/s0013-7758(22)90121-7.

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37

Powell, Gareth L. "IT’s the End of the World as We Know It". Engineer 302, n.º 7930 (septiembre de 2021): 42. http://dx.doi.org/10.12968/s0013-7758(22)90656-7.

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38

Powell, Gareth L. "Flat Pack Flight on the Final Frontier". Engineer 302, n.º 7937 (junio de 2022): 38. http://dx.doi.org/10.12968/s0013-7758(22)90572-0.

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39

Löjdström, Anders. "Jaktslottet och Törnrosens bok: paratopi och scenografi hos C. J. L. Almqvist". European Journal of Scandinavian Studies 50, n.º 1 (28 de abril de 2020): 22–44. http://dx.doi.org/10.1515/ejss-2020-0002.

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AbstractThe Book of the Wild Rose is Carl Jonas Love Almqvist’s (1793–1866) masterpiece. The two different editions of this ”book” cover most of his literary career, from the early 1830’s to his hasty departure from Sweden in 1851. The elaborate use of a frame fiction, which confers a self-reflecting metafictional quality to the whole, allows the author to collect a large part of his writings. The fascinating and elusive personality of Almqvist as a writer seems to vanish behind the extreme variety and richness of his work. My aim is to present a reading inspired by the literary discourse analysis of French pragmatic linguist Dominique Maingueneau, which focuses on the frame fiction in The Book of the Wild Rose in order to show the presence of the author facing the reader in different ways in the text.

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40

Rondeau, Frédéric. "De la révolution en fiction". Tangence, n.º 76 (18 de agosto de 2005): 51–67. http://dx.doi.org/10.7202/011216ar.

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En prenant pour objet Le banquier anarchiste, nouvelle où Fernando Pessoa s’interroge sur l’échec de la logique à expliquer la réalité, cet article propose de mettre en évidence les deux conceptions distinctes de l’anarchie qui y sont à l’oeuvre : la doctrine politique de l’anarchisme, mais aussi et surtout une forme d’« anarchie esthétique ». Cette dernière, qui s’inspire de la première (ou serait-ce l’inverse ?), se signale par le questionnement de l’ordre établi et la remise en cause des conventions littéraires et sociales, mais surtout par une conception de l’individualité qui ne repose pas sur un rapport à l’(A)utre. Mise en parallèle avec certains essais d’Oscar Wilde et la théorie anarchiste de Max Stirner, cette lecture du Banquier cherche à tisser des liens étroits avec l’oeuvre entière de Pessoa. Le sentiment d’étrangeté au monde, qui procède notamment de la conscience de l’iniquité et de l’injustice, s’y présente paradoxalement comme étant, à la fois, source de la révolte et seul monde possible pour chacun.

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41

Matoušková, Radka. "Intertextuality in contemporary fantastic fiction". Radomskie Studia Filologiczne. Radom Philological Studies 1, n.º 11 (31 de diciembre de 2022): 101–11. http://dx.doi.org/10.24136/rsf.2022.007.

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The article focuses on the elements of intertextuality in contemporary English literature at the theoretical level and then through literary analysis, and it also clarifies the notion of intertextuality in terms of the process of “Changes and Transformations” at two different levels. At the beginning, there is a description of the characteristics of the concept of intertextuality according to selected sources (F. de Saussure, J. Kristeva, M. Bakhtin, G. Genette, W. Benjamin, F. Jameson, G. Allen). Then the focus is on the examination of one particular intertextual work of a contemporary fantastic literature author, Theodora Goss, who based her work on the tradition of English Gothic and Victorian novels. Such novels exploit works of English classics in literary allusions (M. Shelley, A. C. Doyle, B. Stoker, H. G. Wells, R. L. Stevenson, O. Wilde) and motifs from works of American literature (N. Hawthorne). Eventually, there is an evaluation of the analysed novel, mentioning also the significance of classical literary works in the context of contemporary English prose.

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42

Moskowitz, David. "The Rediscovered 20th Century Boy Scout Dust Jacket Artwork of New Jersey Pulp Artist Chris Schaare". New Jersey Studies: An Interdisciplinary Journal 9, n.º 2 (25 de julio de 2023): 314–33. http://dx.doi.org/10.14713/njs.v9i2.335.

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Christian Richard “Dick” Schaare Jr. (pronounced Shar) was arguably New Jersey’s most prolific and perhaps greatest pulp artist of the 20th century. His iconic artwork would grace hundreds of book covers, dust jackets, comic books, magazines, cigar boxes, calendars, milk cartons, and advertisements for more than 40 years from the 1920s to the 1960s. His pulp fiction artwork is well-known except for 18 dust jackets commissioned by the A. L. Burt Company for their Boy Scout fiction series books published in the mid to late 1920s. That he illustrated these dust jackets, brimming with action, adventure, and drama, has been largely forgotten by time, but they highlight his iconic pulp fiction style early in his career.

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43

Ahmed Said, Brahim. "Pour la réception de l'"ambiguïté générique " du roman autobiographique". Anales de Filología Francesa 27, n.º 1 (15 de noviembre de 2019): 53–73. http://dx.doi.org/10.6018/analesff.386071.

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Nuestra contribución se centrará en la certificación del género de la novela autobiográfica para una posible recepción. Desde que Philippe Gasparini teorizó sobre este género literario (2004) y se puso de manifiesto su principal característica, a saber, la “ambigüedad genérica” que la define, las teorías abundan sin que se haya logrado aún postular en cuanto a su recepción. Mezclando ficción y realidad, este género desafía en cierto modo la lógica a la vez que incita a la intriga. Es teniendo cuenta de esta mezcla contra natura que se origina nuestra argumentación. Se trata de poner de manifiesto esta ambigüedad mediante la interpretación artística ante todo, sin pretender imponer alguna validez práctica con semejante propuesta. Eso mismo es lo que invocamos con el tercer pacto de lectura del género, a través de la redefinición de los términos ficción y realidad en el ámbito literario. This contribution will focus on the confirmation of the genre of the autobiographical novel and stakes a case for its possible reception. Since the theorisation of this literary genre by Philippe Gasparini (2004), and the identification of its main characteristic, namely its defining "genre-related ambiguity", theories abound yet continually fail to postulate as to its reception. Mixing fiction and reality, this genre challenges logic whilst also provoking intrigue. It is by tackling this unnatural amalgam that our argument stems. It is above all a question of valuing this ambiguity through an artistic interpretation, without claiming the practical validity of such a proposal. This is what we are claiming in the third reading pact of the genre, through the redefinition of the terms fiction and reality in the literary field. Notre contribution insistera sur l’attestation du genre roman autobiographique et sur une proposition pour une possible réception. Depuis la théorisation de ce genre littéraire par Philippe Gasparini (2004), et la mise évidence de sa principale caractéristique à savoir son « ambiguité générique » qui le définit, les théories abondent et n’arrivent toujours pas à postuler quant à sa réception. Mêlant fiction et réalité, ce genre défit dans un certain sens la logique et incite en même temps à l’intrigue. C’est en tenant compte de cet amalgame contre-nature que notre propos prend sa source. Il s’agit de valoriser cette ambiguïté par le biais d’une interprétation artistique avant tout, sans prétendre à une validité pratique d’une telle proposition. C’est ce que nous invoquons par le troisième pacte de lecture du genre, en passant par la redéfinition des termes fiction et réalité dans le champ littéraire.

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POWELL, GARETH L. "Our grandchildren’s world". Engineer 300, n.º 7915 (marzo de 2020): 58. http://dx.doi.org/10.12968/s0013-7758(22)90269-7.

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Zaripova, Sokhiba. "INTERPRETATION OF ST TION OF STYLISTIC DEVICES AND ME YLISTIC DEVICES AND METHODS IN THODS IN ''THE HOBBIT''". Scientific Reports of Bukhara State University 5, n.º 2 (24 de mayo de 2021): 178–86. http://dx.doi.org/10.52297/2181-1466/2021/5/2/16.

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Background. The origin, popularity and importance of high fiction in English literature are directly linked to Tolkien's work. Tolkien’s novels were the reasons for the critical rise of English fiction to some extent. His “Hobbit” achieved great success at that time and it was the most popular work among readers. When L. Baum created examples of the fantasy genre, detailed historical events, settings and landscapes were considered as the part of the such genre. On the contrary, Tolkien, refined and elevated these concepts. Tolkien set out to associate the roots of his ideas, which embodied location and time, in the field of fiction. Methods. In this article there have been drawn some views related to the analysis of stylistic devices in the novel of “Hobbit”.

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Barbara, Jean-Gaël. "L’« imaginaire spatial »". Sociétés & Représentations N° 57, n.º 1 (23 de abril de 2024): 77–96. http://dx.doi.org/10.3917/sr.057.0077.

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L’œuvre graphique du créateur emblématique de l’art brut Jean Perdrizet (1907-1975) est reconnue et exposée dans plusieurs musées en France et à l’étranger. Elle est principalement axée sur le thème de l’aventure spatiale de la période 1950-1975. Les œuvres directement dédiées à l’espace sont, par exemple, la « Balance spatiale pour hélicoptère puis astronef-treuil », le « Cerveau électrolyte – astronaute », ou encore la « Fusée palan – Rocket Tackle – Rocket Crane ». Cette œuvre dévoile comment un créateur d’art brut a pu consacrer toute sa vie au thème de la découverte et de la conquête spatiales en imaginant des robots intelligents et des engins destinés à conquérir l’espace. Cette œuvre témoigne d’un univers rêvé, puis imaginé, dans le contexte de la cybernétique, de la communication, y compris avec les morts, du spiritisme, et des neurosciences. L’analyse de cette œuvre à la croisée de l’histoire de l’art, de l’histoire des sciences et de l’histoire culturelle dévoile une culture spatiale liée à la science-fiction, la cybernétique et l’aventure spatiale qui lui est contemporaine.

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Powell, Gareth L. "Touching The future". Engineer 302, n.º 7936 (mayo de 2022): 36. http://dx.doi.org/10.12968/s0013-7758(22)90296-x.

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UK researchers have developed a robot fingertip that creates signals similar to the brain activity associated with human touch. Science fiction author, Gareth L. Powell, explores the possible implications of this technology.

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Громова, П. С. "LITERARY CRITICISM OF THE L. N. GUMILYOV’S LEGACY". Вестник Тверского государственного университета. Серия: Филология, n.º 1(76) (17 de abril de 2023): 39–46. http://dx.doi.org/10.26456/vtfilol/2023.1.039.

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В статье сопоставляются характерные черты романтического героя и пассионарной личности, как ее понимал Л.Н. Гумилев. Делается вывод о том, что теория пассионарности может быть применена при анализе художественной литературы, поскольку позволяет уточнить и углубить понимание данного литературного феномена. The article compares the characteristic features of a romantic hero and a passionate personality, as understood by L.N. Gumilev. It is concluded that the theory of passionarity can be applied in the analysis of fiction, since it allows clarifying and deepening the understanding of this literary phenomenon.

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Coste, Bénédicte. "Jill L. Matus, Shock, Memory and the Unconscious in Victorian Fiction". Cahiers victoriens et édouardiens, n.º 72 Automne (4 de diciembre de 2010): 240–44. http://dx.doi.org/10.4000/cve.2777.

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Penuel, Suzanne. "Barbara L. Estrin.Shakespeare and Contemporary Fiction: Theorizing Foundling and Lyric Plots". Women's Studies 43, n.º 1 (2 de enero de 2014): 107–11. http://dx.doi.org/10.1080/00497878.2014.852433.

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