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Wimalasena, Yashvi, Jeremy Windsor e Mark Edsell. "Using Ultrasound Lung Comets in the Diagnosis of High Altitude Pulmonary Edema: Fact or Fiction?" Wilderness & Environmental Medicine 24, n. 2 (giugno 2013): 159–64. http://dx.doi.org/10.1016/j.wem.2012.10.005.
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Zolyan, Suren. "What Is Unreliable in Fiction and Where It Comes From". Epistemology & Philosophy of Science 59, n. 2 (2022): 76–80. http://dx.doi.org/10.5840/eps202259224.
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Maier’s article recalls the idea of finding common ground between different points of view on the truth in fiction and the problem of reliability that it generates. However, the criteria by which it is possible to determine the characteristics of the reliability or unreliability in the artistic narrative are unclear. A naive-realistic approach leads to contradictions. We propose to proceed from the already established approaches to the problem of “truth in fiction”, and consider as determining for the modal pragmasemantics of narrative the concept of narrator bifurcated between the actual and fictional worlds.
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Аnchishina, E. A. "THE ROLE OF LEGAL FICTIONS IN MODERN LAW ENFORCEMENT PRACTICE". Bulletin of Udmurt University. Series Economics and Law 30, n. 5 (12 novembre 2020): 697–705. http://dx.doi.org/10.35634/2412-9593-2020-30-5-697-705.
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This article is devoted to defining the role of legal fictions in modern law enforcement practice. To do this, the author reveals the content of this category, paying attention to the absence of the need to consider fiction as something false and contrary to objective reality. Further, the author defines the meaning of legal fictions, conducting a detailed analysis of their main functions on the example of the civil legislation of the Russian Federation and the corresponding law enforcement practice. At the same time, its practical aspect is mainly studied. The main attention is paid to the protective function of legal fiction, the essence of which, as the author shows, is to restore violated rights and establish a balance of interests of the parties to the legal relationship, as well as to protect the rights of third parties. The features of this function are considered on the examples of the following fictions: fiction of the occurrence of a condition or non-occurrence of a condition; fiction of the presence of powers; fiction of non-conclusion of a contract. The author comes to the conclusion that fiction as a method of legal technique is used not only by the legislator, but also finds independent application in practice, which is reflected in the explanations of higher courts considered in this article.
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Weinert, Friedel. "Hypothetical, not Fictional Worlds". Kairos. Journal of Philosophy & Science 17, n. 1 (1 dicembre 2016): 110–36. http://dx.doi.org/10.1515/kjps-2016-0019.
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Abstract This paper critically analyzes the fiction-view of scientific modeling, which exploits presumed analogies between literary fiction and model building in science. The basic idea is that in both fiction and scientific modeling fictional worlds are created. The paper argues that the fiction-view comes closest to certain scientific thought experiments, especially those involving demons in science and to literary movements like naturalism. But the paper concludes that the dissimilarities prevail over the similarities. The fiction-view fails to do justice to the plurality of model types used in science; it fails to realize that a function like idealization only makes sense in science because models, unlike works of fiction, can be de-idealized; it fails to distinguish sufficiently between the make-believe (fictional) worlds created in fiction and the hypothetical (as-if) worlds envisaged in models. Representation characterized in the fiction-view as a license to draw inferences does not sufficiently distinguish between inferences in fiction from inferences in scientific modeling. To highlight the contrast the paper proposes to explicate representation in terms of satisfaction of constraints.
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Castelli, Alberto, e Jiang Huiyu 蒋惠聿. "THE VOICE OF FRENCH REALISM IN YU HUA’S AND SU TONG’S FICTION". Folia linguistica et litteraria XII, n. 36 (settembre 2021): 103–20. http://dx.doi.org/10.31902/fll.36.2021.7.
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Chinese postmodern literature, or post-Mao fiction, comes with disillusionment among the intellectuals and cynicism among the fictional characters. According to this line of thinking, narrative enters a theoretical discourse that leaves aside the former ideological imprint and moves within the frame of realism. As in the experience of the nineteenth century French realism, Su Tong’s and Yu Hua’s fiction describe a process of Bildungsroman that is never accomplished. A crude Darwinian weltanschauung seems to be the key to understanding.
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Brauneis, Adrian. "Fiktive Tatsachen, ihre Relativität und deren Angabe". Scientia Poetica 24, n. 1 (1 novembre 2020): 133–72. http://dx.doi.org/10.1515/scipo-2020-005.
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AbstractThe present article is concerned with the term realism. It develops an argument to distinguish between two different types: epistemically reflexive and non-reflexive realism. Wherever a fiction prompts its readers to distinguish between speaker-utterances from utterances not tied to a fictive character realism of the epistemically non-reflexive variety is at hand. Such a fiction posits a reality not to be reduced to the conceptual scheme of its fictive inhabitants. Realism of the epistemically reflexive sort indicates the relativity of the very conceptual fabric by which utterances not tied to a fictive entity give access to a fictive reality. In such a game of make believe there is, ontologically speaking, no room for the conjecture of a reality providing its fictive inhabitants as well as its non-fictive interpreters with concepts to name things as they are in themselves. How this comes to pass is shown by making use of Roland Barthes’ famous term ›reality effect‹ and subsequently illustrated by using the example of Franz Innerhofer’s novel Schöne Tage (Beautiful Days, 1975). The main argument is framed by a discussion of 19th century literary realism, on the one hand, and some concluding remarks on the potential cognitive benefits of epistemically reflexive realism, on the other hand. Whereas epistemically non-reflexive realism is a part of the family resemblance of a large portion of 19th century narrative fiction, so-called poetic realism is, according to the present article, to be considered as epistemically reflexive realism. Finally, it is argued that whenever a fiction, so to speak, loosens the connection between a fictive reality and certain concepts by suggesting the conceptual relativity of its own prescriptions to imagine certain things as fictionally true readers might be all the more willing to transfer those very same concepts into their own world.
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De Roest, Karla. "Maak een vuist als je geen hand hebt. Inclusiviteit in (pre)historische jeugdromans". Paleo-aktueel, n. 33 (16 luglio 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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Haley, Madigan. "On Gathering: Or, The Birth of Global Fiction from the Spirit of Tragedy". Novel 53, n. 1 (1 maggio 2020): 76–95. http://dx.doi.org/10.1215/00295132-8139339.
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Abstract This article examines how certain works of global fiction have conceived of their ethical and political agency through the form and act of gathering. Discussions of the global novel's relationship to collective life have often adapted the ideas of Benedict Anderson in order to suggest that contemporary fiction extends “imagined community” from the nation to the globe. Yet political theorists such as Wendy Brown have shown how global economic integration under neoliberalism comes at the price of national social disintegration. In search of a collective imaginary outside the terms of global integration and nationalist resurgence, this article looks to the 1930s (rather than 1990s) as an origin point for global fiction, finding in “British” works attuned to the disintegration of the liberal world-system a model of fiction's agency relevant for neoliberal times. Works by Mulk Raj Anand, Virginia Woolf, and, later, Zadie Smith respond to social and political disintegration by insisting upon fiction's capacity to gather together a disparate audience; and they suggest how gatherings afford an unbounded, eventual, and non-sovereign arrangement of collective life within the ruins of global modernity.
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YALÇIN, Çağrı, e Elif ÖZDOĞLAR. "ARCHITECTURAL ANALYSIS OF THE DUNE MOVIES". SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, n. 36 (15 marzo 2023): 221–36. http://dx.doi.org/10.31567/ssd.870.
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When the works of science fiction cinema from the past to the present are examined, space designs that are often designed inspired by architectural movements and designed in accordance with the targeted time period of production are seen. If it is not possible to produce all or some part of these space designs technologically in today's conditions, it is defined as fictional space design. In line with the technological developments and innovations experienced since the first emergence of cinema, fictional space designs continue the process of evolution. It can be seen that one of the biggest factors that has accelerated the evolutionary processes of science fiction and fictional space since the first examples is its interaction with art movements. When science fiction is mentioned, the first thing that comes to mind is the future, advances in technology, a future society developed from existing paradigms. Sci-Fi is usually depicted in a way that makes a statement about current issues related to the future, society, the environment, politics, economics and religion, or questions them with the problems posed by the progress of science in various fields. The art and architectural movement inspired by a cinema work can be seen in all product and space designs within the scope of the film. By showing diversity most of the time, it incorporates style and design approaches from different architectural movements and offers an eclectic aesthetic integrity to the audience. For example, in the works of science fiction cinema, within the fiction of the same planet, living in the same time zone or different from each other, which belong to the same race or species, socio-cultural and Economic, the political administration of the societies differ from each other according to geographical and spatial designs-a lot of and it can be seen in production. One of the most important examples is the Dune productions. In this research, architectural analyses of Dune films in terms of fictional space will be performed.
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Svoboda, Manuela, e Petra Zagar-Sostaric. "How much Artistic Freedom is permitted when it comes to Language? - Analysis of a Crime Novel". European Journal of Social Science Education and Research 5, n. 2 (1 agosto 2018): 50–60. http://dx.doi.org/10.2478/ejser-2018-0033.
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Abstract In this article a closer look will be taken at the issue of inaccurately using a foreign language, i.e. German in this particular case, in a crime novel or thriller. Of course, in fiction the author has complete artistic freedom to invent and present things as he/she intends and it doesn`t necessarily have to be realistic or legitimate. But what happens when it comes to an existing language being quoted in fiction? For this purpose David Thomas’ thriller “Blood Relative - How well do you know the one you love?” is analysed regarding parts in which German quotes are used. As the plot is located partly in England and partly in former East Germany (GDR) and the protagonist’s wife is of German origin, direct speech, titles and names are used in German. Subsequently, they are translated into English by the author in order to be understood by the English reader. However, there are many grammar, spelling and semantic mistakes in these German expressions and common small talk quotes. This begs the question, is it justified to disregard linguistic correctness with regards to artistic freedom given the fact that we are dealing with a fictional thriller, or is it nevertheless necessary to be precise concerning foreign language usage? How far may one “test” their artistic freedom in this particular case? In order to answer these questions a detailed analysis of the thriller is performed, concerning artistic freedom and modern literature/light fiction as well as the German language used in quotes and direct speech.
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Rody, Caroline. "Between “I” and “We”: Viet Thanh Nguyen's Interethnic Multitudes". PMLA/Publications of the Modern Language Association of America 133, n. 2 (marzo 2018): 396–405. http://dx.doi.org/10.1632/pmla.2018.133.2.396.
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The rise of an interethnic imagination in recent american literature has been remaking what we think of as ethnic fiction into interethnic fiction. While memory, history, and tradition continue as shaping forces in American letters, an urge toward encounter with others is vividly reworking fictional structures, plots, casts of characters, and uses of language, as well as social visions, literary ambitions, and currents of intertextual influence. In some cases, the mind of a protagonist or narrator, indeed the very mind of a text, comes to seem the site of a momentous encounter of peoples, a living human nexus (Rody). Such is the case in the fiction of Viet Thanh Nguyen, in which the interethnic impulse generates a remarkable pronominal drama, a performance that oscillates between a narratorial “I” and a “we” to negotiate—across the pain and struggle of war, dislocation, and immigrant Americanization and across disparate political and literary allegiances—a Vietnamese American voice.
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Styles, Morag. "FICTION FOR CHILDREN COMES OF AGE". New Review of Children's Literature and Librarianship 11, n. 2 (novembre 2005): 111–15. http://dx.doi.org/10.1080/13614540500324088.
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Girard, Nancy J. "Science Fiction Comes to the OR". AORN Journal 86, n. 3 (settembre 2007): 351–53. http://dx.doi.org/10.1016/j.aorn.2007.08.003.
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Martin-Diaz, M. J., A. Pizarro, P. Bacas, J. P. Garcia e F. Perera. "Science fiction comes into the classroom:Maelstrom II". Physics Education 27, n. 1 (gennaio 1992): 18–23. http://dx.doi.org/10.1088/0031-9120/27/1/004.
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Belousova, Elizaveta O. "AND THE STARS OF HEAVEN FELL TO THE EARTH: ESCHATOLOGICAL MOTIVES IN RUSSIAN SCIENCE FICTION LITERATURE OF THE 2010S (WITH THE EXAMPLE OF “THE FOUR” BY ALEXANDER PELEVIN)". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n. 7 (2022): 63–75. http://dx.doi.org/10.28995/2686-7249-2022-7-63-75.
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Due to its allegorical nature, science fiction narrative in Russian literature-centric culture becomes a transmitter of sociocultural metamorphosis. Science fiction literature of the 2010s constructs fictional spaces appealing to the recipient’s emotional background. The primary purpose of this is to initiate a call to action by referring to the reader’s fundamental experiences and anxieties, hopes, ambitions, and frustrations. Reality is often depicted as traumatic, and by integrating eschatological motives, authors implement both escapist and expressive functions into their texts. The illustrative material for the article below is the novel “The Four” by Alexander Pelevin – it is especially representative within the context of individual creative practices, as the author makes a point of marketing his works via social media, and direct communication with the audience. The category of the end of the world is interwoven into the genre both metaphorically and as a structural aspect of the plot (apocalyptic/postapocalyptic fiction), and in “The Four” it is extended throughout the narrative layers, both vertically and horizontally. From a purely religious impression, Apocalypse shifts into the everyday motive, and it ensures strong connection between the main character and the recipient by the means of shared experience. The recipient of the 2010s, just as the character whose path they observe, undergoes the chaos, colossal change, and suffering that comes with it. In other words, by referring to the end of days, science fiction literature of the 2010s reflects the prosaic yet tragic everyday turbulence.
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BABAEI, ABDOLRAZAGH, e AMIN TAADOLKHAH. "Portrayal of the American Culture through Metafiction". Journal of Education Culture and Society 4, n. 2 (7 gennaio 2020): 9–15. http://dx.doi.org/10.15503/jecs20132.9.15.
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Kurt Vonnegut’s position that artists should be treasured as alarm systems and as biological agents of change comes most pertinent in his two great novels. The selected English novels of the past century – Cat’s Cradle (1963), Slaughterhouse Five (1969), and Breakfast of Champions (1973) – connect the world of fiction to the harsh realities of the world via creative metafictional strategies, making literature an alarm coated with the comforting lies ofstorytelling. It is metafi ction that enables Vonnegut to create different understandings of historical events by writing a kind of literature that combines facts and fiction. Defi ned as a kind of narrative that “self-consciously and systematically draws attention to its status as artefact” metafiction stands against the duplicitous “suspension of disbelief” that is simply an imitation and interpretation of presumed realities. As a postmodern mode of writing it opts for an undisguised narration that undermines not only the author’s univocal control over fiction but also challenges the established understanding of the ideas. Multidimensional display of events and thoughts by Vonnegut works in direction of metafiction to give readers a self-conscious awareness of what they read. Hiroshima bombing in 1946 and the destruction of Dresden in Germany by allied forces in World War II are the subjects of the selected novels respectively. In them Vonnegut presents a creative account in the form of playful fictions. The study aims to investigate how the novelist portrayed human mentality of the American culture by telling self-referentialstories that focus on two historical events and some prevailing cultural problems.
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Yusupov, Khalid U. "Adaptation of Dystopian Texts: Rendering Fictional Realia". Linguistics and Intercultural Communication 26, n. 3_2023 (29 novembre 2023): 130–40. http://dx.doi.org/10.55959/msu-2074-1588-19-26-3-10.
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The article explores adaptation as a means of rendering fictional realia. Fictional realia (also known as quasi-realia and irrealia) are understood as a special kind of linguistic realia (culture-specific items) that exist within the genre of speculative fiction. These lexical units describe various aspects of fictional worlds: flora, fauna, everyday life, social and political structure, etc. Adaptation in general is defined as a specific form of intercultural and interlingual mediation that relies heavily on capabilities and necessities of a target audience. Unlike regular translation, adaptation does not necessarily strive to preserve formal and, in some cases, semantic features of the original text. Adaption can be used for different purposes: to make a text more comprehensible to a target audience, to influence a reader in a specific way, etc. When it comes to rendering fictional realia, adaptation can be interpreted in two ways. Firstly, it can be defined as adaptation of fictional objects, concepts, and phenomena to reality (when fictional realia are replaced by their real counterparts). And secondly, it can be understood as linguacultural adaptation that is conditioned by cultural and linguistic differences between an original and a target audience. The article primarily focuses on the second type of fictional realia adaptation. The Handmaid’s Tale and The Testaments by Margaret Atwood are used as source material for the study. The article draws connections between fictional realia adaptation and creation of new fictional realia (a means of rendering fictional realia that can be defined as either giving a new name to an existing fictional realia or introduction of a completely new fictional realia).
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Debalina Roychowdhury Banerjee. "Revisiting Vampirism: Myth, Mystery, Science, History". Creative Launcher 7, n. 1 (4 marzo 2022): 22–26. http://dx.doi.org/10.53032/tcl.2022.7.1.04.
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Many legends and myths have survived through ages. They also have strong connection with reality of past and present. History, mythology, science, psychology, fiction all is entwined in such a way that it becomes difficult to segregate them from one another. In fact, all these together bring a new meaning to such a subject. True it is and true it shall be that, almost everything that we can think of is connected to many other things. Vampirism is not an exception to that. Though it has been popularized by fictions more, it also has a bleak history, a dreary reality that comes through psychological disorder. The folk beliefs and legends that grew around vampirism is also a matter of real interest. This paper is an attempt to bring the different aspects of vampirism in a nutshell to have a compact idea on the fascinating theme.
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Holovan, Taras. "The concept of fiction in Soroka’s «Crumbs»". Philological Review, n. 2 (10 dicembre 2022): 144–51. http://dx.doi.org/10.31499/2415-8828.2.2022.268668.
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In the article, we analyze the concept of fiction in the short story collection «Crumbs» (2019) by the Ukrainian writer Petro Soroka. In this book, the author directly speaks out about his vision of literature; in some tales, he makes digressions, comments on his writing practice and narration, and outlines his understanding of fiction. All these things create a balance between the author’s intentions and concrete texts. In a broad context, the book is a valuable source for researching short stories in modern Ukrainian literature, the nature of fiction in general, and the understanding of fictionality these days. Soroka considered «Crumbs» the pinnacle of his writing. But the book remains unnoticed. The relevance of the article is grounded on this.
The aim of the article is to outline and identify the conception of fiction proposed in «Crumbs». For that, we solve two main tasks – analyzing the author’s reflections and tracing the realized and unrealized intentions in concrete works.
The central thesis of Soroka is that literature should mirror life. He uses theological reasoning to explain the mirror reflection in fiction (because God creates human fates, he is the best artist, so the goal of literature is not to make-believe but to reflect what God intended). We interpret this thesis and conclude that the author eliminates the main components of fictionality – the make-believe and the filling with meaning. He finds some fictionality in the representation of characters, the depiction of the current time, and the mastery of retelling. But we state that all these fictional components have lost their status because, these days, they are the constituents of nonfictional genres or texts in nonfictional spheres. The only thing that remains when it comes to fiction is the genre. The author names his writings «short stories». So the fictionality of «Crumbs» is a consensus between author and reader about the genre of the book. It arises in a receptive context. Soroka’s short stories are like artifacts that occur because of rethinking subjects in an uncharacteristic, changed context. In this sense, they are contemporary art phenomena.
These conclusions about «Crumbs» may become a basis for researching the other writings by Petro Soroka and the short stories of other Ukrainian writers.
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Langin, Katie. "Imagining Rosalind Franklin Her Hidden Genius: A Novel Marie Benedict Sourcebooks Landmark, 2022. 304 pp." Science 375, n. 6580 (4 febbraio 2022): 504. http://dx.doi.org/10.1126/science.abn2940.
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Wang, Min. "Inspiration of Science Fiction Products to Innovative Design of Realistic Products". Advanced Materials Research 308-310 (agosto 2011): 319–22. http://dx.doi.org/10.4028/www.scientific.net/amr.308-310.319.
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With the rapid development of science and technology, science fiction products are gradually becoming realistic and stepping into and affecting our lives. This paper begins from the connotation of science fiction products in movies, analyzes social, economical and technological base for the existence of science fiction products, and involves the impact and function in existing product design of science fiction products in the aspects of innovative model, advanced technology and material use and so on. Finally it comes to the conclusion that we can take advantage of future technology and new materials of science fiction products in modern product design to improve man-machine relationship of realistic products, design new lifestyles, and better man’s quality of life.
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Roby, Courtney Ann. "Seneca's Scientific Fictions: Models as Fictions in theNatural Questions". Journal of Roman Studies 104 (28 luglio 2014): 155–80. http://dx.doi.org/10.1017/s0075435814000082.
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AbstractSeneca'sNaturales Quaestionesexplains the causes and functional mechanisms of natural phenomena, from common sights like rainbows to exotically out-of-reach ones like comets. The vividness with which he brings them all within the reader's grasp is certainly a literary feat as much as a scientific one, but the rhetorical power of his explanations does not cost them their epistemological validity. Analyses drawn from current philosophy of science reveal elements of fictionality omnipresent in scientific models and experiments, suggesting an approach to Seneca's ‘scientific fictions’ not as failed analogies but as a sophisticated expansion of the tradition of analogical scientific explanation.
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Duncan, Dawn. "Banville's Fiction Comes of Age as It Lays to Rest Old". ABEI Journal 2, n. 1 (1 giugno 2000): 53–59. http://dx.doi.org/10.11606/issn.2595-8127.v2i1p53-59.
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For twenty-five years, John Banville's protagonists have tried to come to grips with the other brother/shadow self. If the protagonist can come to grips with the shadow figure he can create, for a moment, order in his chaotic world, as do Gabriel Godkin, Copernicus, Kepler. When the character fails to embrace the brother/other se!f, he destroys and se!f-destructs, as do Gabriel Swan, Victor Maskell and, for a time, Freddie Monigomery. Freddie Montgomery, as he attempts to lay to rest old ghosts, is a recurring figure not onty in the three novels in which he figures--Book of Evidence, Ghosts, and Athena-but, in a sense, Freddie and his shadow self appear as archetypes in all of Banville's fiction, creating an allegorical tale that is long overdue for attention, especially with regard to its Irish nature. Using Jung's concept of the Shadow combined with the implications of Chaos Theory, I analyze the story beneath the stories -the Irish allegory.-in the fiction of John Banville, a premier Irish novelist.
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Jang, You-jeong. "The artistry of Printed Ancient Fiction". Modern Bibiography Review Society 28 (31 dicembre 2023): 403–26. http://dx.doi.org/10.56640/mbr.2023.28.403.
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This study is on the creative method of Printed Ancient Fiction. It analyzes how Printed Ancient Fiction, as ‘storybooks’, had their own territory in modern literature at the time.
A total of 93 Printed Ancient Fiction were identified from the 1910s to the 1930s. In this paper, it is presented in chronological order.
Novels do not focus only on stories because they must describe a unified point of view, personal establishment. On the other hand, as a storybook, Printed Ancient Fiction is considered a popular work and pursues the interest that comes from the story itself. In order to understand the characteristics of the Printed Ancient Fiction as a storybook, this paper uses the argument of Walter Benjamin’s 〈The Storyteller〉 to analyze the Printed Ancient Fiction with three characteristics: ‘distant places as well as distant times’, ‘unified world’, and ‘morality’.
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Barbaro, Ada. "I Will Tell You My History: Rewriting to Revolt in the Process of al-Tārīkh al-badīl (Allohistory)". Journal of Arabic Literature 52, n. 3-4 (23 novembre 2021): 351–71. http://dx.doi.org/10.1163/1570064x-12341447.
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Abstract In an epoch of revival of the historical novel, Arabic literature tries to provide its own response to the construction of al-tārīkh al-badīl, namely “alternative history” or, also, allohistory which, as a literary genre, was originally a branch of science fiction. By proposing the idea of a counter-narration, the search for historical alternatives becomes a matter of great importance and responsibility. What happens if the writer tries to construct an alternative point of view, a counter-narration in which “History” is transformed into an almost fictional story? Far from an act of betrayal, this can be interpreted as a restoration of iltizām whenever the narrative potential, or the “if” contained within the narrative, comes true. This article aims to present works where the authors wonder: “What would have happened if…?” This question opens space for literary alternatives to mainstream or official historical narratives.
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Banshker, Harshita. "Form Follows Fiction". INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, n. 02 (8 febbraio 2024): 1–13. http://dx.doi.org/10.55041/ijsrem28622.
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A Narration is an act of carefully choosing specific or critical occasions through time and relating them in a particular arrangement. The narrative comes into its presence when spoken to through expressive verbalized shapes such as dialect, portray, or engineering. It takes in time and settings which are variable. Be that as it may, the thought in the story remains consistent. One can describe the same story in numerous diverse ways by the set of connections between all the characters. Additionally, building involvement as narration can shift depending on who is encountering and when, but the set of connections in design remains the same and that is called the Structure of Narration, Account structure comprises the parts, the relationship between those parts, and the meaning or reason that these relationships serve.
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Sotirova, Violeta. "The status of the narrator in Modernist fiction". Journal of Literary Semantics 49, n. 2 (26 novembre 2020): 75–97. http://dx.doi.org/10.1515/jls-2020-2021.
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AbstractThis article explores hitherto unexplored complexities in the positioning of the Modernist narrator. Taking as a starting point Banfield’s ‘empty centre’ technique, the article re-evaluates the difficulties posed by this phenomenon and develops a more thorough and a sounder understanding of ‘the empty centre’. Some of the evidence for a new theory of ‘empty centre’ passages comes from pragmatics and naturally occurring discourse data. In particular, an investigation of the impersonal uses of generic pronouns, which Monika Fludernik (1993. The fictions of language and the languages of fiction: The linguistic representation of speech and consciousness. London: Routledge; 1996. Towards a natural narratology. London: Routledge) had established as key to our understanding of the technique, sheds new light on the nature of the ‘empty centre’ technique and leads to a new understanding of the status of the Modernist narrator. I propose that it is most plausible that the reader will naturalise examples of ‘the empty centre’ as stemming from the narrator. I also argue that we need to construct a new understanding of the status of the Modernist narrator which takes into account some of the central tenets of the Modernist aesthetic, those concerning subjectivity and the possibility of objectivity. Thus, what emerges from the analysis is that the self, and the narratorial figure by extension, can no longer be endowed with the power of omniscience. I will develop my theoretical explanation of ‘the empty centre’ and the positioning of the narrator in Modernist fiction with reference to a variety of examples, mainly drawn from Katherine Mansfield and Virginia Woolf.
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Lovat, Simon. "Whose life is it anyway? Practice-based research into performed fictional-autobiography and the paradox of fiction". Journal of Writing in Creative Practice 12, n. 1-2 (1 aprile 2019): 61–75. http://dx.doi.org/10.1386/jwcp.12.1-2.61_1.
Testo completoAbstract (sommario):
This article explores the notion of ‘self’ as it pertains to autobiographical writing, and its repercussions for the fact/fiction dichotomy inherent in autobiographical praxis. The mode of articulation is a discussion of the reception of two one-man plays: Memoires of a Confused Man (2016) and Are Strings Attached? (2017). Both plays are written and performed by this writer. Drawing on philosophical, cognitive and spiritual discourses, I show that ‘selfhood’ is not a transparent and unproblematic proposition. I then re-examine the so-called paradox of fiction. I argue that it is common experience to care about notional entities and suggest that this comes about by way of ‘transfictional disavowal’ and ‘affective metalepsis’. Finally, I offer an exemplary text, read first as ‘fiction’, and then as ‘autobiography’. I then propose a new modality of the ‘paradox of fiction’, which offers a satisfactory reading position of autobiographical writings based on a re-evaluation of ‘selfhood’.
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Bissett, Julie. "Are you a myth-busting, empathetic infection control superhero?" Dental Nursing 16, n. 4 (2 aprile 2020): 161. http://dx.doi.org/10.12968/denn.2020.16.4.161.
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Aberkane, Ali. "Repräsentationen von Gewalt und Gegengewalt im Werk Christoph Heins: eine diskursive Analyse". Traduction et Langues 17, n. 1 (31 agosto 2018): 48–62. http://dx.doi.org/10.52919/translang.v17i1.557.
Testo completoAbstract (sommario):
Representations of Violence and Counter-Violence in Christoph Hein’s Work: A Discourse Analysis
Violence is generally defined as a daily phenomenon of human reality, which nowadays comes in different forms, involving verbal abuse, and which concerns all cultures and social classes. Violence is also a constitutive dimension in the work of the German author Christoph Hein. Regarding its universal importance and its presence in various discourses (literary and non-literary ones), but also its discursive and counter-discursive forms, the present article aims to de- and/or reconstruct different types of violence discourses, articulated and represented in the author's fictional texts. The prose of the author Christoph Hein is the main corpus of the present article. The representativeness of violence in fiction undeniably stems from a transcultural reflection, which does not only take into account the real and primary forms of violence (especially patriarchal), but also its sometimes invisible or even non-verbal mechanisms.
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Richardson, Peter. "Between Journalism and Fiction". Boom 6, n. 4 (2016): 52–61. http://dx.doi.org/10.1525/boom.2016.6.4.52.
Testo completoAbstract (sommario):
Like Mark Twain, Hunter S. Thompson arrived in San Francisco as an obscure journalist, thrived on the city’s anarchic energies, and departed as a national figure. His literary formation played out in San Francisco during what he called ‘‘a Main Era—the kind of peak that never comes again.’’ That peak helped Thompson invent not only Gonzo journalism, but also himself. This article traces Thompson’s literary formation with special attention to three editors--Carey McWilliams, Warren Hinckle, and Jann Wenner--who helped transform Thompson into what he described as “one of the best writers currently using the English language as both a musical instrument and a political weapon.”
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Holmes, Leigh Howard. "Linkages of Nonfiction and Selfhood: The Places of Personal Essaays". English Journal 91, n. 4 (1 marzo 2002): 64–68. http://dx.doi.org/10.58680/ej2001895.
Testo completoAbstract (sommario):
Literary fiction offers teachers interesting “What if ?” situations to mull over with students. Through the vicarious explorations of fiction students learn to choose or avoid life situations, as Louise Rosenblatt taught us over seventy years ago. However, nonfiction literary prose offers advantages that literary fiction does not. One of these is the directness and sense of honesty that comes with a single voice telling things as they are seen by that person. Other advantages rest in the potential classroom linkages between reading this form of literature and writing the personal essay. Read more about these advantages that Holmes discovers.
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Lecat, Bernard. "Nouvelles fictions égyptiennes". Confluences Méditerranée N°39, n. 4 (2001): 161. http://dx.doi.org/10.3917/come.039.0161.
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Okolo, Mary Stella Chika. "The need for a Philosophical reading of African Literature". Edumania-An International Multidisciplinary Journal 01, n. 02 (20 luglio 2023): 244–58. http://dx.doi.org/10.59231/edumania/8987.
Testo completoAbstract (sommario):
Literature permeates all the labyrinth of human experience. This is because literature acts as both a reflection and a reflector of society. Through the depiction of the life of individual characters the fundamental symbols and values which unite social groups across countries and in different periods of time are conveyed through literature. Important as this consideration may be, its full impact and import cannot be harnessed if they are presented as works of fiction. The main aim of literature as work of fiction is to entertain. Yet in the African context, especially given its historical burden with colonialism and its after affects, most African creative writers employ their work as weapon of social protest. How can African literature retain its fictional character, maintain its role of entertainment and yet act as a force in the re-ordering of African society? This is where philosophy comes in. As the discipline best equipped to guide humanity towards self-understanding by examining all issues confronting humanity and proffering the best solution, philosophy is employed here as the method to be used to extract ideas contained in African literature and subject them to critical evaluation in order to determine their usefulness and justifiability. This study finds that there is need for a philosophical reading of Africa literature. This study concludes that promoting and sustaining dialogue between philosophy and African literature is essential for African self-understanding and opening up new theories for understanding diversities and divergent issues confronting Africa.
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Mundler, Helen E. "Book Review: Jensen (2021). Our Silver City 2094, e-Book. Nottingham: Nottingham Contemporary. ISBN: 978-1399908481". Literature 2, n. 2 (23 marzo 2022): 43–46. http://dx.doi.org/10.3390/literature2020004.
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Corcoran, Steven. "The lost thread of strategy: Lord Jim, Jacques Rancière and dreaming". Maska 32, n. 185 (1 settembre 2017): 32–42. http://dx.doi.org/10.1386/maska.32.185-186.32_1.
Testo completoAbstract (sommario):
This paper discusses Rancière’s recent work The Lost Thread: The Democracy of Modern Fiction. Similar to his directly preceding work, Aisthesis, The Lost Thread explores the transformation of the very paradigm of fiction itself with the advent of modern realism in its break with the conventions of belles lettres. For Rancière, the specific logic of modern fiction, its democracy, consists in a logic of (im)purity that generates what he calls effects of equality. The specificity of modern fiction thus yields a rather different idea of the politics of fiction than that conveyed by modernist readings and epitomized by Roland Barthes’ notion of the reality effect. This paper discusses the logic of this change in fiction implicit within Rancière’s account, a logic the author refers to as ‘creative destruction’ in contradistinction to modernist dialectics; second, it explores the kind of subject implied by this fiction – where subject is understood both as the kind of limit situation that this fiction recounts and the constitution of its characters. Third, the author briefly suggests that Rancière’s reading of the logic of the event, in particular in Joseph Conrad’s Lord Jim, can be seen as sketching an answer to why it is that the key question of ‘how are we to live?’ only ever comes after the event.
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Newbould, M.-C. "Solitary Confinement, Aloneness, and Sociability in Sterne". Literature & History 32, n. 2 (novembre 2023): 129–43. http://dx.doi.org/10.1177/03061973231213032.
Testo completoAbstract (sommario):
Laurence Sterne develops his complex approach towards solitude throughout his fictional and non-fictional writings. Ranging between A Sentimental Journey through France and Italy, Bramine's Journal, Letters from Yorick to Eliza, and Sterne's sermons, this article explores how Sterne juxtaposes the pleasures of retirement with more painful loneliness, and the opportunities that each opens up for sometimes challenging self-contemplation. Various locations stimulate Sterne's engagement with this relationship in differing ways: simply, the enjoyable solitude of country retreat contrasts with the superficial busyness of city life; but for Sterne the opportunity to attain greater self-knowledge comes through his interactions with others. Alone, he must construct imaginary forms of sociability, especially with his beloved but absent Eliza, whom he brings into a fictive conversation through his writing. In the process, the quixotism of Sterne's sentimental authorial persona leads not to a performance of feeling, but to an embrace of human frailty and hopefulness alike.
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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. 2 (10 dicembre 2020): 125. http://dx.doi.org/10.24252/10.24252/elite.v7i2a2.
Testo completoAbstract (sommario):
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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Vernon, Alice Mary. "The Sleep Standard: Analysing Modern Anxieties of Insomnia". Excursions Journal 7, n. 1 (24 gennaio 2020): 114–31. http://dx.doi.org/10.20919/exs.7.2017.235.
Testo completoAbstract (sommario):
We are being increasingly exposed to ideas of perfect sleep in fiction and journalism. This paper explores the notion of a modern self-consciousness surrounding sleep and sleeplessness, and the ways in which this obsession creates a kind of performance anxiety when it comes to achieving sleep of a recommended quality. By analysing journal articles and fictional texts in which the importance of a sleep standard is emphasised, this paper discusses the various situations in which we can fail to sleep, or how sleep can fail us. It will first examine the pressures of performing for ideal rest by investing in and manipulating sleep. This paper will then observe the act of detaching ourselves from the force of sleep, mythologizing and externalising the experience. Finally, by analysing the presentation of insomnia in Jonathan Coe’s The House of Sleep (1997), this paper will suggest that erratic sleeping habits can sometimes be a necessary failure, and that the modern preoccupation with sleep is placing too much focus on an otherwise natural and unpredictable process.
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Rodrigues, Breno Fonseca, e Lyslei De Souza Nascimento. "O brilho distante de um pequeno cometa: A cena interior, de Marcel Cohen / The Distant Glow of a Small Comet: Sur la Scène Intérieur, by Marcel Cohen". Cadernos Benjaminianos 15, n. 1 (8 ottobre 2019): 227. http://dx.doi.org/10.17851/2179-8478.15.1.227-239.
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Resumo: Em Passagens, Walter Benjamin escreve: “O rastro é a aparição de uma proximidade, por mais longínquo que esteja aquilo que o deixou”. Marcel Cohen tinha cinco anos quando, entre 1943 e 1944, sua família foi levada para Auschwitz, apenas a esposa de um tio sobreviveu. Em A cena interior, livro publicado orginalmente em 2013, ele narra, a partir de rastros e vestígios de memória, o que recorda e o que pôde saber a respeito de seus pais, sua irmã, seus avós paternos, dois tios e uma tia-avó. Este artigo analisa essa narração memorialística de Cohen. Busca-se, à luz do pensamento de Benjamin, refletir sobre o processo de reconstrução do passado empreendido pelo escritor, as instabilidades inerentes ao testemunho, ao jogo da ficção e da memória que abarca a escrita da história familiar.Palavras-chave: memória; testemunho; Shoah.Abstract: In Das Passagen-Werk, Walter Benjamin writes: “The trace is the appearance of proximity, no matter how distant what left it may be”. Marcel Cohen was five years old when, between 1943 and 1944, his family was taken to Auschwitz and only the wife of an uncle survived. In Sur la scène intérieur, book originally published in 2013, he narrates, from traces and vestiges from memory, what he remembers and is able to know about his parents, sister, paternal grandparents, two uncles and a great aunt. This paper analyses Cohen’s memoralistic narration. It seeks, in the light of Benjamin’s thoughts, to reflect about the reconstruction process of the past undertaken by the writer, the inherent instabilities in testimony, to the game of fiction and memory that involves the writing of the family story.Keywords: memory; testimony; Shoah.
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Goşa, Codruţa, e Dana Percec. "From Pride and Prejudice to Death Comes to Pemberley. A Reader Oriented Study". Romanian Journal of English Studies 15, n. 1 (1 dicembre 2018): 82–91. http://dx.doi.org/10.1515/rjes-2018-0012.
Testo completoAbstract (sommario):
Abstract The paper looks at the afterlife of Jane Austen’s Pride and Prejudice as envisaged by detective fiction writer and theorist P.D. James who imagines, in one of her novels, a sequel to the famous Regency book. This intertextual connection is analysed in terms of reader orientedness, the paper describing a survey that was conducted by the two authors among MA students in humanities at the West University of Timișoara and the conclusions that were reached after processing the data of the survey.
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Romanyshyn, Robert D. "Diagnostic Fictions". Journal of Humanistic Psychology 59, n. 1 (26 luglio 2018): 107–20. http://dx.doi.org/10.1177/0022167818790300.
Testo completoAbstract (sommario):
Beginning with a case in Part 1 of this article, I illustrate a key difference between the person who comes to therapy and the figure(s) who come for therapy. In Part 2, I describe some features of a literary approach that attend to this difference and animate diagnostic descriptions with images and stories found in literature. Using Mary Shelley’s Frankenstein and drawing on my rereading of her tale, I demonstrate in Part 3 how the character of Victor Frankenstein and his story vividly personify and enrich the DSM category of narcissistic personality disorder. This approach does not reduce Victor Frankenstein and his story to the diagnosis; it magnifies the diagnostic category through the lens of his image and his story.
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Little, Brent. "The Problem of Sacrifice in Mary Gordon’s Final Payments". Christianity & Literature 73, n. 1 (marzo 2024): 99–118. http://dx.doi.org/10.1353/chy.2024.a925056.
Testo completoAbstract (sommario):
Abstract: This article examines how Mary Gordon’s Final Payments (1978) represents a transition in the portrayal of sacrifice in Catholic fiction from pre-1965 works by Mauriac, Greene, and O’Connor to more contemporary ones. Further, when read in dialogue with the concerns of prominent feminist theologians, the novel’s uniqueness comes into sharper focus. Against this backdrop, Final Payments prefigures more recent contemporary Catholic novels that also explore the theme of sacrifice, but with even greater ambiguity. Final Payments thereby both responds to earlier Catholic fiction as well as foreshadows the works of subsequent decades.
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Bray, Suzanne. "Disease, detection and diagnosis: The medical short story and the struggle for literary success in the 1890s". Short Fiction in Theory & Practice 12, n. 2 (1 ottobre 2022): 155–67. http://dx.doi.org/10.1386/fict_00059_1.
Testo completoAbstract (sommario):
After the first death of Sherlock Holmes in 1893, both Arthur Conan Doyle and L. T. Meade turned to the medical short story in order to fill the gap in the popular market. While Meade’s series in The Strand (1893–96), in collaboration with Dr Clifford Halifax, were extremely popular and created a new, sub-genre of detective fiction, Doyle’s stories, published in Round the Red Lamp (1894) were not well-received. The irony in this comes from the fact that Meade managed to adapt the Sherlock Holmes formula to medical fiction, while Doyle did not learn from his own success.
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Auklend, Morten. "Fabelvejen mod nord". Passage - Tidsskrift for litteratur og kritik 34, n. 82 (20 dicembre 2019): 67–84. http://dx.doi.org/10.7146/pas.v34i82.118283.
Testo completoAbstract (sommario):
Merethe Lindstrøm’s novel Nord [North] (2017) deals with end time-themes. The novel formally departs from mainstream science fiction and apocalyptic fiction by providing flashes of the past and the present in concentrated lyrical images that are repeated throughout the novel. Through poetic rituals and ceremonies, and in metaphorical patterns of personification wherein a devastated nature comes ‘alive’, a world is reborn rhetorically and the reader is forced to ponder the abilities and qualities embedded in an overwhelmingly poetical language. By focusing on the demarcation of literal and figurative language and the transcendence of poetic images of nature, the novel becomes a contemplation of individuals coping with questions concerning identity and remembrance in an inhuman world. The article demonstrates how devices and perspectives provided by science fiction can provide strong thought for hard times.
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Ceccagno, Douglas. "Material truth in law and fiction in literature". ANAMORPHOSIS - Revista Internacional de Direito e Literatura 1, n. 2 (28 febbraio 2016): 285. http://dx.doi.org/10.21119/anamps.12.285-299/translation.
Testo completoAbstract (sommario):
In transdisciplinary intersection between Law and Literature, there is the need to approximate concepts, so that the theories that support one area are, to some extent, applicable to the other. This study aims at trying an application of the concept of material truth, which comes from legal studies, to the study of Literature, through its relation to the concepts of mimesis, realism and verisimilitude, used by literary criticism. This study assumes that no one of them is able to fulfil the needs of literary expression, so that an attempt to locate a material truth in Literature will fail too. The article discusses the realistic style in Literature based on different writers’ views on realism and discusses the concept of mimesis and the concepts of internal and external verisimilitude through Roland Barthes’s questioning of truth as understood by literary criticism. In addition, a brief analysis of the novel Leite derramado (Spilt milk), by Chico Buarque, demonstrates how, despite subverting several criteria that assure the verisimilitude, the narrative is able to ensure its credibility as fictional discourse and make the reader accept the fiction that it expresses.
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Soares, Maria Dulce. "Gonçalo Cadilhe nos trilhos de Santo António em Portugal: Intimidades de um Olhar em Por Este Reino Acima. No Primeiro Trekking da História de Portugal". Cadernos de Literatura Comparada, n. 44 (2021): 333–53. http://dx.doi.org/10.21747/2183-2242/cad44v2.
Testo completoAbstract (sommario):
A well-known figure on the stage of contemporary Portuguese travel literature with already fifteen published works, Gonçalo Cadilhe focuses on issues of identity, imagology, space, textual and ontological nature, almost always using the format of the journalistic chronicle, among other brief forms. In fact, this is an author whose writing emerges from a work with a structural spatial referentiality in the travelogue, as a look that comes to rest on a physical and human geography. Thus, starting from the work Por este reino acima. No primeiro trekking da História de Portugal (2020), I intend to problematize the author's gaze on the interior of Portugal today, along his walk in the footsteps of young Santo António, aiming to collect, not only the current images of the country, but also to underline his debut through the webs of fictional narrative. Above all, the book focuses on the first trekking of a Portuguese travel writer through national geographic territories and historiographic metafiction, on the recreation of the biography of Santo António on a journey through the textual space where a porous writing arises, betting on the convergence between the real and the fiction or just a “frictional literature” (Ette 2003:31)
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Robinson, Benjamin Lewis. "Fiction Cares: J. M. Coetzee's Slow Man". Novel 53, n. 3 (1 novembre 2020): 399–418. http://dx.doi.org/10.1215/00295132-8624588.
Testo completoAbstract (sommario):
Abstract J. M. Coetzee's Slow Man considers “care” in contemporary liberal-capitalist societies, including the ostensibly frivolous care of and care for literature. In contrast to grander affects and occupations, care often seems to be “just care,” as if it fails to live up to certain criteria of reality in much the same way that one says something is “just fiction.” If in its literary investigation of such serious issues as disability, aging, and immigration, Slow Man turns into a reflection on the ontology of fiction, this is not mere metafictional frivolity—for care shares the disparaged form of fiction. Coetzee's Elizabeth Costello writings, of which Slow Man appears to be the last, advocate in fiction an “ethics of care.” They are concerned with modes of attention that lack the categorical determinacy of the discourse of rights and of justice and are instead characterized by what I propose to call “justness.” In this light, the novel can be read as examining the skepticism and disappointment with which, on account of this justness, earnest pleas for an ethics of care, or apologies for fiction, are met. The advocacy of care, as of fiction, requires not only good will but also good humor, even if this comes at the cost of being taken seriously. Accordingly, Slow Man proves to be one of the most heavy-going but also lighthearted of Coetzee's novels. It is, after all, “just a joke.”
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Dixon, Paul. "Fitz, Earl E. Machado de Assis and Narrative Theory: Language, Imitation, Art, and Verisimilitude in the Last Six Novels. Bucknell UP, 2019". Journal of Lusophone Studies 4, n. 2 (1 gennaio 2020): 293–95. http://dx.doi.org/10.21471/jls.v4i2.347.
Testo completoAbstract (sommario):
Earl Fitz’s Machado de Assis and Narrative Theory proposes that the Brazilian author problematizes the very tool—language—that makes such things knowable. Importantly, the book introduces methodical doubt about the extent to which, when it comes to Machado, ideas deriving from his fiction can be confidently discerned.
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Sharma, Hritika, Anant D. Patil e Ajit Baviskar. "Fiction contract: its importance in simulation-based medical education". International Journal of Basic & Clinical Pharmacology 12, n. 5 (25 agosto 2023): 766–70. http://dx.doi.org/10.18203/2319-2003.ijbcp20232579.
Testo completoAbstract (sommario):
Simulation-based education has become an integral part of education and training in high-risk professions and disciplines such as aviation, aerospace, military, nuclear power plants, medicine and healthcare. In the last decade, medical simulation has globally emerged as a powerful instructional technique across various specialties and disciplines. Despite its increasing popularity and various advantages, simulation-based medical education (SBME) poses a unique challenge, that is, realism. This is where the concept of fiction contract or suspension of disbelief comes into the picture. In this article we provide an overview of fiction contract in SBME including how can it be effectively addressed during training.