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1
Fitzpatrick, Noel. "The question of Fiction – nonexistent objects, a possible world response from Paul Ricoeur". Kairos. Journal of Philosophy & Science 17, n. 1 (1 dicembre 2016): 137–53. http://dx.doi.org/10.1515/kjps-2016-0020.
Testo completoAbstract (sommario):
Abstract The question of fiction is omnipresent within the work of Paul Ricoeur throughout his prolific career. However, Ricoeur raises the questions of fiction in relation to other issues such the symbol, metaphor and narrative. This article sets out to foreground a traditional problem of fiction and logic, which is termed the existence of non-existent objects, in relation to the Paul Ricoeur’s work on narrative. Ricoeur’s understanding of fiction takes place within his overall philosophical anthropology where the fictions and histories make up the very nature of identity both personal and collective. The existence of non-existent objects demonstrates a dichotomy between fiction and history, non-existent objects can exist as fictional objects. The very possibility of the existence of fictional objects entails ontological status considerations. What ontological status do fictional objects have? Ricoeur develops a concept of narrative configuration which is akin to the Kantian productive imagination and configuration frames the question historical narrative and fictional narrative. It is demonstrated that the ontological status of fictional objects can be best understood in a model of possible worlds.
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Linder, Rhema, Chase Hunter, Jacob McLemore, Senjuti Dutta, Fatema Akbar, Ted Grover, Thomas Breideband et al. "Characterizing Work-Life for Information Work on Mars". Proceedings of the ACM on Human-Computer Interaction 6, GROUP (14 gennaio 2022): 1–27. http://dx.doi.org/10.1145/3492859.
Testo completoAbstract (sommario):
We present a design fiction, which is set in the near future as significant Mars habitation begins. Our goal in creating this fiction is to address current work-life issues on Earth and Mars in the future. With shelter-in-place measures, established norms of productivity and relaxation have been shaken. The fiction creates an opportunity to explore boundaries between work and life, which are changing with shelter-in-place and will continue to change. Our work includes two primary artifacts: (1) a propaganda recruitment poster and (2) a fictional narrative account. The former paints the work-life on Mars as heroic, fulfilling, and fun. The latter provides a contrast that depicts the lived experience of early Mars inhabitants. Our statement draws from our design fiction in order to reflect on the structure of work, stress identification and management, family and work-family communication, and the role of automation.
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Bell, Hazel K. "Indexes as fiction and fiction as paper-chase". Indexer: The International Journal of Indexing: Volume 20, Issue 4 20, n. 4 (1 ottobre 1997): 209–11. http://dx.doi.org/10.3828/indexer.1997.20.4.13.
Testo completoAbstract (sommario):
Discusses indexes as works of fiction in their own right, or as components of other fiction works. Includes detailed discussion of the fictional index to Nabokov’s Pale fire and its contribution to the text of the work.
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Saarti, Jarmo. "Fictional Literature, Classification and Indexing". KNOWLEDGE ORGANIZATION 46, n. 4 (2019): 320–32. http://dx.doi.org/10.5771/0943-7444-2019-4-320.
Testo completoAbstract (sommario):
Fiction content analysis and retrieval are interesting specific topics for two major reasons: 1) the extensive use of fictional works; and, 2) the multimodality and interpretational nature of fiction. The primary challenge in the analysis of fictional content is that there is no single meaning to be analysed; the analysis is an ongoing process involving an interaction between the text produced by author, the reader and the society in which the interaction occurs. Furthermore, different audiences have specific needs to be taken into consideration. This article explores the topic of fiction knowledge organization, including both classification and indexing. It provides a broad and analytical overview of the literature as well as describing several experimental approaches and developmental projects for the analysis of fictional content. Traditional fiction indexing has been mainly based on the factual aspects of the work; this has then been expanded to handle different aspects of the fictional work. There have been attempts made to develop vocabularies for fiction indexing. All the major classification schemes use the genre and language/culture of fictional works when subdividing fictional works into subclasses. The evolution of shelf classification of fiction and the appearance of different types of digital tools have revolutionized the classification of fiction, making it possible to integrate both indexing and classification of fictional works.
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Savage, Paul, Joep P. Cornelissen e Henrika Franck. "Fiction and Organization Studies". Organization Studies 39, n. 7 (8 giugno 2017): 975–94. http://dx.doi.org/10.1177/0170840617709309.
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The topic of fiction is in itself not new to the domain of organization studies. However, prior research has often separated fiction from the reality of organizations and used fiction metaphorically or as a figurative source to describe and interpret organizations. In this article, we go beyond the classic use of fiction, and suggest that fiction should be a central concern in organization studies. We draw on the philosophy of fiction to offer an alternative account of the nature of fiction and its basic operation. We specifically import Searle’s work on speech acts, Walton’s pretense theory, Iser’s fictionalizing acts, and Ricoeur’s work on narrative fiction to theorize about organizations as fictions. In doing so, we hope that we not only offer an account of the “ontological status” of organizations but also provide a set of theoretical coordinates and lenses through which, separately or together, the notion of organizations as fictions can be approached and understood.
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Owens, Alison, e Donna Lee Brien. "Australian women writers’ popular non-fiction prose in the pre-war period: Exploring their motivations". Australasian Journal of Popular Culture 11, n. 1 (1 dicembre 2022): 63–80. http://dx.doi.org/10.1386/ajpc_00051_1.
Testo completoAbstract (sommario):
Since the 1970s, feminist scholars have undertaken important critical work on Australian women’s writing of earlier eras, profiling and promoting their fiction. Less attention has been afforded to the popular non-fiction produced by Australian women writers and, in particular, to that produced before the Second World War. Yet this writing is important for several reasons. First, the non-fiction writing of Australian women was voluminous and popular with readers. Second, this popular work critically engaged with a tumultuous political, social and moral landscape in which, as women’s rights were increasingly realized through legislation, the subjectivity of women themselves was fluid and contested. Third, as many of these women were also, or principally, fiction writers, their non-fiction can be shown to have informed and influenced many of their fictional interests, themes and characters. Lastly, and critically, popular non-fiction publication helped to financially sustain many of these writers. In proposing a conceptual framework informed by the work of Pierre Bourdieu to analyse examples of this body of work, this article not only suggests that important connections exist between popular and mainstream non-fiction works – newspaper and magazine articles, essays, pamphlets and speeches – and the fictional publications of Australian women writers of the early twentieth century but also suggests that these connections may represent an Australian literary habitus where writing across genre, form and audience was a professional approach that built and sustained literary careers.
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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction". Journal of Literary Theory 12, n. 2 (3 settembre 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
Testo completoAbstract (sommario):
Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Sellars, Shaun. "A work of FiCTION". British Dental Journal 228, n. 2 (gennaio 2020): 61. http://dx.doi.org/10.1038/s41415-020-1205-7.
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Prasad, Amar Nath. "The Non-fictions of V.S. Naipaul: A Critical Exploration". Creative Saplings 1, n. 8 (2022): 1–11. http://dx.doi.org/10.56062/gtrs.2022.1.8.168.
Testo completoAbstract (sommario):
V. S. Naipaul is an eminent literary figure in the field of modern fiction, non-fiction, and travelogue writing in English literature. He earned a number of literary awards and accolades, including the covetous Nobel Prize and Booker Prize. His non-fiction e.g., An Area of Darkness, India: A Wounded Civilization, The Loss of El Dorado, India: A Million Mutinies Now and Beyond Belief are a realistic portrayal of the various types of religion, culture, customs, and people of India. As an author, the main purpose of V. S. Naipaul is to deliver the truth; because poets are the unacknowledged legislators of mankind. The fact that V. S. Naipaul has presented in his non-fiction is more authentic and realistic than that of his fiction. Nonetheless, it is fictional work that is elaborately explored, discussed, and analyzed in abundance. On the other hand, his non-fiction, by and far, remains aloof. In the last few decades, non-fictions are also taking the ground strongly. Now non-fiction writings are being analyzed, elucidated, and explored based on various theoretical principles of literary criticism. V. S. Naipaul carried the new genre to new heights and achievements. He is of Indian descent and known for his pessimistic works set in developing countries. He visited India several times, like Pearl S. Buck and E. M. Forster. So, his presentation of Indian religion, society, culture, and politics are very realistic. His vision and ideas are very close to the modern thoughts and visions of both the east and the west.
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Vertesi, Janet. "“All these worlds are yours except …”: Science Fiction and Folk Fictions at NASA". Engaging Science, Technology, and Society 5 (12 giugno 2019): 135. http://dx.doi.org/10.17351/ests2019.315.
Testo completoAbstract (sommario):
Although they command real spacecraft exploring the solar system, NASA scientists refer frequently to science fiction in the course of their daily work. Fluency with the Star Trek series and other touchstone works demonstrates membership in broader geek culture. But references to Star Trek, movies like 2001 and 2010, and Dr. Strangelove also do the work of demarcating project team affiliation and position, theorizing social and political dynamics, and motivating individuals in a chosen course of action. As such, science fiction classics serve as local folk fictions that enable embedded commentary on the socio-political circumstances of technoscientific work: in essence, a form of lay social theorizing. Such fiction references therefore allow scientists and engineers to openly yet elliptically discuss their social, political, and interactional environment, all the while maintaining face as credible, impartial, technical experts.
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Ilyas, Safa. "Psychological Effects of Sadaat Hasan Manto’s Fiction on Youth of Lahore, Punjab, Pakistan". Media and Communication Review 1, n. 2 (26 dicembre 2021): 19–37. http://dx.doi.org/10.32350/mcr.12.06.
Testo completoAbstract (sommario):
This study aims to look at the idea that Manto straightforwardly expounded on man and woman’s intimate relationships. Reading fiction, dramatizations and books are similarly impacted personalities of the readers as visual screenplays, Manto's fiction engravings in all accessible mediums of print and electronic although quotes from his fictions likewise broadly tune in and share in online communities. This persistence of his work accessibility and appreciation touched the researcher to deal with his fiction to check its psychological effects on the youth of Lahore. This inquiry is strengthened by the reader-response theory to identify the youth perception and understandings about his fictions and Uses and Gratification for the resolutions and intentions of youth to escalate his work. The quantitative survey method utilized, and data collected with Purposive sampling, 500 respondents were chosen, the findings of the study showed, that Manto's fictions make anxiety and eroticism in youth along with this his fictions create mindfulness about social taboo`s and social associations.
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Ilyas, Safa. "Psychological Effects of Sadaat Hasan Manto’s Fiction on Youth of Lahore, Punjab, Pakistan". Media and Communication Review 1, n. 2 (26 dicembre 2021): 19–37. http://dx.doi.org/10.32350/mcr.12.06.
Testo completoAbstract (sommario):
This study aims to look at the idea that Manto straightforwardly expounded on man and woman’s intimate relationships. Reading fiction, dramatizations and books are similarly impacted personalities of the readers as visual screenplays, Manto's fiction engravings in all accessible mediums of print and electronic although quotes from his fictions likewise broadly tune in and share in online communities. This persistence of his work accessibility and appreciation touched the researcher to deal with his fiction to check its psychological effects on the youth of Lahore. This inquiry is strengthened by the reader-response theory to identify the youth perception and understandings about his fictions and Uses and Gratification for the resolutions and intentions of youth to escalate his work. The quantitative survey method utilized, and data collected with Purposive sampling, 500 respondents were chosen, the findings of the study showed, that Manto's fictions make anxiety and eroticism in youth along with this his fictions create mindfulness about social taboo`s and social associations.
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Reinsborough, Michael. "Science fiction and science futures: considering the role of fictions in public engagement and science communication work". Journal of Science Communication 16, n. 04 (20 settembre 2017): C07. http://dx.doi.org/10.22323/2.16040307.
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The imagination of possible scientific futures has a colourful history of interaction with scientific research agendas and public expectations. The 2017 annual UK Science in Public conference included a panel discussing this. Emphasizing fiction as a method for engaging with and mapping the influence of possible futures, this panel discussed the role of science fiction historically, the role of science fiction in public attitudes to artificial intelligence, and its potential as a method for engagement between scientific researchers and publics. Science communication for creating mutually responsive dialogue between research communities and publics about setting scientific research agendas should consider the role of fictions in understanding how futures are imagined by all parties.
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Stanko, D. V. "TYPOLOGICAL PECULIARITIES OF ENGLISH FAN FICTION". Writings in Romance-Germanic Philology, n. 1(48) (5 luglio 2022): 125–30. http://dx.doi.org/10.18524/2307-4604.2022.1(48).259820.
Testo completoAbstract (sommario):
The article highlights typological features of the English fanfiction. The work offers a brief outline of history, main forms and modern trends in fan fiction studies as a genre of web literature. The relevance of the study of fan fiction is due, above all, to the fact that these works are a bright example of the so called live language. They reflect all modern language trends, express the musical, literary and film preferences of the society. In addition, fan fiction is an understudied phenomenon that has existed in various forms, but has received the greatest impetus in development only in recent decades. The term fan fiction is defined as a kind of creativity of fans of popular works of art, a derivative literary work based on any original work that uses its ideas of the plot and characters. It is the type of mass literature, created on the basis of a work of art by fans of this work, which do not pursue commercial purposes and are intended for reading by other fans. In the course of the research it has been established that the genre of fanfiction is a group of works written on a certain topic: Action; Adventure; Detective; Romance; Fluff; Humour; Dark; Deathfic; Angst; PWP (Plot, What Plot?). To denote all the other characteristic features of the work, the authors use the term "category". Categories classify works according to certain characteristics, in particular, according to the original source (fanfiction that corresponds to the realities of the original world, Alternative Universe and Crossover); according to the presence of a love line (General audience, Heterosexual, Slash); according to the presence of fictional characters (Original character, Self-insertion). A unique form of fan fiction is Songfic - a work based on a single song, which is quoted by the author in the story. The perspective of this study is the analysis of structural, stylistic and pragmatic features of fan fiction discourse.
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Kuvač-Levačić, Kornelija. "THE EMOTIONAL CONSTRUCT OF THE FUTURE IN ORWELL’S 1984. AND CROATIAN SCIENCE FICTION IN THE 2000s". Lipar XXIV, n. 82 (2023): 85–106. http://dx.doi.org/10.46793/lipar82.085kl.
Testo completoAbstract (sommario):
In this paper, two works of science fiction, distanced from each other both spatially and tem- porally (as they belong to different national literatures) are analysed: Orwell’s novel 1984 and Darko Macan’s and Tatjana Jambrišak’s short story „Besmrtni slučaj“ (“An Immortal Case”), as an example of Croatian science fiction from the 2000s. This research is focused on the ways in which these respective authors textually construct emotions within the framework of a fictional perspectivisation of the future. Contemporary constructivist approaches to the emotions show that they are an important part of cognitive processes and also culturally conditioned entities. This work proves that emotional constructs of the future can be taken into consideration when dealing with the basic genre characteristics of science fiction. This means that they participate in the creation of a conceptual breakthrough of the paradigm of our episteme, that they are a part of cognitive estrangement, or of the fictional novum validated by epistemic logic. Thus, this topic, when approaching science fiction, despite the national literature or period to which such a work may belong, may contribute to further research regarding the possible cultural conditions of the emotions of the future, as well as furthering knowledge on the characteristics of the genre of modern science fiction.
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Czarniawska, Barbara. "More complex images of women at work are needed: a fictive example of Petra Delicado". Journal of Organizational Change Management 33, n. 4 (27 novembre 2019): 655–65. http://dx.doi.org/10.1108/jocm-02-2019-0045.
Testo completoAbstract (sommario):
Purpose The purpose of this paper is to convince the readers that more complex images of working women are needed, and that fiction may provide them. Design/methodology/approach In this paper, text analysis is done using a version of close reading. Findings Both media and research tend to simplify the images of working women, either in positive or negative way. Reality and some of its fictive representations offer more nuanced examples. Research limitations/implications Fiction can be treated as field material. Practical implications Women should dare more at workplaces. Social implications Researchers should join fiction writers in convincing society of the crucial role women play in contemporary organizations. Originality/value This paper belongs to the growing tradition of transdisciplinary organization studies.
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Atherton, Evan, e Brian David Johnson. "Science Fiction Prototyping at Work". Computer 49, n. 8 (agosto 2016): 109–11. http://dx.doi.org/10.1109/mc.2016.229.
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Schmidt, Erik Wolfgang. "Crossing Over: Rauschenberg, Kafka, and the Boundaries of Imagination". Aesthetic Investigations 1, n. 2 (20 dicembre 2016): 214–26. http://dx.doi.org/10.58519/aesthinv.v1i2.11990.
Testo completoAbstract (sommario):
How do we make sense of something we don’t recognize? This topic raises an important background question: how do we recognize or come to imaginatively experience the subject that a work of art or fiction presents to us? When philosophers address this topic they often assume the act of experiencing or recognizing something through that work is directly under a reader or viewer’s control. The imaginative act, they tell us, is something that a viewer or reader does with the material presented by a given work. This limits the scope of what we might fail to recognize to cases of ambiguity or under-determination. I suggest that this approach ignores the way in which some works of art or fiction puzzle us not because their content is ambiguous but because they frustrate the imaginative act itself. They do this by making it difficult to navigate the imaginary space a fictional object might occupy. To develop this claim I closely examine several works by Robert Rauschenberg and Franz Kafka and suggest that they undermine the common assumption that the activity of imaginatively engaging a work of fiction is under our control. I conclude by suggesting some implications this lack of control might have for two prominent debates related to the activity of recognizing or experiencing something through an engagement with a work of fiction.
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Sooryah, N., e Dr K. R. Soundarya. "Erraticism in the Cannibal – A Study of the Work of Thomas Harris". International Journal of Early Childhood Special Education 12, n. 2 (31 dicembre 2020): 18–23. http://dx.doi.org/10.9756/int-jecse/v12i2.201052.
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Literature is the key to human life that resurrects and gives space for introspection, retrospection and various remembrances which are hued by overjoy, pain and trauma. Nowadays crime literature became one of the most popular genres in this era which centers mostly on murder and violence. It started from Edgar Allen Poe’s most famous fictional character Auguste Dupin, whose first appearance was on The Murders in the Rue Mogue, considered to be the first crime fiction, followed by Dr. John Watson, Sherlock Holmes and the like. The genre crime fiction has contributed innumerable number of works in both fiction and non-fiction. Thomas Harris’s Hannibal Rising is one such fiction which tells about the life of a serial killer who is a psychiatrist as well as a cannibal. It is a series of novels about the famous character Hannibal Lecter. Cannibalism and Psychiatry are two extremes which rarely meet. This novel is intertwined with a mix of violence, emotions and childhood trauma. Trauma studies nowadays became a key aspect in literature. In this specific work of Thomas Harris, he describes how the centralized character is affected with psychological trauma, in particular, Acute and Separation trauma. Trauma theory became popularized in 1980s and played major role in Atwood’s novels. This study tries to explain how childhood shapes a person and how behaviorism plays a vital element in one’s life and it also tries to analyze the psychological issues, trauma and defense mechanism through the central character of the novel.
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Šešlak, Mirko Ž. "PHILIP K. DICK’S UBIK: A NATURAL POSSIBLE WORLD OF SCIENCE FICTION OR A SUPERNATURAL POSSIBLE WORLD OF FANTASY?" Lipar XXIV, n. 82 (2023): 107–21. http://dx.doi.org/10.46793/lipar82.107s.
Testo completoAbstract (sommario):
The article aims to explore whether the text of Philip K. Dick’s Ubik constructs a natural (physi- cally possible) or a supernatural (physically impossible) fictional world. According to Darko Suvin, one of the fundamental traits of science fiction is that its texts construct natural, physically possible fictional worlds. Readers of science fiction have often complained of Ubik, regarding it a confusing work, riddled with supernatural impurities and a lack of precise explanations. The betrayal of these expectations often casts doubt on whether this novel is science-fictional or a work of fantasy. If we aim to determine whether the fictional world of Ubik belongs to the possible worlds of science fiction, the theoretical framework for such a task can be found in Lubomir Doležel’s possible worlds theory. To do this, we must analyze the alethic constraints of the given fictional world, for those narrative modalities govern the formation of the fic- tional world’s physical laws and determine what is possible, impossible and necessary within its boundaries. If our analysis shows that the alethic constraints present in Ubik are analogous to the physical laws of the real world, we will prove that this fictional world is physically pos- sible and therefore possesses one of the fundamental traits of science fiction, naturalness. If our analysis shows otherwise, the fictional world of Ubik can be relegated to the supernatural, physically impossible worlds of fantasy.
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Barbero, Carola. "Genuine and rational tears". Theoria, Beograd 53, n. 2 (2010): 5–18. http://dx.doi.org/10.2298/theo1002005b.
Testo completoAbstract (sommario):
In this paper I examine the emotions we feel while reading a work of fiction. Some philosophers think that our emotional engagement with fiction gives rise to a paradox and involves either irrationality or participation in a game of make believe. In this paper I argue that an Object Theory in a Meinongian style, by supporting a realistic perspective on fictional emotions, is able to dissolve the paradox of fiction.
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Rahma Dwi Nopryana, Wahyudin,. "FILOSOFIS KEBENARAN FIKSI SEBAGAI PENGEMBANGAN INTELEGENSI BAGI KEHIDUPAN INDIVIDU MANUSIA". Jurnal Bimbingan Penyuluhan Islam 1, n. 2 (11 gennaio 2020): 269. http://dx.doi.org/10.32332/jbpi.v1i2.1723.
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The study of intelligence development, as a form of analyzing the intelligence of creativity in revealing objects and trying to find specific, unique things contained in fiction. Changes in the way of thinking intelligence in a fictional truth is a discourse to express a pattern and story line with an understanding. Understanding of intelligence by distinguishing, guessing, then explaining, which is in fiction. The problem of literary works called fiction is a work that tells something that did not really happen. There is a difference of opinion in a work of fiction because it is not in accordance with his views but, intellectually and academically, the truth is less acceptable. The theory used to uncover the phenomenon is based on theory, Utami Munandar that, by way of divergent thinking. Methodology by using critical analysis in an effort to unravel, philosophically discourse of the truth of fiction by using intelligence as a logical reasoning power to find out the harmony in fiction. The results of the study found that, philosophical truth fiction can change individuals able to imagine, understand the situation, experience, and understanding. The ability of individual intelligence will increase after reading fiction based on the ability of intellectual imagination possessed. The conception is based on the development of intelligent divergent ways of thinking that is spread which is also called creative imaginative thinking an ability to provide various answers based on the information provided, with an emphasis on diversity, number and suitability.
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Summerley, Rory. "Approaches to Game Fiction Derived from Musicals and Pornography". Arts 7, n. 3 (27 agosto 2018): 44. http://dx.doi.org/10.3390/arts7030044.
Testo completoAbstract (sommario):
This paper discusses the construction of consistent fictions in games using relevant theory drawn from discussions of musicals and pornography in opposition to media that are traditionally associated with fiction and used to discuss games (film, theatre, literature etc.). Game developer John Carmack’s famous quip that stories in games are like stories in pornography—optional—is the impetus for a discussion of the role and function of fiction in games. This paper aims to kick-start an informed approach to constructing and understanding consistent fictions in games. Case studies from games, musicals, and pornography are cross-examined to identify what is common to each practice with regards to their fictions (or lack thereof) and how they might inform the analysis of games going forward. To this end the terms ‘integrated’, ‘separated’, and ‘dissolved’ are borrowed from Dyer’s work on musicals, which was later employed by Linda Williams to discusses pornographic fictions. A framework is laid out by which games (and other media) can be understood as a mix of different types of information and how the arrangement of this information in a given work might classify it under Dyer’s terms and help us understand the ways in which a game fiction is considered consistent or not.
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Voltolini, Aberto. "The Nature of Fiction/al Utterances". Kairos. Journal of Philosophy & Science 17, n. 1 (1 dicembre 2016): 28–55. http://dx.doi.org/10.1515/kjps-2016-0016.
Testo completoAbstract (sommario):
Abstract In this paper, first of all, I want to try a new defense of the utterance approach as to the relationship between fictional and nonfictional works on the one hand and between fictional and nonfictional utterances on the other hand, notably the idea that the distinction between fictional and nonfictional works is derivative on the distinction between fictional and nonfictional utterances of the sentences that constitute a text. Moreover, I want to account for the second distinction in minimally contextualist semantic terms. Finally, I want to hold that what makes a fictional utterance, hence a fictional work, properly fictional is the contextually pre-semantic fact that its utterer entertains an act of make-believe, where such an act is accounted for in metarepresentational terms. This ultimately means that the fiction/nonfiction distinction is not clarified in terms of the fictional works/nonfictional works distinction, for things rather go the other way around.
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Khan, Muhammad Sajid. "ARTISTIC AND CONCEPTUAL ANALYSIS OF THE FICTION WORK OF ANGARAY". Journal of Social Sciences and Humanities 58, n. 1 (30 giugno 2019): 191–97. http://dx.doi.org/10.46568/jssh.v58i1.138.
Testo completoAbstract (sommario):
Reading habits among young generation is going to declining and culture of reading books is modified to modern methods of communication like browsing social sites and internet, playing on cell phones and watching T.V. This era modernization has taken away the youth from reading habits. It is important that the young generation learns about the rich Urdu literature including Urdu fiction in which several writers have significantly contributed. The emergence of Urdu literature facilitated the expansion of Urdu language. Fiction writers try to indicate important weaknesses of the society, cultural traditions, and norms, so as to find out the solutions to these issues. There were so many fictional works in Urdu literature having done during the progressive and independent movement. “ANGARAY” is a collection of fictional short stories authored by four young writers who had a progressive approach and tried in their own way to bring forth several social issues through their work at the time British India. This paper attempts to present a brief history of this collection and the consequences emerging out of its publication at that time. The study is reviewed and analyzed the criticism on selected short stories of subsequent publication. The study found that the readers would find the ideas and views of the four writers in the present time may provide them some relief from the opposition they faced on publication of their work.
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Markussen, Thomas, Eva Knutz e Tau Lenskjold. "Design Fiction as a Practice for Researching the Social". Temes de Disseny, n. 36 (1 ottobre 2020): 16–39. http://dx.doi.org/10.46467/tdd36.2020.16-39.
Testo completoAbstract (sommario):
The aim of this paper is to contribute to a new conceptual foundation for design fiction. Much attention is dedicated to theorising how design fictions relate to our so-called actual world. This work can be seen as an attempt at securing the seriousness and legitimacy of design fiction as an approach to design research. The theory of possible worlds has proven promising in this regard. We argue, however, that a detailed understanding of design fiction is still lacking. In design fiction literature, authors often engage in critiquing techno-centric approaches while paying less attention to how design fiction has a potential to foster social change in situated actual affairs. We argue that analysis should start from the messy unfolding of the design event itself rather than from big ontological discussions of the boundaries between fiction and reality. To grasp the messiness of design fiction, we offer an interdisciplinary framework, bridging knowledge domains such as literally theory and design anthropology.
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Feagin, Susan L. "Imagining Emotions and Appreciating Fiction". Canadian Journal of Philosophy 18, n. 3 (settembre 1988): 485–500. http://dx.doi.org/10.1080/00455091.1988.10717187.
Testo completoAbstract (sommario):
The capacity of a work of fictional literature to elicit (some) emotional responses is part of what is valuable about it, and having (relevant) emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which occur in ‘real life’? Which emotions are appropriate to the work, and why: what justifies having one emotion rather than another? And why should we think emotionally responding to fiction is desirable, something which should be respected and encouraged, rather than looked at as a little weird or a waste of time?
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Silva e Silva, Fernando. "Chronotopographies". UnderCurrents: Journal of Critical Environmental Studies 21 (18 ottobre 2022): 11–16. http://dx.doi.org/10.25071/2292-4736/40286.
Testo completoAbstract (sommario):
In this paper, I delineate the workings of my concept of chronotopography. Starting from Bakhtin’s concept of chronotope—historico-poetic forms combining time, space and subjectivity—I define chronotopographical fiction as exploring radically other ways to combine and recombine the three elements of the chronotope. In the first section, I review some of the basic characteristics of the chronotope in Mikhail Bakhtin’s work. In the second section, I bring a definition of fiction in order to develop the concept of chronotopography as a unique kind of fiction that confronts existing chronotopes. I conclude that emphasizing the chronotopographical aspects of fiction can show us how to identify and compose new fictions that challenge hegemonic conceptions of time, space and subjectivity.
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Meadows, Lucien Darjeun, e Leia Lynn. "Eighteenth-Century Literary Fragments: Queering the Fiction of “Finished” Work". Eighteenth-Century Fiction 35, n. 4 (1 ottobre 2023): 513–16. http://dx.doi.org/10.3138/ecf.35.4.513.
Testo completoAbstract (sommario):
One of the most accepted fictions in literature is that a work will, at some point in its existence, be completed. In this essay, we queer that assumption, challenging its tenets through examining taxonomies and eighteenth-century categorizations alongside Samuel Taylor Coleridge’s “Kubla Khan” (1797; published 1816), John Keats’s Hyperion (1820), and Mary Wollstonecraft’s Maria: or, The Wrongs of Woman (1798), as well as other unfinished literary works of the long eighteenth century. We argue for the rereading of fragmented and unfinished work as a method of pluriversality and refusal of a singular, monumental, fixed and finished text. By accepting that the finished/unfinished binary of work is not true to creative processes, we refuse the fiction of finished work and argue to elevate those myriad fragmentary works that are currently considered critically inferior.
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Jacobs, Arthur M., e Roel M. Willems. "The Fictive Brain: Neurocognitive Correlates of Engagement in Literature". Review of General Psychology 22, n. 2 (giugno 2018): 147–60. http://dx.doi.org/10.1037/gpr0000106.
Testo completoAbstract (sommario):
Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. The brain processes which play a role in the mental construction of fiction worlds and the related engagement with fictional characters, remain largely unknown. The authors discuss the neurocognitive poetics model ( Jacobs, 2015a ) of literary reading specifying the likely neuronal correlates of several key processes in literary reading, namely inference and situation model building, immersion, mental simulation and imagery, figurative language and style, and the issue of distinguishing fact from fiction. An overview of recent work on these key processes is followed by a discussion of methodological challenges in studying the brain bases of fiction processing.
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Weigand, Edda. "Words between reality and fiction". Literary Linguistics 3, n. 1 (3 giugno 2013): 147–63. http://dx.doi.org/10.1075/ld.3.1.09wei.
Testo completoAbstract (sommario):
The transition from reality to fiction can be best illustrated by analysing autobiographies which claim to describe the life of the author. Essentially they are based on memories, which poses the question whether what is being remembered really happened in this way. In what respect do ‘real’ stories differ from ‘literary’ or ‘fictional’ ones? Several literary autobiographies are analysed and contrasted with popular autobiographies. Are there special literary devices by which we can recognize that a story is intended to be fictional? According to Searle there is ‘no textual property that will identify a stretch of discourse as a work of fiction’. The paper discusses Searle’s position and identifies an interesting textual difference in the way persons are introduced in fiction. Even if there is no sharp division between fiction and non-fiction, there are a few verbal and cognitive means of the game which enable us to recognize how the text is intended.
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Barba, Eugenio. "The Fiction of Duality". New Theatre Quarterly 5, n. 20 (novembre 1989): 311–14. http://dx.doi.org/10.1017/s0266464x00003626.
Testo completoAbstract (sommario):
Eugenio Barba's work with Odin Teatret, and more recently with the International School of Theatre Anthropology, has always been substantiated by a body of developed critical theory, and in NTQ he has specifically developed his ideas about the nature of the actor's work in relation to its energies and their origins in experience and social ritual. In NTQ1 (1985), he outlined the problems involved in analyzing theatre-works rooted in performance rather than the written word; in NTQ4 (1985) he discussed his concept of the ‘dilated body’, through which the performed taps the wellsprings of art and experience; and in NTQ16 (1988), he expanded his idea of the ‘body-in-life’, describing the balance of energies which is essential for the actor to be fully realized. Here, he looks at the way in which the body is falsely perceived as the ‘actor's instrument’, as somehow separate from himself, and discusses the processes of ‘inculturation’ and ‘acculturation’ – which give the actor a true ‘second-nature’, and distinguish his work as ‘ritual in search of a meaning’.
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Hanfi, Muneer Ahmed. "براہوئی افسانہ مسافر؛ نا فنی او تنقیدی جاچ اس". Al-Burz 12, n. 1 (31 dicembre 2020): 14–19. http://dx.doi.org/10.54781/abz.v12i1.37.
Testo completoAbstract (sommario):
In the 19th century, Haibat Khan crafted "Musaafir" the premier fiction, a historical short story in the Brahui language and it was published in the year 1957, in the monthly literary magazine Nawaiy-e-Watan. The author employed content analysis, a branch of descriptive research to critically review fiction writing techniques, in comparison with the modern day fictions. The investigation revealed that the ‘Musaafir’ is a masterpiece of literary work in Brahui language, which focuses the portrayal of nature, characterizations, narration skills, theme and plot development, dialog formation, thought process, description of events and climax based fictitious short story. This study represents the culture of the society in Balochistan, and also reflects the writers’ insight of fiction drafting skills in line with contemporary fiction writing techniques
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Parent, Arnaud. "Science in Eighteenth-Century French Literary Fiction: A Step to Modern Science Fiction and a New Definition of the Human Being?" Acta Baltica Historiae et Philosophiae Scientiarum 10, n. 1 (24 maggio 2022): 78–103. http://dx.doi.org/10.11590/abhps.2022.1.05.
Testo completoAbstract (sommario):
In eighteenth-century France, scientific progress and its spreading met a growing interest among public, an enthusiasm that was to be reflected in literature. Fictional works including scientific knowledge in their narrative made their appearance, paving the ground for a genre promised to a growing success in the following centuries—science fiction. The article presents three eighteenth-century French literary works, each one centered on a different domain of science: Voltaire’s Micromégas (1752), Charles-François Tiphaigne’s Amilec, or the Seeds of Mankind (Amilec, ou la graine d’hommes, 1753) and François-Félix Nogaret’s The Mirror of Current Events, or Beauty to the Highest Bidder (Le miroir des événements actuels, ou la belle au plus offrant, 1790). The first one, an iconic Enlightenment work that promotes critical thinking, relies on discoveries made in astronomy and optics. Tiphaigne de la Roche is far from sharing the fame of Voltaire, but his odd Amilec is noteworthy as it is possibly the very first science-fiction work in which biology is central. Written in the unique atmosphere of the French revolution, Nogaret’s work The Mirror of Current Events depicts androids-like interacting with humans. Our purpose is to show that these works were a precursor (proto science fiction) of the science fiction genre in literature, to describe how and what science or technology was depicted in them, and how they influenced the view of Man (humans) in eighteenth-century France.
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Gorozhanov, Alexey Ivanovich, e Darya Valeryevna Stepanova. "Work of Fiction Interpretation: Corpus Approach". Filologičeskie nauki. Voprosy teorii i praktiki, n. 1 (gennaio 2022): 203–8. http://dx.doi.org/10.30853/phil20220020.
Testo completo
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MacLennan, Alan. "Fiction selection ‐ an AI at work?" New Library World 97, n. 2 (aprile 1996): 24–32. http://dx.doi.org/10.1108/03074809610110145.
Testo completo
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Ven, Inge Van De. "The Public Antagonist and Martyr: Reading A.H.J. Dautzenberg against Literary Typologies". Werkwinkel 12, n. 2 (27 novembre 2017): 65–80. http://dx.doi.org/10.1515/werk-2017-0013.
Testo completoAbstract (sommario):
Abstract I analyze the public authorship of Dutch writer A.H.J. Dautzenberg. I disentangle some of the main threads in his literature and public persona, singling out three socio-cultural issues on which he has publicly taken a stance in both his literature and his non-fiction texts. I base my analysis on three types of sources: Dautzenberg’s works of literary fiction, appearances in the media, and non-fictional texts. I argue that the case of Dautzenberg brings out the limits of any typology of engaged authorship, autonomous authorship, or stardom, and that his veiled emphasis on factuality under the flag of fiction to an important extent explains the efficiency of his style of media performance, and helps the author generate attention for his work. I conclude that in the final instance, both his work and his media performances are subordinate to his societal engagement, and that therefore, Dautzenberg is a public antagonist first, and an author only secondarily.
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Grillmayr, Julia. "Speculations, fabulations, incantations: Science fiction, contemporary futurology and how to change the world". European Journal of American Culture 41, n. 3 (1 settembre 2022): 267–79. http://dx.doi.org/10.1386/ejac_00079_1.
Testo completoAbstract (sommario):
After giving a short insight into the ambivalent relationship between science fiction (SF) and futurology, this article sheds light on the current trend of what can be called science-fictional scenario writing, focusing on the publications of the Center for Science and the Imagination at the Arizona State University. The stories published in projects, such as Hieroglyph, the Climate Fiction short story contest Everything Change or the Tomorrow Project, are indistinguishable from conventional SF short stories. However, the frameworks of these projects share a certain futurological ambition. Also, they seek to enable the readers and writers of these stories to actively shape possible futures. In search for a label for this specific text form, Rebecca Wilbanks aptly coined the term ‘incantatory fictions’. This article explores the nature, the self-understanding und the practices of these speculations, fabulations and incantations by considering the metatexts of the afore-mentioned publications and by talking to people who work at the interface between SF and futurology.
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Beley, M. "Genre Features of Pierre Boulle's Dystopian Science Fiction Novel "Planet of the Apes": A Communicative Aspect". Scientific Research and Development. Modern Communication Studies 12, n. 6 (29 dicembre 2023): 20–27. http://dx.doi.org/10.12737/2587-9103-2023-12-6-20-27.
Testo completoAbstract (sommario):
The enduring popularity of 20th century science fiction authors among readers of all age categories has been noted in numerous works of literary scholars. An extremely important aspect is the fact that the author and the reader must have a common language in order for communication to be effective. The relevance of the study is due to the growing interest in the problem of interpreting the genre of science fiction works. The aim of this study is to try to trace the synthesis of genre forms from the point of view of communicativism and the theories of C. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre Boulle. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre BoulleIn the course of the study, the methods of contextual literary analysis, cognitive-discourse analysis, as well as stylistic and genre analysis were applied. As a result of the study, the conclusions were obtained that the novel "Planet of the Apes" by P. Boulle combines elements of the genre of science fiction novel, philosophical parable, utopia and dystopia. The novel is a satirical work, touching upon the themes of scientific progress, communication, evolution and human society, which are topical at present. The author, when creating a work, follows literary conventions or deliberately goes against them, creating something innovative. The genre of science fiction has been and remains a synthetic genre, incorporating elements of various genres, which intricately intertwined, enter into communication with the reader, helping him to create fictional worlds. Scientific novelty of the research consists in the fact that for the first time in Russia the study of genre originality of P. Boulle's work in the aspect of communication with the reader is undertaken. The article may be useful for literary scholars, postgraduates, students and all those interested in the problems of genre synthesis in modern science fiction.
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Bareis, J. Alexander. "The Implied Fictional Narrator". Journal of Literary Theory 14, n. 1 (1 marzo 2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.
Testo completoAbstract (sommario):
AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular during the heyday of classical literary narratology. For scholars like Genette (1988) and Cohn (1999), the category of the fictional narrator was at the centre of theoretical debates about the demarcation of fiction and non-fiction. Arguably, theorising about the fictional narrator necessitates theorising about fiction in general. From this, it follows that any account on which the fictional narrator is built ideally would be a theory of fiction compatible with all types of fictional narrative media – not just narrative fiction like novels and short stories.In this vein, this paper applies a transmedial approach to the question of fictional narrators in different media based on the transmedial theory of fiction in terms of make-believe by Kendall Walton (1990). Although the article shares roughly the same theoretical point of departure as Köppe and Stühring, that is, an analytical-philosophical theory of fiction as make-believe, it offers a diametrically different solution. Building on the distinction between direct and indirect fictional truths as developed by Kendall Walton in his seminal theory of fiction as make-believe (1990), this paper proposes the fictional presence of a narrator in all fictional narratives. Importantly, ›presence‹ in terms of being part of a work of fiction needs to be understood as exactly that: fictional presence, meaning that the question of what counts as a fictional truth is of great importance. Here, the distinction between direct and indirect fictional truths is crucial since not every fictional narrative – not even every literary fictional narrative – makes it directly fictionally true that it is narrated. To exemplify: not every novel begins with words like »Call me Ishmael«, i. e., stating direct fictional truths about its narrator. Indirect, implied fictional truths can also be part of the generation of the fictional truth of a fictional narrator. Therefore, the paper argues that every fictional narrative makes it (at least indirectly) fictionally true that it is narrated.More specifically, the argument is made that any theory of fictional narrative that accepts fictional narrators in some cases (as e. g. suggested by proponents of the so-called optional narrator theory, such as Currie [2010]), has to accept fictional narrators in all cases of fictional narratives. The only other option is to remove the category of fictional narrators altogether. Since the category of the fictional narrator has proved to be extremely useful in the history of narratology, such removal would be unfortunate, however. Instead, a solution is suggested that emphasizes the active role of recipients in the generation of fictional truths, and in particular in the generation of implied fictional truths.Once the narratological category of the fictional narrator is understood in terms of fictional truth, the methodological consequences can be fully grasped: without the generation of fictional truths in a game of make-believe, there are no fictional narratives – and no fictional narrators. The fictionality of narratives depends entirely on the fact that they are used as props in a game of make-believe. If they are not used in this manner, they are nothing but black dots on paper, the oxidation of silver through light, or any other technical description of artefacts containing representations. Fictional narrators are always based on fictional truths, they are the result of a game of make-believe, and hence the only evidence for a fictional narrator is always merely fictional. If it is impossible to imagine that the fictional work is narrated, then the work is not a narrative.In the first part of the paper, common arguments for and against the fictional narrator are discussed, such as the analytical, realist, transmedial, and the so-called evidence argument; in addition, unreliable narration in fictional film will be an important part in the defence of the ubiquitous fictional narrator in fictional narrative. If the category of unreliable narration relies on the interplay of both author, narration, and reader, the question of unreliable narration within narrative fiction that is not traditionally verbal, such as fiction films, becomes highly problematic. Based on Walton’s theory of make-believe, part two of the paper presents a number of reasons why at least implied fictional narrators are necessary for the definition of fictional narrative in different media and discusses the methodological consequences of this theoretical choice.
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Saramago, Victoria. "The Rights of Nature, the Rights of Fiction: Mario Vargas Llosa and the Amazon". Novel 54, n. 1 (1 maggio 2021): 19–42. http://dx.doi.org/10.1215/00295132-8868761.
Testo completoAbstract (sommario):
Abstract The Amazonian region occupies a singular place in the fiction and nonfiction of the Peruvian writer Mario Vargas Llosa. Author of paradigmatic novels on the Peruvian Amazon, Vargas Llosa nevertheless has repeatedly defended extensive exploitation of Amazonian natural resources—at the expense of Indigenous rights and environmental conservation—in his essays and political activities. This article discusses this conflict between Vargas Llosa's fictional and nonfictional work on the Amazon through the lens of a theory of fiction that emerges from his essays across decades and that suggests that the fictional text is independent from the referential reality it represents. By revisiting his novels and writings about fiction, this article argues that Vargas Llosa's belief in the autonomy of fiction from its referential reality explains, to a certain extent, how the fascination with the Amazon present in the author's novels coexists with his defense of drastic changes in the region through environmental exploitation and the acculturation of Indigenous populations. While Vargas Llosa's work enjoyed a positive reception in the 1960s, the nontransitive notion of mimesis he proposed has gradually taken on reactionary undertones in the context of changing expectations since the 1980s and 1990s.
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Sidiq, Bushra Osman, e Ansam Riyadh Abdullah. "Self-Reflexivity and Inter-textuality: A Study of Jostein Gaarder 's Sophie's World as a Meta-fictional Work". JOURNAL OF LANGUAGE STUDIES 7, n. 1 (30 settembre 2023): 105–22. http://dx.doi.org/10.25130/jls.7.1.9.
Testo completoAbstract (sommario):
Jostein Gaarder (1952- ) is a Norwegian thinker and author of a great number of novels, short stories, and children's books among them Sophie's World. This novel deals with a number of issues, and uses a lot of postmodern techniques like meta-fiction. This paper is to explain the use of meta-fiction in the concerned novel to the readers as a postmodern element. Sophie's World, besides being a great philosophical one, it contains several meta-fictional elements like: the story has another story within, commenting on the story while telling it; the narrator exposes himself as both: a character and the narrator, and many more elements. The paper is divided into two sections and a conclusion. Section one deals theoretically with meta-fiction, self-reflexivity and inter-textuality as postmodern techniques. Section two is the analysis of the novel. At the end of the paper is the conclusion which will show the findings of the analysis. The paper end with the works cited.
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Land, Caroline. "I Do Not Own Gossip Girl”: Examining the Relationship between Teens, Fan Fiction, and Gossip Girl". Language and Literacy 12, n. 1 (15 ottobre 2010): 38. http://dx.doi.org/10.20360/g2rp4q.
Testo completoAbstract (sommario):
After reading Gossip Girl, I explored several pieces of fan fiction related to the series that were created by teen authors. From these pieces, I observed how teens can use fan fiction to exercise their own creative ideas, align a fictional world with their own, connect with other fans and writers, and receive instant feedback on their work. From these findings, I suggest how teachers and librarians can use this knowledge to support teens that are engaged or interested in the practices of writing fan fiction and writing for pleasure.
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Osman, Khan Touseef. "Trauma and Fiction:". Crossings: A Journal of English Studies 8 (1 agosto 2017): 160–67. http://dx.doi.org/10.59817/cjes.v8i.140.
Testo completoAbstract (sommario):
Trauma involves a rupture in the temporal and symbolic orders at individual and collective levels. Fictional representation of trauma, therefore, is marked by a problem of referentiality, where mimesis fails and chronology breaks down. The article opens with a discussion on the disorientation in the co-ordinative links between the world, the self, and representational tools in the event of a traumatic experience, which results in the crisis of referentiality. The inadequacy of language as a representational medium on the one hand, and unacknowledgement of extreme events beyond “socially validated reality” on the other, constitute two of the major issues creative artists have to deal with. An extreme event leaves a mnemonic gap in the psyche of the traumatized individual, and the process of recovery involves the gap being filled in with narrative memory, suggesting an epistemological void. Narrative memory acts as the surrogate memory of the traumatic event, which is unavailable to willed recollection. This surrogate memory is compared to Jean Baudrillard’s third order of simulation, where a false presence conceals the absence of any basic reality. Recognizing the referential and representational crises at work in rendering traumatic experiences in fiction, the article goes on to explore the ways of bypassing them and discuss the idea of indirect representation in Michael Rothberg’s Traumatic Realism: The Demands of Holocaust Representation. Rothberg believes that an oblique rendition of traumatic events in fiction may be an appropriate representational mode within the conflicting demands of the documentation of reality, meditation on the formal limits by the creative artist, and risky circulation of images in the globalized world. This leads to a deliberation on Anne Whitehead and Laurie Vickroy’s idea of the emerging genre of “trauma fiction” with its thematic and stylistic concerns. The article ends with a summary of the representational techniques likely to feature in fictions written on violent events.
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Hewitt, Lucy, e Stephen Graham. "Vertical cities: Representations of urban verticality in 20th-century science fiction literature". Urban Studies 52, n. 5 (22 aprile 2014): 923–37. http://dx.doi.org/10.1177/0042098014529345.
Testo completoAbstract (sommario):
This paper seeks to intersect two recent trends in urban research. First, it takes seriously the recognition that established traditions of research concerned with urban space have tended to privilege the horizontal extension of cities to the neglect of their vertical or volumetric extension. Second, the paper contributes to the resurgence of interest among social scientists in the validity of fiction – and especially speculative or science fiction – as a source of critical commentary and as a mode of knowledge that can exist in close reciprocity with non-fictional work. From these two starting points the paper develops a reading of the dialogue between the representations of vertical urban life that have featured in landmark works of 20th-century science fiction literature and key themes in contemporary urban analysis.
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Tornborg, Emma. "Fakta och fiktion i ekfrastiska representationer av bilder". Tidskrift för litteraturvetenskap 46, n. 1 (1 gennaio 2016): 51–63. http://dx.doi.org/10.54797/tfl.v46i1.8809.
Testo completoAbstract (sommario):
Fact and Fiction in Ekphrastic Representations
How do we distinguish between fictional and factual texts? Is there an inherent difference between the language used in, for example, a poem, and a text in an art history book? Or is it merely a matter of context? Ekphrastic texts have a special place in discussions about fact versus fiction, since they often (though not always) relate in various ways to existing media products such as paintings, photographs and sculptures, and since they have been traditionally used as substitutes for actually seeing, for example, a work of art.
In this article I investigate ekphrastic poems and factual texts which represent the same art works, in order to discuss the issue of fact and fiction in different kinds of texts.
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Smith, Greg. "Fiction in Goffman". Sociological Review 70, n. 4 (luglio 2022): 711–22. http://dx.doi.org/10.1177/00380261221109029.
Testo completoAbstract (sommario):
There are no references to creative fiction in Erving Goffman’s founding statement of his sociology of the interaction order, his 1953 Chicago doctoral dissertation ( Communication Conduct in an Island Community). Yet four pages into his first and best-known book, The Presentation of Self in Everyday Life (1959), Goffman cites a ‘novelistic incident’ describing the posturing of Preedy, a ‘vacationing Englishman’ on a Spanish beach. It is introduced in order to articulate the distinction between ‘expressions given’ and ‘expressions given off’ and to indicate their capacity for intentional or unintentional engineering. The page-long passage about Preedy, found in a 1956 collection of William Sansom’s short stories, is often mentioned in reviews and summaries of Goffman’s groundbreaking book. This article describes the types of fiction drawn upon by Goffman and examines the ‘work’ that fictional illustrations distinctively do in his writings. The discussion sheds light not only on why Goffman elected to include fictional illustrative materials in his sociology and why eventually he dropped their use, it also underscores some strengths and limits of the fictional for interactional analysis in sociology.
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Pitronová, Eva. "I blodhager, dansehus og søvnsletter. Ellen Einans fiksjonsdannelse". Studia Universitatis Babeș-Bolyai Philologia 68, n. 2 (25 giugno 2023): 155–74. http://dx.doi.org/10.24193/subbphilo.2023.2.09.
Testo completoAbstract (sommario):
"In Blood Gardens, Dance Halls and Sleep Plains. Ellen Einan's Creation of Fiction. Ellen Einan (1931–2013) is a Norwegian poet known for her frequent use of innovative language that forms fixed expressions, codes or references to both religious and mythical rituals and symbols. She builds her imagery on folk beliefs, Eastern religions and old ancient myths and she weaves all this together into a fantastic poetic universe with its own mythology. In the present paper, I examine the possibility of reading her poems as an expression of the creation of fiction in lyric poetry. I consider the creation of fiction to be an extension of the creation of images (connected to the term “the imaginary”), where we acquire images and their interconnections with a fiction-constitutive power. In this view, Einan not only constructs images (or symbols), but also a new, fictional existence in her poems. My approach to Einan's work is closely linked to the fictional world theory and its use within the discourse of lyric poetry, as it is presented in the theoretical work of Miroslav Červenka. He assumes that the lyrical subject is at the centre of the fictional world of the poem and assigns a character-like position to it. Furthermore, I read Einan's complete oeuvre as an interconnected universe, as the thematic criticism proposes, and focus on how the recurring motifs and themes can enable us to identify Einan's fictional world. Keywords: Ellen Einan, Norwegian poetry of 20th century, fictional worlds, lyrical subject, fictionality in lyric poetry"
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Graeske, Caroline. "Expanding Knowledge Gaps: The Function of Fictions in Teaching Materials after the 2011 Swedish High School Reform". International Education Studies 9, n. 4 (30 marzo 2016): 225. http://dx.doi.org/10.5539/ies.v9n4p225.
Testo completoAbstract (sommario):
<p class="apa">The aim in the study is to analyze how work with fiction is organized in six textbooks for senior high school in Sweden after the school reform 2011. Research into Swedish teaching materials has been neglected in recent years and there is a knowledge gap about how the work with fictions is affected by the reform in 2011. In the study quantitative and qualitative methods are used and Bernstein’s theories relating to horizontal and vertical discourse are applied to the empirical material. The analysis shows that work with fiction in textbooks is marginalized, particularly work with fictions created by women. The study also shows that students attending vocational programs have access to a different knowledge than students attending university preparatory programs. This is remarkable, since the learning objectives in Svenska 1, curriculum for vocational and university preparatory programs, are the same. This means that central values of equal education are eliminated after the reform, and the knowledge gap between different groups of students likely is to increase.</p>
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Rabkin, Eric S., James B. Mitchell e Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (ottobre 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.
Testo completoAbstract (sommario):
Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.