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Crowley, Adam. "Liminality in Popular Fiction". Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/CrowleyA2003.pdf.
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Lam, King-sau, i 林勁秀. "Wang Shuo's fiction and popular culture". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35319161.
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English, Elizabeth Catherine. "Rethinking lesbian modernism : sexuality and popular genre fiction". Thesis, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540103.
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Viol, Claus-Ulrich. "Jukebooks: contemporary British fiction, popular music, and cultural value". Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2772862&prov=M&dok_var=1&dok_ext=htm.
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Gapsch, Andrea. "Narrative Techniques in Twenty-First Century Popular Holocaust Fiction". Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1618244388233822.
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Roach, Katherine. "Between magic and reason : science in 19th century popular fiction". Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13687/.
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The scientist in fiction is much maligned. The mad, bad scientist has framed much of the debate about literary representations of science and with good reason since he is a towering icon of popular culture. Yet, I will propose that an equally preeminent figure provides an alternative model of science in fiction. This is the detective. Links between developing scientific disciplines and the emerging genre of detective fiction have been well described to date. Yet the history of the detective as scientific icon has not been told, particularly not as it engages with the history of the mad scientist. These two paragons of modem culture developed from a groundswell of gothic narrative and imagery that emerged in the late 18th century and continued to entertain and challenge audiences throughout the 19th century, as they still do to this day. My aim is to recover some of the complexity of past public images of science, and the understandings that such icons relate to, as they develop and meander through a variety of 19th century fictions. In a series of time slices I relate these figures, their iconography and narratives, to contemporary debates about science and follow through the elements that each generation retains, remoulds and claims for their own time. Ultimately, I hope to show that an panalysis of the mad scientist alongside other fictional scientific figures provides a far more nuanced picture of potential meanings, than the negative and fearful response that he is often assumed to represent. This is significant because both these icons are current in popular culture today and as such are part and parcel of the present pool of cultural resources that provides tools for thinking about science and society in the 21st century.
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Bizzotto, Julie. "Serializing sensation : the dynamics of genre in Victorian popular fiction". Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/22fd6aa4-4a07-ab4a-db4f-fb916e00ad69/9/.
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'Serializing Sensation' examines the correlation between two major trends of the mid- nineteenth century: sensation fiction and periodical serialization. The project studies five popular novels published during the 1860s and early 1870s within the original periodicals in which they were first published, evaluating how periodical location influenced contemporary readings and interpretations of the texts. Specifically, the study examines how the distinctive structure and identity of a periodical - its range of articles, the type of fiction it published, its readership - heightened, augmented, subverted, or enhanced the sensational attributes of the serialized novels. By doing so, the study endeavours to reconsider standard interpretations of the sensation genre and develop new methodological approaches to studying and evaluating the sensation novel. Overall, in reading the novels intertextually with the periodicals, the project aims to gain a more developed understanding of how the sensation genre engaged with some of the major cultural discourses of the period. By incorporating a mix of well-known novels and lesser-known texts, as well as a range of journals spanning from the popular to the political, the cross-sectional, comparative approach of the study allows the project to extend beyond authors, novels, and periodicals characteristically associated with the sensation genre. The variety of novels also provides a concentrated scrutiny of the sensational narrative techniques popularized in the 1860s, as well as the scope to examine how sensational methodology was rewritten and revised .as the sensational sixties gave way to the 1870s.
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Vuohelainen, Minna Maria. "The popular fiction of Richard Marsh : literary production, genre, audience". Thesis, Birkbeck (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499054.
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This thesis provides a detailed overview of the popular fiction of 'Richard Marsh' (pseudonym of Richard Bernard Heldmann, 1857-1915). The most extensive such study extant, it examines the author's literary production, in 1880-83 under his given name Bernard Heldmann, and in 1888-1915 under the pseudonym 'Richard Marsh'. By methodically presenting previously uncollected material on . Heldmannl Marsh, the thesis provides a substantial research tool for scholars interested in the author's work. The thesis further analyses the dynamics of the mass market of the turn of the century through a detailed study of Heldmannl Marsh's popular fiction. While the literary production of Bernard Heldmann is considered in the first chapter of the thesis, the remaining three chapters focus on the career and fiction of 'Richard Marsh'. The thesis argues that after his early literary work as Bernard Heldmann in the 1880s, Richard Marsh emerged in the 1890s as a professional provider of popular fiction. The thesis examines his prolificacy, his keen business acumen, his ability to respond to popular demand, and his professional practice as a commercial author. It explores the genres in which Heldmannl Marsh wrote, including boys' adventure and school stories, gothic, and crime fiction, emphasising their topicality and arguing that Heldmannl Marsh's fiction provides us with important insights into public interests and popular culture in the period 1880-1915. While the thesis examines a range of fiction produced by Marsh, it particularly focuses on the generic overlapping that frequently occurs in the author's work. Through a detailed discussion of Marsh's urban gothic and short prison fiction, the thesis analyses how Marsh mixes popular genre fiction with elements from other types of commercially successful, often factual prose. The thesis argues that by fusing material from several genres in this way, Marsh widens the appeal of his fiction which, to contemporary audiences, would have been resonant with factual as well as fictional echoes
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Ekwenchi, Ogochukwu Charity. "Popular fiction television production in Nigeria : global models, local responses". Thesis, University of Westminster, 2008. https://westminsterresearch.westminster.ac.uk/item/9156w/popular-fiction-television-production-in-nigeria-global-models-local-responses.
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This thesis explores the ways in which popular fiction television is produced in Nigeria in the 21st century and through it the investigation of social relations in the industry and the analysis of its products. In so doing the thesis also interrogates the assumptions of social theorists regarding the impact that the globalization of culture is supposed to have on local cultures. Drawing on empirical evidence from fieldwork carried out in Nigeria between February and June 2006 involving participant observation in the location production of a television drama series, semi-structured and unstructured interviews with 15 people in Nigeria’s television industry, the thesis argues that despite some production practices in the industry not yet being, according to the practitioners, up to scratch, Nollywood has also evolved social and institutional structures which are recognisable features of the structure of the television industry everywhere. The thesis also argues that despite its having an industry that is ranked third in the world in terms of output, the West, but Hollywood in particular, retains a strong grip on the imagination of Nigeria’s popular fiction television producers. For a more nuanced account of the impact of the globalization of culture on Nigeria’s popular fiction television industry, however, I propose that we need to go beyond how people speak about what they do, to how they do what they do. Analysis of popular conventions of a less powerful audio visual industry, like Nigeria’s Nollywood, alongside those of Hollywood will help unpack further the nature of the impact that dominant cultures are assumed to have on local cultures.
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Christie, Thomas A. "Notional identities : ideology, genre and national identity in popular Scottish fiction, 1975-2006". Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/7149.
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One of the most striking features of contemporary Scottish fiction has been its shift from the predominantly realist novels of the 1960s and 1970s to an engagement with very different modes of writing, from the mixture of realism and visionary future satire in Alasdair Gray’s Lanark (1981) to the Rabelaisian absurdity and excess of Irvine Welsh’s Filth (1998). This development has received considerable critical attention, energising debates concerning how such writing relates to or challenges familiar tropes of identity and national culture. At the same time, however, there has been a very striking and commercially successful rise in the production of popular genre literature in Scotland, in categories which have included speculative fiction and crime fiction. Although Scottish literary fiction of recent decades has been studied in great depth, Scottish popular genre literature has received considerably less critical scrutiny in comparison. Therefore, the aim of my research is to examine popular Scottish writing of the stated period in order to reflect upon whether a significant relationship can be discerned between genre fiction and the mainstream of Scottish literary fiction, and to consider the characteristics of such a connection between these different modes of writing. To achieve this objective, the dissertation will investigate whether the features of any such shared literary concerns are inclined to vary between the mainstream of literary fiction in Scotland and two different, distinct forms of popular genre writing. My research will take up the challenge of engaging with the popular genres of speculative fiction and crime fiction during the years 1975 to 2006. I intend to discuss the extent to which the national political and cultural climate of the period under discussion informed the narrative form and social commentary of such works, and to investigate the manner in which, and the extent to which, a specific and identifiably Scottish response to these ideological matters can be identified in popular prose fiction during this period. This will be done by discussing and comparing eight novels in total; four for each chosen popular genre. From the field of speculative fiction, I will examine texts by the authors Iain M. Banks, Ken MacLeod, Margaret Elphinstone and Matthew Fitt. The discussion will then turn to crime fiction, with an analysis of novels by Ian Rankin, Christopher Brookmyre, Denise Mina and Louise Welsh. As well as evaluating the work of each author and its relevance to other texts in the field, consideration will be given to the significance of each novel under discussion to wider considerations of ideology, genre and national identity which were ongoing both at the time of their publication and in subsequent years. The dissertation’s conclusion will then consider the nature of the relationship between the popular genres which have been examined and the mainstream of Scottish literary fiction within the period indicated above.
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Howey, Ann F. "Once and future women, popular fiction, feminism and four Arthurian rewritings". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21579.pdf.
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Lau, Cheung-cheung, i 劉章璋. "A study of Manga and adolescent popular fiction in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221142.
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Voss, Kellen. "Popularizing Philosophy Through Fiction and Popular Media: A Review and Analysis". Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1009.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Philosophy
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Litherland, Kate. "Pulp : youth language, popular culture and literature in 1990s Italian fiction". Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/31136.
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In this thesis I analyse a selection of Italian pulp fiction from the 1990s. My approach combines sociolinguistics and literary criticism, and uses textual analysis to show how this writing fuses influences from contemporary youth cultures and languages, and Italian literary tradition. The key themes of my analysis are pulp's multifaceted relationships with Anglophone culture, in particular punk music, its links to previous generations of Italian authors and intellectuals, and its engagement with contemporary Italian social issues. In Chapter 1, I review the existing literature on 1990s Italian pulp. Following on from this, I outline how a primarily linguistic approach allows me to consider a selection of authors, such as Rossana Campo, Silvia Ballestra, Aldo Nove, Enrico Brizzi and Isabella Santacroce, from a unifying perspective, and how this approach offers a means of considering the varied but contemporary perspectives on Italian culture, society, politics and literature offered by this group of writers. In Chapter 2, I show how pulp authors construct their linguistic style on the basis of spoken youth language varieties, and consider their motivations for doing so. Chapter 3 traces the literary precedents for this use of language, using comparative textual analysis to examine the nature of the relationships between pulp and American literature, and late twentieth century Italian fiction by Arbasino, Tondelli and Pasolini, in order to question some of the myths surrounding the literary sources of pulp. Chapter 4 deals with the relationship between pulp and popular culture, contrasting the notion of popular culture presented in this fiction to that proposed by earlier generations of Italian intellectuals, and discussing the theoretical perspectives that this reveals. Finally, I debate the extent to which pulps often disturbing and controversial subject matter reflects an attempt to deal with ethical issues, and consider pulp's success in achieving these aims.
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Margaret, Scanlon. "Popular histories : a study of historical non-fiction books for children". Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10020570/.
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Mangham, Andrew. "Violent women and sensation fiction : crime, medicine and Victorian popular culture /". Basingstoke : Palgrave Macmillan, 2007. http://catalogue.bnf.fr/ark:/12148/cb41142635d.
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Lau, Cheung-cheung. "A study of Manga and adolescent popular fiction in Hong Kong /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20354010.
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Byrski, Elizabeth. "Visible signs of ageing : representing older women in Australian popular fiction". Thesis, Curtin University, 2009. http://hdl.handle.net/20.500.11937/251.
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At the start of a new millennium, after thirty years of writing journalism and non-fiction, I began my first novel. I had always wanted to write fiction but the need to earn a living had kept me working to short deadlines with the reassurance of a pay cheque. It was when I was in my mid-fifties and searching for intelligent popular fiction featuring women of my own age as the central characters, that I drew a blank. This started me thinking; popular fiction was packed with younger women, but older women as central characters were noticeably absent, they were absent too from the other products of popular culture. As a freelance writer my first thought was that I had found a gap in the market that I might fill, but as time passed the project became more complex and, to me, much more important. Almost ten years have passed and I have now written five novels about the lives of older women all of which are Australian bestsellers; some are now published in France, Germany, Canada and Britain. This exegesis accompanies the five novels which I submit for examination for the degree of Doctor of Philosophy by Supplication. The exegesis links the novels and places them in the context of representations of ageing women in popular feminist fiction. While copies of all the novels are provided only Gang of Four (2004) and Bad Behaviour (2009), are required reading.This thesis documents my own journey as a writer and a feminist and explains how I moved from non-fiction and journalism to the novel to explore the lives of older women in twenty-first century Australia. In the first chapter I discuss ageism and the double standard of ageing applied to women, their invisibility and negative stereotypical representations in popular culture, and I consider fictional representations of women in classical and contemporary fiction. Chapter 2 explores women‘s relationship with fiction as readers, and the development of the consciousness raising feminist fiction of the late sixties and seventies. It also explores the relationship between feminism and consumer culture and the impact of post-feminism on women‘s fiction and on older women. In Chapter 3 I examine how these understandings informed the writing of the novels and compare them with second wave feminist realist fiction of the seventies. I argue that my texts can be read as a form of the feminist consciousness raising novel for older women in the twenty-first century.Throughout this thesis I have used the terms that are most widely used in studies of ageing to define age groups: the adjectives "older" and "ageing" denote women between the approximate ages of 50 – 65, while "old" and "aged" describe women of 65 years and over. For ease of reading and to reduce repetition I use the term ―consciousness raising‖ to describe a process, and the abbreviation "CR" to describe consciousness raising novels.
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Zeilig, Hannah. "Older people and their families in 1920s popular fiction : fictions of age and their importance for social gerontology". Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313516.
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Ho, Melanie. "Useful fiction why universities need middlebrow literature /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619436971&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Lam, King-sau. "Wang Shuo's fiction and popular culture Wang Shuo xiao shuo yu da zhong wen hua /". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35319161.
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Wootton, Lesley Wallace. "Sentimental classism : nature and status in popular nineteenth-century American women's novels /". Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883699791&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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o'byrne, Tamsin Kilner. "Empire of the imagination: victorian popular fiction and the Occult, 1880-1910". Thesis, University of Exeter, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489230.
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This thesis assesses the ways in which occult activities and ideas prevalent during the late-Victorian period inspired and informed contemporary popular fiction. I argue that direct involvement with occultism was not necessary in order to feel the influence of its preoccupations: magic and supernatural interests at this time were so popular as to pervade the public imagination without requiring a personal engagement with either.
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Tyson, A. F. "Dehistoricised Histories: The Cultural Significance of Recent Popular New Zealand Historical Fiction". Thesis, University of Canterbury. Department of English, 2007. http://hdl.handle.net/10092/1568.
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The recent popularity of mass-market New Zealand historical fiction coincides with the
increasing vocality of particular cultural discourses that resist the influence of revisionist
histories on dominant understandings of national identity. This thesis examines how the
depiction of colonial history in four such novels legitimates and sustains hegemonic
understandings of New Zealand as culturally European. The novels analysed are The
Denniston Rose (2003) by Jenny Pattrick, Tamar (2002) by Deborah Challinor, The Cost
of Courage (2003) by Carol Thomas, and The Love Apple (2005) by Coral Atkinson. The
cultural context in which these books have been produced is situated within a history of
nationalist discourses and Raymond Williams’s theorisation of hegemonic cultural
processes is employed to explain how contemporary national culture continues to rely on
colonial principles that sustain settler cultural dominance. Close analysis of the temporal
and geographical settings of the novels reveals how the portrayal of history in these
novels evades colonial conquest and the Māori cultural presence. A comparison of the
historical and contemporary cultural significance of the spatial settings employed in these
novels – the wilderness, pastoral, and colonial urban spaces – highlights how these
settings tacitly communicate that New Zealand is culturally European. Nevertheless, the
problematic cultural legacies of colonialism still haunt these novels. The way in which
the narratives resolve these issues reveals that hegemonic New Zealand identity is reliant
on a dehistoricised view of settlement and therefore perpetually vulnerable to the
intrusion of Māori memory.
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Bacon, Edwin Bruce. "Confronting eternity : strange (im)mortalities, and states of undying in popular fiction". Thesis, University of Canterbury. English, 2014. http://hdl.handle.net/10092/9680.
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When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities.
I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series
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Powell, Carolyn Anna. "The secular sacred : sex, transgression and the numinous in popular vampire fiction". Thesis, University of Southampton, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323769.
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Kanerick, Caroline. "Riding the tosh horse : re-evaluating best-seller popular fiction 1895 - 1920". Thesis, Oxford Brookes University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444313.
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Boland, Stephanie Jane. "Modernism and non-fiction : place, genre and the politics of popular forms". Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/30162.
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This thesis considers the hitherto unexplored question of modernism and non-fictional genres. Although modernist studies have long been attentive to the implications of modernism’s “manifestos”, and recent work on modernist magazines has shed new light on forms beyond poetry and fictional prose, little attention has been afforded to other non-fictional writing. Similarly, although a growing school of criticism has emphasised the significance of “the everyday” in modernist texts, few have examined non-fiction concerned with leisure or daily life – a particularly unusual omission given the rich possibilities such texts offer for our understanding of how everyday lives relate to wider society. This thesis examines instructional texts which make radical interventions in the social and political upheavals which follow the First World War. Contra to the well-debunked yet still pervasive narratives which typify the modernist text as a work of disinterested – even isolated – genius, these examples demonstrate a broad-ranging, complex engagement with popular venues. Surveying examples of popular genres such as cookbooks, travel guides and radio programs written by a range of canonical and lesser-known modernist writers, it demonstrates how modernist writers re-appropriated the common features of such mainstream forms in order to stage various (and varied) interventions in local and national affairs. Its reading of Sylvia Townsend Warner’s Somerset (1949) and Scottish Scene: The Intelligent Man’s Guide to Albyn (1934), by Hugh MacDiarmid and Lewis Grassic Gibbon, shows how adopting the “textual codes” of travel guides provided authors with a means of writing back against the over-simplistic narratives of region and nation popular in other examples of the genre. Likewise, The Alice B Toklas Cook Book (1954) and F.T. Marinetti’s The Futurist Cookbook (1932) are read as divergent examples of texts which stage radical interventions in food practices as they relate to nationhood and conflict. Comparable interventions are also unearthed in the media. Flann O’Brien’s Cruiskeen Lawn columns (1940-66), published under the name Myles na gCopaleen, are often read in studies of Irish political and cultural consciousness. This thesis argues that they must also be read in terms of genre, demonstrating how a subversive use of headlines, bylines and other page architecture signals O’Brien’s use of the newspaper form itself to pass comment on the cultural and political life of the Republic of Ireland. Finally, this thesis turns to broadcast culture, with a chapter on radio and documentary films. Through readings of Virginia Woolf and Elizabeth Bowen's radio broadcasts, and the GPO Film Unit collaboration of Benjamin Britten and W.H. Auden, this chapter shows how irony and experiment allowed writers to turn state-sanctioned media to their own ends during the interwar years – suggesting that literary readings are crucial to understanding modernism's engagement with new media. Through these different readings, this thesis highlights the sheer diversity of modernist genres which have either received little critical attention, or whose formal specifics have been under-acknowledged. As a result, it is able to reframe modernism’s approach to several areas of twentieth-century life, approaching anew pressing areas of concern in the field – for instance, space and place, the circulation of texts, the everyday, and the commercial, lowbrow and domestic – demonstrating the critical importance of instructive genres to understanding literary modernism.
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Williams, Anthony Ronald. "Dramatic interpretations of the metropolis, 1821-1881". Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298108.
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Kozar, Seana. "Deliberations between the covers : an audience-centred ethnography of Chinese popular fiction readers /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ34716.pdf.
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Camus, Cyril. "Mythe et fabulation dans la fiction populaire de Neil Gaiman". Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20030.
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Les œuvres de Neil Gaiman sont souvent qualifiées de postmodernes dans la mesure où elles lient expérimentation et autoréflexivité à une démarche de fiction populaire qui leur paraît antagoniste. A l’inverse d'une œuvre postmoderniste typique, qui met en avant sa mise à nu des mécanismes fabulateurs, les métafictions et les parodies gaimaniennes restent des fictions fantastiques et merveilleuses où les enjeux fabulateurs (psychologie et parcours des personnages, intrigue, émotion et suspens) gardent leur place primordiale. Elles ne sont donc pas des œuvres expérimentales mêlées d'éléments de fiction populaire, mais des œuvres de fiction populaire autoréflexive. Cette posture singulière fait de ces œuvres un terrain d'exploration fertile pour la réflexion sur les spécificités de la fiction populaire, et sur la place privilégiée qu'y occupe la fabulation ("storytelling"), notion qu’Henri Bergson ou Frank McConnell considéraient comme le fil rouge entre l’écriture de fiction d’aujourd'hui et la mythopoèse religieuse d’autrefois. Cette dialectique instaurée entre fabulation, mythe et fiction populaire constitue le cœur thématique des œuvres de Gaiman, qui abondent en réécritures de mythes anciens, modernes, religieux, populaires, et en représentations de personnages d’écrivains et de conteurs traditionnels, ou de personae gaimaniennes, qui, au plus fort de l’intrigue comme aux confins du paratexte, au détour d’une préface ou d’une vignette de bande dessinée, forgent une représentation de la fiction comme mythe, de l’écrivain comme figure mythique du conteur, et de la fabulation comme activité humaine quintessentielleNeil Gaiman’s fantasy works are often deemed postmodernist since they experiment with self-reflexivity and mix it with a supposedly antagonistic impulse towards popular fiction. Typical postmodernist works mostly emphasize their attacks against the fictional illusions of referentiality, character or plot. On the contrary, Gaiman’s works unapologetically remain within the bounds of fantasy, a genre in which imagination and storytelling are paramount–along with their related issues: characterization, plot, emotion and suspense. Thus, Gaiman’s fiction is not experimental fiction enhanced with elements of popular fiction, but actual popular fiction made self-reflexive. Thanks to that peculiar mood, studying Gaiman’s work is a very fruitful means of investigating the distinctive features of popular fiction, and its inherent emphasis on storytelling–or, as Henri Bergson called it, “fabulation.” Both Bergson and Frank McConnell focused on this notion which they saw as the essential link between ancient mythmaking and today’s fiction writing. Gaiman’s fiction mostly relies on such a dialectics between myth, popular fiction and storytelling or fabulation. His fantasy stories constantly rewrite ancient, religious myths, modern myths or the “myths” of popular fiction, and feature many fictional and historical writers, traditional storytellers, or Gaiman’s own personae, so that in paratext as well as in the heart of a narrative, in the quiet and supposedly reliable words of an introduction as surely as on the most striking comics panels, fiction is portrayed as myth, writers as mythical avatars of some archetypal storyteller, and storytelling as the one, quintessential human act
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Dzirkalis, Anna M. "Investigating the female detective : gender paradoxes in popular British mystery fiction, 1864-1930 /". View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3287860.
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Maphile, Legopheng Marcus. "Investigating popular fiction development at the University of the Free State academic Library". Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33782.
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The study seeks to find out students' and library staff's perceptions and experiences of the popular fiction collection at the University of the Free State's Sasol Library. The purpose of the study is to examine what these perceptions and experiences mean for the future expansion and development of the leisure collection. The Social Learning Theory guided the study. The study adopted a qualitative and quantitative approach whereby open- and close-ended questionnaires were distributed online to students and to library staff to gather research data. The population that participated in the study comprised undergraduate and postgraduate students and library staff. The study employed stratified random sampling as a research technique. The targeted population comprised 37,800 registered students and 61 library staff members accidentally sampled. This in turn gave sample sizes of 381 for students and 53 for library staff. Quantitative data was analysed using Google Forms and the Statistical Package for the Social Sciences (SPSS). Further, qualitative data was analysed thematically through content analysis. The study found that students enjoy reading popular fiction at the Sasol Library's fiction collection for leisure. The study also found that library staff support the existence of the leisure reading collection, even though a small number felt that its operations could be improved. The study therefore recommends that the university direct resources towards the expansion and improvement of the popular collection through the training of staff and stocking of reading genres that the students require.
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Janicker, Rebecca. "Halfway houses : liminality and the haunted house motif in popular American Gothic fiction". Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/44082/.
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Halfway Houses examines popular American Gothic fiction through a critical focus on what I call the ‘haunted house motif’. This motif, I argue, creates a distinctive narrative space, characterised by the key quality of liminality, in which historical events and processes impact upon the present. Haunted house stories provide imaginative opportunities to keep the past alive while highlighting the complexities of the culture in which they are written. My chosen authors, H. P. Lovecraft, Richard Matheson and Stephen King, use the haunted house motif to engage with political and ideological perspectives important to an understanding of American history and culture. Analysing their fiction, I argue that in “The Dreams in the Witch House” (1933) Lovecraft uses haunting to address concerns about industrialisation, urbanisation and modernisation in the early part of the twentieth century, endorsing both progressive and conservative ideologies. Similarly, Matheson’s haunting highlights issues of 1950s suburbanisation in A Stir of Echoes (1958) and changing social mores about the American family during the 1970s and 1980s in Earthbound (1982; 1989), critiquing conformist culture whilst stopping short of overturning it. Lastly, as a product of the counterculture, King explores new kinds of haunted spaces relevant to the American experience from the 1970s onwards. In The Shining (1977) he draws on haunting to problematise inequalities of masculinity, class and capitalism, and in Christine (1983), at a time of re- emerging conservative politics, he critiques Reaganite nostalgia for the supposed ‘golden age’ of the 1950s. At the close of the twentieth century, haunting in Bag of Bones (1998) reappraises American guilt about race and the legacy of slavery. Overall, my thesis shows that the haunted house motif adapts to the ever-changing conditions of American modernity and that the liminality of haunting addresses the concomitant social unease that such changes bring.
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Stewart, Derek F. "Urban space and the theatrical imagination : the representation of London in the mid-nineteenth-century popular novel (1852-1865)". Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=236002.
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This thesis examines the ways in which the literary depiction of the cityscape by several popular mid-Victorian novelists can be read alongside the context of their profound interest in theatre. Though many critics consider Charles Dickens to be the quintessential London novelist, I probe the extent to which other novelists of the era – Wilkie Collins, Augustus Mayhew, and Shirley Brooks – can be considered as 'London' writers. While a distinction can be made between the attributes of early and late nineteenth-century city writings, I suggest that the act of theatricalising the urban landscape can be considered as a mode which was typical of how midnineteenth-century novelists depicted the city. This study brings together two strands of criticism which, for the most part, have hitherto been treated separately. While numerous scholars have examined Dickens's depiction of London, an equal number have contextualised his writings alongside drama of the nineteenth century. A few critics have alluded to the theatricality of Dickens's depictions of the city, but this study offers the first full-length account of how this sense of theatricality is achieved in Our Mutual Friend (1865). I also examine this phenomenon in lesser-known writings of the period – Basil (1852), Paved With Gold (1858), and Aspen Court (1855). The first chapter will argue that the focal authors had a broad theatrical imagination, and how this impacts on their depiction of urban experience will be examined throughout this study. While their descriptions of London are attuned to the sense of visuality and aurality that can be associated with both the city and the theatre, a knowledge of drama, including gestural action, stock characters, and costumery, influences their conception of character. The final chapter will explore nineteenthcentury drama and these writers' depictions of the city through the lens of intertextuality, arguing that both are highly allusive.
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Skelton-Foord, Christopher J. "Circulating fiction 1780-1830 : the novel in British circulating libraries of the Romantic era; with a check-list of 200 mainstream novels of the period". Thesis, Cardiff University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362574.
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Mazur, Christine Teresa. "Gothic fiction, liminality, and popular culture, Stephen King's grotesque social commentary in Salem's lot". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq23418.pdf.
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Pak, Chiu-shuen Tom. "Stephen King's popular Gothic Gothic meta-fiction, ideology, scatology and (re)construction of community /". Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37844325.
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Chakravarty, G. "Imagining resistance : British historiography and popular fiction on the Indian Rebellion of 1857-59". Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597394.
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The thesis is a study of British historiography and popular fiction on the Indian 'Mutiny' of 1857-59. The historical writings that I have considered are mainly those written between 1857 and the 1870s, and for the novels the period I have chosen is between 1857 and 1947, the year of Indian's political independence. The first chapter is a reading of the histories by John William Kaye and Charles Ball. Here I have tried to show the ways in which historiography makes sense of and narrates anti-colonial resistance. The discussion also offers an occasion for introducing some of those historical and political-administrative issues which underlie the rebellion and that recur, with varying emphasis, in the texture of the novels. The second chapter examines the literary and social contexts of the British in India. While the novels of the rebellion belong to a tradition of colonial adventure novel, they are also located in a literary history specific to the British empire in India. At the same time, this literary history reflects the sociological and cultural bearings of Anglo-India, and embodies changes of attitude and policy as a period of 'orientalism' is followed by the ideological dominance of missionary-utilitarianism. The third chapter examines the ways in which the novels articulate the plot of Anglo-Indian love, marriage and domesticity with the plot of the rebellion. The articulated structure of the 'Mutiny' novel, in turn, demonstrates the filiation and overlap of those representational emphases that I have identified in Chapter Two. The fourth chapter examines the representation of imperial heroism in the novels. By first comparing the heroic idiom of the novels with the more ambiguous testimony of British first-person accounts of the rebellion, the chapter demonstrates the presence of two distinct modes of heroic conduct; and if the 'pragmatic' boy-scout hero is an instrument of surveillance and espionage, the 'auratic' Mutiny hero embodies the natural legitimacy of the imperial project. The fifth chapter explores the theme of surveillance in more detail. Projected from the 1890s and thereafter into the rebellion, the British spy-heroes of the Mutiny novels embody demands for knowledge by means of which the East India Company and the post-1858 imperial state sought to understand and control the motions of the subject population. Finally, the chapter argues that in representing the rebel world, often through the mediation of the disguised spy-hero, the Mutiny novel functions as an ethnographic exercise. In so doing, the novels at once exploit and annotate earlier modes of representation such as high orientalism and the picturesque, and discover in the usual sites and tropes of those earlier modes the presence of political resistance.
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Pak, Chiu-shuen Tom, i 白昭璇. "Stephen King's popular Gothic: Gothic meta-fiction, ideology, scatology and (re)construction of community". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37844325.
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Mathew, Imogen. "Stuck at the airport: a guide to finding the public intellectual in popular fiction". Thesis, https://www.youtube.com/watch?v=qVA2_TR3bMY&list=PLdn0giYPTOk3y2B2KL2jtS6mHvMPFdj7u&index=8, 2014. http://hdl.handle.net/1885/14017.
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It's happened to all of us. You’re tired, you’re at the airport when suddenly, the dreaded announcement – your flight’s been delayed by four hours. So you head to the bookstore. You know that you should go for the Booker-prize winning novel. But it’s the literary equivalent of Weet-bix, and you’re craving the chocolate crosissant. You want the courtroom drama. You want the sci-fi fantasy.
Not Meeting Right by Anita Heiss gives you both. It’s an easy, lightweight read. But don’t let that fool you. Heiss’ chick lit is unmistakably, and pointedly political – and that’s her goal: she uses chick lit to write the experience of women like her, women who are young, urban and Aboriginal, into the consciousness of mainstream, non-Aboriginal Australia.
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Braun, Kirsten, i n/a. "Contending With Feminism: Women's Health Issues in Margaret Atwood's Early Fiction". Griffith University. School of Arts, Media and Culture, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070212.153530.
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Margaret Atwood's early fiction provides a valuable insight into issues surrounding the establishment of the women's health movement. From The Edible Woman in 1969 to The Handmaid's Tale in 1985, Atwood's work takes up key issues of the movement during this time. Her fiction explores a number of women's health topics including contraception, abortion, birthing, assisted reproductive technologies, eating disorders and breast cancer. Atwood's interest in the appearance of victims in Canadian literature, however, leads to a rejection of the notion that women are fated victims of patriarchal institutions like medicine. This thesis argues that while she does not deny women can be victims, she refuses to accept that this role is inevitable. Foucault's later constructions of power and resistance are explored with the female protagonists refusing to believe their situations are inescapable. Atwood's recognition of her role as a popular fiction writer and her refusal to wear the 'feminist' label allow her the space to critique the women's health movement. Her early fiction exposes the absolutism of the movement and demonstrates its limitations in accounting for women's diversity.
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Fletcher, Elizabeth. "South African crime fiction and the narration of the post-apartheid". Thesis, University of the Western Cape, 2013. http://hdl.handle.net/11394/4287.
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Magister Artium - MAIn this dissertation, I consider how South African crime fiction, which draws on a long international literary history, engages with the conventions and boundaries of the genre, and how it has adapted to the specific geographical, social, political and historical settings of South Africa. A key aspect of this research is the work’s temporal setting. I will focus on local crime fiction which is set in contemporary South Africa as this enables me to engage with current perceptions of South Africa, depicted by contemporary local writers. My concern is to explore how contemporary South African crime fiction narrates post-apartheid South Africa. Discussing Margie Orford’s Daddy’s Girl and the possibilities of South African feminist crime fiction, my argument shoes how Orford narrates post-apartheid through the lens of the oppression and abuse of women. The next chapter looks at Roger Smith’s thriller Mixed Blood. Smith presents the bleakest outlook for South Africa and I show how, even though much of his approach may appear to be ‘radical’, the nihilism in his novel shows a deep conservatism. The third South African crime novel I examine is Diale Thlolwe’s Ancient Rites and I discuss it in the light of his use of the conventions of ‘hardboiled’ crime fiction as well as rural/urban collocations. In this case, the author’s representation of postapartheid South Africa appears to reveal more about the author’s personal views than the country he attempts to describe. The fourth and final novel I discuss is Devil’s Peak by Deon Meyer. My discussion here focuses on the notion of justice in post-apartheid South Africa and Meyer’s ambiguous treatment of the subject. This discussion of contemporary South African crime fiction reveals what the genre might offer readers in the way they understand post-apartheid South Africa, and how it might be seen as more than simple ‘entertainment’.
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Braun, Kirsten. "Contending With Feminism: Women's Health Issues in Margaret Atwood's Early Fiction". Thesis, Griffith University, 2006. http://hdl.handle.net/10072/367275.
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Margaret Atwood's early fiction provides a valuable insight into issues surrounding the establishment of the women's health movement. From The Edible Woman in 1969 to The Handmaid's Tale in 1985, Atwood's work takes up key issues of the movement during this time. Her fiction explores a number of women's health topics including contraception, abortion, birthing, assisted reproductive technologies, eating disorders and breast cancer. Atwood's interest in the appearance of victims in Canadian literature, however, leads to a rejection of the notion that women are fated victims of patriarchal institutions like medicine. This thesis argues that while she does not deny women can be victims, she refuses to accept that this role is inevitable. Foucault's later constructions of power and resistance are explored with the female protagonists refusing to believe their situations are inescapable. Atwood's recognition of her role as a popular fiction writer and her refusal to wear the 'feminist' label allow her the space to critique the women's health movement. Her early fiction exposes the absolutism of the movement and demonstrates its limitations in accounting for women's diversity.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
Full Text
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Klein, Michael Joseph. "The Rhetoric of Repugnance: Popular Culture and Unpopular Notions in the Human Cloning Debate". Diss., Virginia Tech, 2007. http://hdl.handle.net/10919/28074.
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An ethical frame grounded in science fiction literature shaped the discourse on cloning following the announcement of Dolly-the-sheepâ s birth through nuclear transfer. Using methodologies drawn from the social shaping of technology (SST) and rhetoric of science, my analysis demonstrates how individuals and institutions, including the media, ethicists, policymakers, and legislators, appropriated and re-appropriated this ethical frame. In doing so, they employed science-fiction stories as rhetorical tropes, thereby providing the public with a frame for understanding the social issues involved with cloning. However, these institutions used science fiction as a way to simplify and present ethical arguments that silenced dissent rather than encouraged dialog.
While ethics discourse can validly make use of literature in debates about technology, such a simplistic view of the literature misrepresents the themes the authors explored in their works and limits discussion. I conclude by offering a deeper analysis and reading of some of these stories, relying on the texts themselves rather than the myths that have evolved around these texts as my primary source material. Such a reading provides a valuable counter-narrative to the on-going debate, one that more adequately explains the effects of technology in a society.
In short, this dissertation demonstrates that the reductionist interpretation of works from the science fiction genre had real effects on policy formulation. People utilized their literary-derived perceptions of cloning in political discussions about technology. Thus, policy discussions of the perceived effects of the technology developed much of their meaning and significance from fictional depictions of the technology.Ph. D.
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Alves, Clarice Greco. "Qualidade na ficção televisiva brasileira: as críticas especializada e popular". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-10012013-164608/.
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O presente estudo visa a elaboração de um diagnóstico crítico sobre a chamada qualidade da ficção televisiva brasileira, buscando levantar, compreender e analisar critérios que possam constituir uma base para a avaliação das produções ficcionais televisivas no Brasil. Tomando como linha teórica um conjunto de pesquisadores que defendem a qualidade como uma questão subjetiva, o estudo pretende investigar esse conceito por meio de uma avaliação da crítica. No caso da televisão brasileira, nota-se além da crítica especializada de televisão uma grande presença da opinião popular, que demonstra forte participação pública em relação às ficções, pautada na construção de uma fala coletiva que representaria um senso comum, no sentido kantiano. Nesse contexto, a análise envolve dois pontos de vista: o da crítica especializada, divida entre jornalística e acadêmica, e o da crítica popular. Para isso, pretende analisar a crítica por meio das premiações que contemplam ficções televisivas, estabelecendo um paralelo entre as cerimônias que contam com júri popular e as eleitas por júri profissional, para que seja possível discutir as relações entre as opiniões do público e da crítica especializada. Além disso, questionários foram aplicados para jornalistas e estudiosos que escrevem sobre televisão e para o público da internet, buscando colher informações que possibilitem compreender seus critérios de avaliação. A estrutura teórica do trabalho, que servirá de modelo para uma avaliação crítica de atuais formas de participação, é composta por leituras dos diálogos acerca da noção de qualidade televisiva debatida por diversos autores nacionais e internacionais, da importância da crítica, levando-se em consideração a noção de gosto trabalhada por Bourdieu (A Distinção, 2008), relacionada à Crítica do Juízo de Kant, com enfoque para a relação entre gosto e senso comum.The present study intends to elaborate a critical diagnostic about the so called quality television on TV fiction, aiming to search, understand and analyze criteria that can serve as basis to the evaluation of fictional productions on Brazilian television. Supported by a theoretical guideline where researches defend quality on television as a subjective matter, this study aims to investigate this concept through an evaluation of the critique. In the case of Brazilian television, one can notice, besides the specialized critics, a great presence of popular opinion which demonstrates a strong public participation related to television fictions, based on the construction of a collective speech which would represent a common sense, in the sense proposed by Kant. Within this context, the analysis embraces two points of view: the one from the specialized critique, divided into journalistic and academic, and the one from the popular critique. With this aim, it intends to analyze the critique through Television Awards establishing a parallel between the ceremonies with a specialized jury and the ones by popular vote, in order to make it possible to discuss the relation between public and specializes opinion. Besides that, questionnaires were applied to journalists and researchers who write about television and to the general public on the internet, reaching to gather information that could help to understand their evaluation criteria. The theoretical structure of the study, which will serve as a model for a critical evaluation of the current forms of participation, is composed by readings of the dialogues among the notion of quality television, discussed by many national and international authors; the importance of critique, taking into account the notion of taste brought up by Bourdieu (2008), related to the Critique of judgment from Kant, with emphasis to the relation between taste and common sense.
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McAvan, Em. "The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror". Thesis, McAvan, Em (2007) The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/188/.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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McAvan, Em. "The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror /". McAvan, Em (2007) The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. http://researchrepository.murdoch.edu.au/188/.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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Law, G. "Mystery and uncertainty in modern fiction : A comparative parallel case study of the relations between popular mystery forms and modern non-classical fiction". Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371196.
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Herbig, Art, i Andrew F. Herrmann. "Polymediated Narrative: The Case of the Supernatural Episode "Fan Fiction"". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/757.
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Modern stories are the product of a recursive process influenced by elements of genre, outside content, medium, and more. These stories exist in a multitude of forms and are transmitted across multiple media. This article examines how those stories function as pieces of a broader narrative, as well as how that narrative acts as a world for the creation of stories. Through an examination of the polymediated nature of modern narratives, we explore the complicated nature of modern storytelling.