Gotowe bibliografie tematyczne / Work of fiction

Gotowa bibliografia na temat „Work of fiction”

Autor: Grafiati
Data publikacji: 26 lipca 2024
Data aktualizacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Work of fiction"

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Fitzpatrick, Noel. "The question of Fiction – nonexistent objects, a possible world response from Paul Ricoeur". Kairos. Journal of Philosophy & Science 17, nr 1 (1.12.2016): 137–53. http://dx.doi.org/10.1515/kjps-2016-0020.

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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 i in. "Characterizing Work-Life for Information Work on Mars". Proceedings of the ACM on Human-Computer Interaction 6, GROUP (14.01.2022): 1–27. http://dx.doi.org/10.1145/3492859.

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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, nr 4 (1.10.1997): 209–11. http://dx.doi.org/10.3828/indexer.1997.20.4.13.

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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, nr 4 (2019): 320–32. http://dx.doi.org/10.5771/0943-7444-2019-4-320.

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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 i Henrika Franck. "Fiction and Organization Studies". Organization Studies 39, nr 7 (8.06.2017): 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, i Donna Lee Brien. "Australian women writers’ popular non-fiction prose in the pre-war period: Exploring their motivations". Australasian Journal of Popular Culture 11, nr 1 (1.12.2022): 63–80. http://dx.doi.org/10.1386/ajpc_00051_1.

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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, nr 2 (3.09.2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.

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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Sellars, Shaun. "A work of FiCTION". British Dental Journal 228, nr 2 (styczeń 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, nr 8 (2022): 1–11. http://dx.doi.org/10.56062/gtrs.2022.1.8.168.

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V. S. Naipaul is an eminent literary figure in the field of modern fiction, non-fiction, and travelogue writing in English literature. He earned a number of literary awards and accolades, including the covetous Nobel Prize and Booker Prize. His non-fiction e.g., An Area of Darkness, India: A Wounded Civilization, The Loss of El Dorado, India: A Million Mutinies Now and Beyond Belief are a realistic portrayal of the various types of religion, culture, customs, and people of India. As an author, the main purpose of V. S. Naipaul is to deliver the truth; because poets are the unacknowledged legislators of mankind. The fact that V. S. Naipaul has presented in his non-fiction is more authentic and realistic than that of his fiction. Nonetheless, it is fictional work that is elaborately explored, discussed, and analyzed in abundance. On the other hand, his non-fiction, by and far, remains aloof. In the last few decades, non-fictions are also taking the ground strongly. Now non-fiction writings are being analyzed, elucidated, and explored based on various theoretical principles of literary criticism. V. S. Naipaul carried the new genre to new heights and achievements. He is of Indian descent and known for his pessimistic works set in developing countries. He visited India several times, like Pearl S. Buck and E. M. Forster. So, his presentation of Indian religion, society, culture, and politics are very realistic. His vision and ideas are very close to the modern thoughts and visions of both the east and the west.
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Vertesi, Janet. "“All these worlds are yours except …”: Science Fiction and Folk Fictions at NASA". Engaging Science, Technology, and Society 5 (12.06.2019): 135. http://dx.doi.org/10.17351/ests2019.315.

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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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Rozprawy doktorskie na temat "Work of fiction"

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Kidd, Catherine. "Bestial rooms : a work of prose fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ39923.pdf.

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Herrmann, Andrew F. "On Being a Homeless Work of Fiction". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/749.

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In this piece the author takes a journey into the meaning of quests through the philosophical terrain of existential phenomenology and authenticity. Unlike quest narratives in literature and popular culture, our life narratives are not yet finished, but ongoing. Comparing the idea of existential homelessness with its undeniable and constant change to that of autoethnographic writing, he examines narrative and memory and how current life events change our understandings of past narratives and our sense of identity. Our life narratives are made up of fragmented thoughts and ideas, the stories others told before we were born—and will tell about us after we are gone.
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Perkins, Aaron M. "Fictions, enabling fictions, and autofiction within painting; or, "This painting is a work of fiction", I said". Thesis, Griffith University, 2022. http://hdl.handle.net/10072/419477.

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This practice-led research project investigates the potential for a philosophically defined and criterial notion of fiction to function within the medium of painting. It develops Kendall L. Walton’s make-believe theory of fiction via Gregory Currie and Richard Wollheim to include a criterion of fictive intent, whereby a painting is fictional if it is intended to prompt an act of imagining in its viewer. Although painting has not art-historically distinguished between fiction and non-fiction, the research demonstrates the intuitive usefulness of such a classification. The research then argues that painted works of fiction offer a means of insight through a visual medium into the everyday fictions that enable our understanding of the real world around us. Using contemporary anglophone autofiction—a mode or genre of writing that purposefully blurs autobiography and fiction—as a model for this inquiry, the research analyses Ben Lerner’s novel 10:04 to identify a range of strategies that confuse the real world and the fictional world of a work. These strategies are characteristic of literary autofiction and include a paratextual communication of fictive intent, an ambiguous authorial presence, the use of text and image, ekphrasis, self-appropriation, and extratextual reference. These are also identified in the painting practice of Avery Singer and so are demonstrated to be applicable across mediums. The creative outcomes of this research project emerge from a painting practice concerned with the relationship between image and text to explore the enabling fiction of a coherent self-narrative. They encompass an artist’s book, a series of paintings that manifest a tension between typographic and anthropomorphic forms, a site-specific ekphrastic catalogue essay, a site-specific collaboration with a screenwriter on an exhibition of fictional paintings, and, ultimately, an autofictional exhibition of paintings that explore a transference between painting and literature through a short story and a typeface.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Riegel, Christian Erich. "The work of mourning and Margaret Laurence's Manawaka fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0010/NQ59554.pdf.

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Galletly, Sarah. "Work, class and gender in Canadian fiction, 1890s-1920s". Thesis, University of Strathclyde, 2012. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=25538.

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Brazil, Kevin. "The work of art in postwar fiction, 1945-2001". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f8102451-09cf-4f92-8e6e-e7c1ced2641c.

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'The Work of Art in Postwar Fiction 1945-2001' explores the responses of postwar novelists to visual art by focusing on the work of Samuel Beckett, William Gaddis, John Berger and W.G. Sebald. In doing so, it opens up a new approach to understanding the relationship between fiction and art in the postwar period as a whole, for what distinguishes these writers is that they use an engagement with visual art in order to historicize their own work as distinctly 'postwar' fiction. This thesis shows that in the writings of these novelists, long running aesthetic issues in the study of the relationship between text and image are reformulated and transformed: medium specificity; ekphrasis; and visual representation as a model for literary realism. Drawing throughout on original archival research, The Work of Art in Postwar Fiction 1945-2001 traces what T.J. Clark terms the 'processes of conversion and relation' between art, its contexts and its commentators, and it is by studying these mediations that the literary consequences of the work of art for these writers are shown. With a historicizing approach throughout, and an interest in the ways in which postwar novelists mediate their engagement with art through history, this thesis contributes to a new understanding of the literature and art of the postwar era, or what Amy Hungerford has called 'the period formerly known as contemporary'. This thesis offers a revisionary account of a relationship previously subsumed under the dominant logic of postmodernism, which according to Fredric Jameson was defined by a 'waning of historicity'. In returning historicity as method and theme to the study of the relationship between literature and art since 1945, The Work of Art in Postwar Fiction 1945-2001 shows the diverse ways in which postwar writers historicized their writing, and reflected on their techniques, in dialogue with visual art. Concerning itself with the distinct challenges posed by focusing on what Hannah Ardent called the 'most recent' past, this thesis also develops new ways of thinking more broadly about the relationships between literature, art and history. Chapter 1, 'Reviewing Postwar Fiction', situates this thesis within recent debates in literary studies surrounding what Mark McGurl has termed a discipline-wide 'hegemony of history'. Chapter 2, on Samuel Beckett, argues that Beckett's postwar art criticism responds to a specific strand of Marxist humanist aesthetics developed after the war, and it studies Beckett's manuscripts to show the relationship between this criticism and the composition of The Unnamable. Chapter 3 discusses William Gaddis's 1955 novel The Recognitions, arguing that the novel pivots around some of the central cruxes of postwar American aesthetic debate: Clement Greenberg's theory of abstraction, and Michael Fried's identification of the problem of 'art and objecthood'. Chapter 4 discusses the work of the British art critic and novelist, John Berger. It shows that Berger's critical account of Cubism shaped the narrative forms of his novels A Painter of Our Time and G., and that these narrative innovations were central to his theory of the artistic and revolutionary 'moment'. Chapter 5 focuses on the relationship between photography, painting and aesthetics in the work of W. G. Sebald. It argues that aesthetic concepts such as 'the readymade' and 'objective chance' offer a better account of Sebald's engagement with art than accounts which draw on trauma theory. The thesis concludes with a short discussion of how the writers studied in this thesis have influenced the contemporary fiction of Jonathan Franzen, Teju Cole, and Tom McCarthy.
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Byrnes, C. "The work of Ian McEwan : a psychodynamic approach". Thesis, University of Newcastle upon Tyne, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311137.

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This thesis traces the 'metaplot' of Ian McEwan's progress, through his professional writing. Completely unknown in 1971, his work has attracted increasing recognition, culminating in the Booker prize in 1998. Early in his career, he gained access to elements of his unconscious through free-association, active imagination, meditation and the use of recreational drugs. These elements, which surfaced gradually and piecemeal, include strong feelings associated with the Oedipus complex, difficulties with masculine self-identification, feelings of rejection, unresolved grief, wishes to regress to the latency period of childhood, and sexuality contaminated with anal-sadistic power issues. McEwan dealt with these themes by creating characters who expressed them through sexual deviations and violence or acted them through to their logical conclusion. Thus he was able to confront previously repressed aspects of his inner life and resolve some of his emotional problems in safety, while availing himself of rich material for his fiction. His writing is not autobiographical, but it will be demonstrated that events in his life and his changing beliefs and values are reflected in his work. He achieves an illusion of authenticity by including real people and events, familiar to readers from recent history and the news, in vividly described settings. He shares with the reader his interest in advances in science and his concerns about the dangers facing mankind and the evils of authoritarian and patriarchal structures in the microcosm and macrocosm of human institutions. He synthesises these components under a strong narrative shelter of complex plots, dramatic suspense, unexpected thrills and shocks. The psychodynamic interpretations offered in this thesis depend on a detailed study of McEwan's published work. Their aim is to isolate the separate threads in the fabric of his fiction and demonstrate the maturation and increasing sophistication of his work.
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Schwarz, Henry. "Subvisible meaning structural invention in the work of 5 Brazilian novelists /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1697706611&sid=8&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Wong, Man Olive, i 王旼. "Men at work: masculinity, solidarity and solitude in Conrad's Fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952446.

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Carr, John Leonard. "Leigh Brackett : American science fiction writer--her life and work /". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291223654.

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Książki na temat "Work of fiction"

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Talbot, Mary M. Fictions at work: Language and social practice in fiction. London: Longman, 1995.

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Kassirer, Norma. Katzenjammered: A work of fiction. Buffalo, N.Y: BlazeVOX Books, 2010.

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Lutes, Jason. Berlin.: A work of fiction. Montreal, Quebec: Drawn & Quarterly Publications, 2001.

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Booley, Heather. Working with fiction: Fiction-based topic work (8-13). (Sheffield): Language Development Centre, Sheffield City Polytechnic, 1988.

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Schlag, Pierre. American absurd: A work of fiction. Grand Rapids, Michigan: Bowen Press, 2016.

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Weinstein, Philip M. Unknowing: The work of modernist fiction. Ithaca, N.Y: Cornell University Press, 2005.

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Chadwick, Helen Sell. Redeeming choices: A work of fiction. Reno, Nev: Western Book/Journal Press, 1999.

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Fink, Chris. Farmer's Almanac: A Work of Fiction. New York: Emergency Press, 2013.

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Collis, Paul. The wrinkly: A work of fiction. [Place of publication not identified]: [publisher not identified], 2010.

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Canning, Shelagh. Work: Sock at work! New York: Simon Spotlight, 1997.

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Części książek na temat "Work of fiction"

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Gruenbaum, Ronan. "Separating Fact from Fiction". W Making Social Technologies Work, 162–65. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137024824_25.

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Sampson, Dara, i Amanda Howard. "Which fiction?" W Using Language, Fiction, and Story in Social Work Education, 121–28. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003208730-11.

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Robinson, Benjamin Lewis. "The World after Fiction". W The Work of World Literature, 105–26. Berlin: ICI Berlin Press, 2021. http://dx.doi.org/10.37050/ci-19_05.

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Opponents of World Literature fear that its advent marks the end of the ‘work of literature’. J. M. Coetzee’s The Childhood of Jesus (2013) presents a world in which the work of literature has indeed been forgotten. Migrants arrive in a new life ‘washed clean’ of the burden of the European tradition. Simón, who dimly recalls the old life, feels that something is missing in the new. He longs for something altogether ‘other’. Might Simón learn from the exceptional child David to perceive the ‘likeness’ in this world? Are we to read Coetzee’s novel like Simón or like David — and with what consequence for our understanding of the work of literature in a time of World Literature?
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Sutherland, John. "Trollope at Work on The Way We Live Now". W Victorian Fiction, 114–32. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-23937-5_6.

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Sutherland, John. "Trollope at Work on The Way We Live Now". W Victorian Fiction, 122–40. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230596344_6.

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Faull, Andrew. "The good shift as fiction". W Police Work and Identity, 63–100. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Routledge studies in crime, security and justice ; 2: Routledge, 2017. http://dx.doi.org/10.4324/9781315309859-3.

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Sampson, Dara, i Amanda Howard. "Teaching social work with fiction". W Using Language, Fiction, and Story in Social Work Education, 101–11. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003208730-9.

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Jewell, Josh. "Sex Work in Caribbean Fiction". W Economic Informality and World Literature, 75–107. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-53134-7_3.

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Wade, Stephen. "Autobiography and Fiction in Isherwood’s Work". W Christopher Isherwood, 103–8. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21877-6_8.

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Sam. "What Is a Work of Fiction?" W Thinking about Stories, 37–61. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003126102-3.

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Streszczenia konferencji na temat "Work of fiction"

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Milkes Espinosa, Sara, i Carl Disalvo. "Trash Work Futures: A Design Fiction". W CHIWORK 2022: 2022 Symposium on Human-Computer Interaction for Work. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3533406.3533422.

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Do Nascimento, José Orete, Ana Cristina Bicharra Garcia i Sean Wofgand Matsui Siqueira. "Collaborative Elaboration of Design Fiction Narratives with Participatory Design Fiction Extend". W 2023 26th International Conference on Computer Supported Cooperative Work in Design (CSCWD). IEEE, 2023. http://dx.doi.org/10.1109/cscwd57460.2023.10152601.

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Tursinaliyevna, Jabborova Zuhra. "Notions of translation with fiction and non-fiction sources". W TEACHING FOREIGN LANGUAGES IN THE CONTEXT OF SUSTAINABLE DEVELOPMENT: BEST PRACTICES, PROBLEMS AND OPPORTUNITIES. ISCRC, 2023. http://dx.doi.org/10.37547/geo-70.

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This article discusses the concept of translation materials with literary and non-literary materials in English. As it has been discussed above, translation is a highly versatile professional field. Translators are language experts who often specialize in a specific field, however, they not only need to possess knowledge, but also need to have a well-developed translation methodology. In this article, we will explore the different translation methods and techniques that occur in this line of work and explain how they work.
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Carlson, Patricia. "Work in Progress: Teaching Science Fiction to Engineering Students". W Proceedings. Frontiers in Education. 36th Annual Conference. IEEE, 2006. http://dx.doi.org/10.1109/fie.2006.322371.

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Somanath, Sowmya, Bahare Bakhtiari i Regan L. Mandryk. "Design Fiction on Capturing, Amplifying, and Instilling Happiness in Work". W CHIWORK 2024: Annual Symposium on Human-Computer Interaction for Work. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3663384.3663395.

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Bozieva, Naima Borisovna. "Flash Fiction in the Work of Kabardian Writer B. Mazikhov". W All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-97755.

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Wong, Richmond Y. "Using Design Fiction Memos to Analyze UX Professionals’ Values Work Practices". W CHI '21: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3411764.3445709.

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Kaur, Jasmine, Rishabh Devgon i Dhairya Chaudhary. "Work of Fiction: Using Speculative Design to Deliberate on the Future of Hiring". W CSCW '22: Computer Supported Cooperative Work and Social Computing. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3500868.3559442.

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Alvarez de la Vega, Juan Carlos, Marta E. Cecchinato i John Rooksby. "Design Opportunities for Freelancing Platforms: Online Freelancers’ Views on a Worker-Centred Design Fiction". W CHIWORK 2022: 2022 Symposium on Human-Computer Interaction for Work. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3533406.3533410.

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ЦВИК, Ирина. "Forms of realization of the dialogue of cultures in a work of art". W Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p76-80.

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The article discusses the ways of implementing intercultural dialogue in fiction. The author analyzes the types of intertextual connections and the reasons for their use by the writer in the work. He comes to the conclusion that, firstly, the line of terms is not synonymous, and, secondly, intercultural dialogue is a means of expanding the meaning of the work, updating new meanings and interpretations.
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Raporty organizacyjne na temat "Work of fiction"

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Tare, Medha, Susanne Nobles i Wendy Xiao. Partnerships that Work: Tapping Research to Address Learner Variability in Young Readers. Digital Promise, marzec 2018. http://dx.doi.org/10.51388/20.500.12265/67.

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Over the past several decades, the student population in the United States has grown more diverse by factors including race, socioeconomic status, primary language spoken at home, and learning differences. At the same time, learning sciences research has advanced our understanding of learner variability and the importance of grounding educational practice and policy in the individual, rather than the fiction of an average student. To address this gap, LVP distills existing research on cognitive, social and emotional, content area, and background Learner Factors that affect learning in various domains, such as reading and math. In conjunction with the development process, LPS researchers worked with ReadWorks to design studies to assess the impact of the newly implemented features on learner outcomes.
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Ksepka, Daniel, i Kristin Lamm. Systematics and Biodiversity Conservation. American Museum of Natural History, 2012. http://dx.doi.org/10.5531/cbc.ncep.0024.

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This exercise uses a fictional group of turtles to demonstrate how to implement cladistic methodology. Using a step-by-step guide, students work to find the most parsimonious cladogram for these fictional turtles. Part I involves delineating characters and building a most parsimonious cladogram based on the distribution of character states, while Part II presents additional challenges by introducing homoplasy. This exercise is designed to familiarize students with the concepts of phylogeny and cladistics, expand their skills of phylogenetic analysis, and use phylogenetic information to determine conservation priority.
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien i Damon Herd. A New Palingenesis. University of Dundee, listopad 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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