Bibliografias temáticas / Fiction

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Literatura científica selecionada sobre o tema "Fiction"

Autor: Grafiati
Publicado: 4 de junho de 2021
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Fiction"

1

POPA, Alexandru. "Fiktion´ und Fiktionen. Einige Beobachtungen zu terminologischen und sachlichen Unklarheiten in literaturtheoretischem und -wissenschaftlichem Kontext". Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (janeiro de 2022): 27–38. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.2.

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The following article discusses some issues regarding the use of the terms ‘fiction’, ‘fictionality’, ‘fictive’ and ‘fictional’ with regard to fictions and fictional expressions or texts. The main concern of this text is to indicate the fact, that ‘fiction’ and fictions are used and treated with a certain amount of ambiguity. It is the case when literature and literary worlds are discussed both in a general context and in scholarly treatment of these issues. Relevant terminological distinctions exist. Still, their use to name their corresponding referents lacks a certain consequence.
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Frame, Alex. "Fictions in the Thought of Sir John Salmond". Victoria University of Wellington Law Review 30, n.º 1 (1 de junho de 1999): 159. http://dx.doi.org/10.26686/vuwlr.v30i1.6021.

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A Lecture delivered for the Stout Centre's "Eminent Victorians" Centennial Series in the Council Chamber, Hunter Building at Victoria University on 31 March 1999. The author pays tribute to the late Sir John Salmond by discussing the role of "fiction" in law and in the thought of Sir John. The author notes the nature of fiction as a formidable force, as it facilitates provisional escape from the tyranny of apparent fact and forget about the suspensory nature of fiction. There are three types of "fictions" in the legal world: legislative fictions, whereby the world is refashioned in accordance with the legislator's desires; constitutional fictions, which places fictional boundaries on government rule; and corporate fiction, which creates a fictional corporate personality for companies. The author concludes that it is purpose that keeps fiction honest, and that the relationship between fiction and purpose is just as important as that between hypothesis and fact.
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Mikkonen, Jukka. "Sutrop on literary fiction-making: defending Currie". Disputatio 3, n.º 28 (1 de maio de 2010): 309–15. http://dx.doi.org/10.2478/disp-2010-0004.

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Abstract In her study Fiction and Imagination: The Anthropological Function of Literature (2000), Margit Sutrop criticizes Gregory Currie’s theory of fiction-making, as presented in The Nature of Fiction(1990), for using an inappropriate conception of the author’s ‘fictive intention.’ As Sutrop sees it, Currie is mistaken in reducing the author’s fictive intention to that of achieving a certain response in the audience. In this paper, I shall discuss Sutrop’s theory of fiction-making and argue that although her view is insightful in distinguishing the illocutionary effect and the perlocutionary effect in the author’s fictive intention, there are flaws in it. My aim is to show that, first, Sutrop’s critique of Currie’s view is misguided and, second, her own definition of fiction as the author’s expression of her imagination is problematic in not distinguishing literary fiction-making from other discursive functions and in dismissing the literary practice which regulates the production of literary fictions.
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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, n.º 1 (1 de dezembro de 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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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction". Journal of Literary Theory 12, n.º 2 (3 de setembro de 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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Matravers, Derek. "Non-Fictions and Narrative Truths". Croatian journal of philosophy 22, n.º 65 (15 de setembro de 2022): 145–60. http://dx.doi.org/10.52685/cjp.22.65.1.

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This paper starts from the fact that the study of narrative in contemporary Anglo-American philosophy is almost exclusively the study of fictional narrative. It returns to an earlier debate in which Hayden White argued that “historiography is a form of fiction-making.” Although White’s claims are hyperbolical, the paper argues that he was correct to stress the importance of the claim that fiction and non-fiction use “the same techniques and strategies.” A distinction is drawn between properties of narratives that are simply properties of narratives and properties of narratives that play a role in forming readers’ beliefs about the world. Using this distinction, it is shown that it is an important feature of non-fictions that they are narratives; it is salutary to recognise non-fictions as being more like fictions than they are like the events they represent.
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Mikkonen, Kai. "Minimal Departure and Fictional Narrative Situations". Storyworlds: A Journal of Narrative Studies 13, n.º 2 (dezembro de 2021): 71–96. http://dx.doi.org/10.1353/stw.2021.a925851.

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Abstract: Readers understand fictional worlds at least to some extent by drawing on background knowledge of their own world. Some theories of fiction, however, hold that such realistic expectations, or processes of naturalization, are the default attitude in experiencing fictions. Thus, what Marie-Laure Ryan has called the principle of minimal departure (MD) states that readers understand fictional worlds and their components by drawing on background knowledge of their own world, unless otherwise indicated. This article is a critical examination of the relevance of the principle of MD and a contextualization of other theoretical notions of readerly attitude, including Thomas Pavel's principles of maximal departure (MxD) and optimal departure (OD) and Kendall L. Walton's principle of charity, within the broader framework of fictional verisimilitude and believability. The question of relevance will be discussed in relation to the idea of the contract of fiction by which is meant the knowledge that one is reading fiction. The analytic sections of this article focus on the question of fictional narrative situation, which in Ryan's possible-worlds theory functions as the trademark of fiction—as narrators and narratees (or narrative audiences) are exempted from the operations of MD. The "impossible" narrative situations that serve as examples include Jorge Luis Borges's loosely autobiographical story "Funes el memorioso" (1942) and two nineteenth-century French fictions: Guy de Maupassant's short story "La nuit" (1887) and a passage from Émile Zola's roman à thèse, Lourdes (1894).
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Morris, Raphael. "Interpretive Context, Counterpart Theory and Fictional Realism without Contradictions". Disputatio 11, n.º 54 (1 de dezembro de 2019): 231–53. http://dx.doi.org/10.2478/disp-2019-0018.

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Abstract Models for truth in fiction must be able to account for differing versions and interpretations of a given fiction in such a way that prevents contradictions from arising. I propose an analysis of truth in fiction designed to accommodate this. I examine both the interpretation of claims about truth in fiction (the ‘Interpretation Problem’) and the metaphysical nature of fictional worlds and entities (the ‘Metaphysical Problem’). My reply to the Interpretation Problem is a semantic contextualism influenced by Cameron (2012), while my reply to the Metaphysical Problem involves an extension and generalisation of the counterpart-theoretic analysis put forth by Lewis (1978). The proposed analysis considers interpretive context as a counterpart relation corresponding to a set of worlds, W, and states that a sentence φ is true in interpretive context W iff φ is true at every world (w∈W). I consider the implications of this analysis for singular terms in fiction, concluding that their extensions are the members of sets of counterparts. In the case of pre-existing singular terms in fiction, familiar properties of the corresponding actual-world entities are salient in restricting the counterpart relation. I also explore interpretations of sentences concerning multiple fictions and those concerning both fictional and actual entities. This account tolerates a plurality of interpretive approaches, avoiding contradictions.
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Wieland, Nellie. "Escaping Fiction". Croatian journal of philosophy 24, n.º 70 (23 de fevereiro de 2024): 81–96. http://dx.doi.org/10.52685/cjp.24.70.6.

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In this paper I argue that a norm of literary fiction is to compel the reader to form beliefs about the world as it is. It may seem wrong to suggest that the reason I believe p is because I imagined p, yet literary fiction can make this the case. I argue for an account grounded in indexed doxastic susceptibilities mapped between a fictional context and the particular properties of a reader, more specifically the susceptibilities in her beliefs, attitudes, and psychological states. Works of fiction can be about different things at the same time, some of which are fictive and some of which are factual. Since belief can be weak or strong, partial or complete, tenuous or robust, opaque or clear, there are susceptibilities throughout a doxastic set out of which new beliefs are formed. Skillful works of fiction exploit these susceptibilities and create new ones. This is an aesthetic achievement of such works: they take what should be a norm-violating practice of belief-formation on the basis of imaginative engagement and they make it so.
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Egerton, Karl. "Player Engagement with Games: Formal Reliefs and Representation Checks". Journal of Aesthetics and Art Criticism 80, n.º 1 (29 de outubro de 2021): 95–104. http://dx.doi.org/10.1093/jaac/kpab058.

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Abstract Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has heretofore been acknowledged but not examined in detail, giving an impression of a tension that is constant. However, the paired concepts of formal reliefs and representation checks, once introduced, allow us to explain how rules and fiction interact to alter the ways in which players engage with games in a dynamic but limited way.
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Teses / dissertações sobre o assunto "Fiction"

1

Fung, Kit-ting, e 馮潔婷. "Decolonizing fictions: the subversion of 19thcentury realist fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953001.

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Fung, Kit-ting. "Decolonizing fictions : the subversion of 19th century realist fiction /". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23473010.

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Agüero, Miñano Maritza Yesenia. "From fiction to reality: reflections surrounding fictional characters". Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/115971.

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The growth and development of worldwide products and services containing fictional characters has been exponential due to development, among others, of technology. This article examines the protection of fictional characters through copyright and reflects on its legal treatment.
El crecimiento y desarrollo de productos y servicios a nivel mundial de obras que contienen personajes de ficción ha sido exponencial, debido al desarrollo, entre otros factores, de la tecnología. El presente artículo examina la protección de los personajes de ficción a través del derecho de autor y reflexiona sobre su tratamiento legal.
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Gosselin, Michel. "La scénarisation télévisuelle de fiction : fiction et réflexion". Thèse, Université de Sherbrooke, 1991. http://hdl.handle.net/11143/10106.

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Nous nous intéressons à la scénarisation télévisuelle de fiction depuis plusieurs années. À regarder les téléromans, les mini-séries et les dramatiques que les différentes chaînes francophones nous proposent, nous en sommes venu à nous demander si l'écriture télévisuelle de fiction est spécifique à ce médium et, si oui, quelles en seraient les caractéristiques? Suite à nos lectures, nous avons constaté qu'aucun chercheur au Québec ne s'était penché d'une façon sérieuse sur cette forme d'écriture (visuelle). À l'exception de quelques paragraphes touchant tantôt aux personnages, tantôt aux intrigues ou aux dialogues, paragraphes insérés dans une étude sociologique ou thématique, comme une incise, nous n'avons retrouvé aucune étude sur le sujet. Notre recherche vise à combler cette lacune. Nous sommes d'autant plus convaincus de la pertinence de notre propos que, depuis quelques années, certains organismes (PARLIMAGE, SARDEC) offrent des cours, des stages, des ateliers d'écriture ou des tables de travail en scénarisation, confirmant, a posteriori, la spécificité de cette écriture sous-jacente à l'image. Notre travail se divisera en deux parties: la première partie, intitulée, FICTION, comprendra une présentation et une description de tous les personnages d'une mini-série intitulée LA TENDRESSE DES PIERRES, ainsi que son synopsis. Enfin, nous retrouverons la scénarisation des trois premières heures de la série qui en comptera treize. Nous croyons que ces trois heures donnent une idée assez exacte de la trame et du continuum de la série. La seconde partie, appelée RÉFLEXION, sera une recherche sur ce type d'écriture spécifique au médium, où les didascalies prennent l'aspect d'un récit dans lequel le scénariste s'adresse tantôt au réalisateur, tantôt aux comédiens ou à l'équipe technique, instructions essentielles à une réalisation éventuelle. Ces informations excentriques à la narration que "le faiseur d'histoires" apporte aux principaux artisans de la production ne visent qu'un seul but: "nourrir" tous les intervenants (décorateur, costumier, éclairagiste, réalisateur, etc.) qui créeront le contexte narratif du texte. [...]
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Long, Bruce Raymond. "Informationist Science Fiction Theory and Informationist Science Fiction". Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/5838.

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Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
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Long, Bruce Raymond. "Informationist Science Fiction Theory and Informationist Science Fiction". University of Sydney, 2009. http://hdl.handle.net/2123/5838.

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Master of Philosophy (MPhil)
Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
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Shen, Ruihua. "New woman, new fiction : autobiographical fictions by twentieth-century Chinese women writers /". view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3113028.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 339-366). Also available for download via the World Wide Web; free to University of Oregon users.
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Morris, Davis Maggie Elizabeth. "The Fictions We Keep: Poverty in 1890s New York Tenement Fiction". OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/387.

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In his 2008 book, American Hungers: The Problem of Poverty in U.S. Literature, 1840-1945, Gavin Jones calls for academic studies of literature that examine poverty as its own actuality, worthy of discussion and definition despite its inherently polemical nature. As presented by Jones and tested here, American literature reveals how poverty is established, defined and understood; the anxieties of class; imperative connections with issues of gender and race; and the fictions of American democracy and the American Dream. This proves to be especially interesting when examining the 1890s. From a sociological standpoint, the eighteenth century's approach to poverty was largely moralistic, while the early parts of the nineteenth century moved toward acknowledging the impact of environmental and social factors. Literature itself was changing as a result of the realism and naturalism movements; the resulting popularity of local color and dialect writing and the exploding market for magazine fiction created access to and an audience for literature that discussed poverty in multifarious ways. Furthermore, New York proved to be an ideal setting - the influx of immigrants, the obvious problem of the slums, and the public's infatuation with those slums - and served as a catalyst for a diverse body of writing. Middle-class anxieties, especially, surfaced in this modern Babel. This study begins with a historical and sociological overview of the time period as well as an analysis of the problematic photography of the effective reformer Jacob Riis. Like Riis's photography, the cartoons of R.F. Outcault both challenge and subtly support stereotypes of poverty and serve as a reminder of the presence of poverty in day-to-day life and entertainment of turn-of-the-century New Yorkers. Stephen Crane's Maggie is discussed in depth, and his Tommie sketches are contrasted with the middle-class Whilomville Tales. These pieces have in common several unifying qualities: the centrality of the human body to the discussion of poverty, the failure of language for those in poverty, vision as a tool writers and artists lean heavily upon, and the awareness of multiple audiences within and without the text. Ultimately, the pieces return to the burdened bodies of small children - "the site that bears the marks, the damage, of being poor" (Jones American Hungers 3).
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Von, Solodkoff Tatjana. "Grounding fiction". Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578699.

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Fictional characters are awkward creatures. They are described as being girls, wizards and detectives, as being famous, based on real people, and well developed, and as being paradigmatic examples of things that don't exist. It's not hard to see that there are tensions between these various descriptions - how can something that is a detective not exist? - and there is a range of views designed to make sense of the pre-theoretical data. Proponents of some views are fictional realists, who hold that we should accept that fictional characters are part of 'the furniture of our world'. Others are fictional anti-realists, who hold instead that our world does not contain any such things. The realist and the anti-realist thus disagree about ontology and about which alleged entities we should be prepared to embrace an ontological commitment to. But behind this ontological dispute lies a methodological one that has all too often been left implicit. This dispute concerns the very nature of ontological inquiry: its subject matter, its aims, and its methodology. This thesis aims to bring these methodological issues to the fore. I show how the arguments realists have offered in favour of their views rely on crucial 'metaontological' assumptions about what ontological questions are and how they should be answered. In addition to casting doubt on some of the more orthodox approaches to ontological inquiry, my positive goal is to deploy an independently motivated metaontology to defend a novel version of fictional anti-realism. On the view I develop and defend, the central task we face is that of explaining truths concerning fictional characters, where the relevant notion of explanation is distinctively metaphysical in character. Fictional anti-realism emerges as the plausible thesis that truths about fictional entities can be completely explained in terms of the existence and features of other things.
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Tajovský, Jakub. "FICTION CENCRETE". Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2017. http://www.nusl.cz/ntk/nusl-316054.

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In my master thesis I realize the set of pictures and painterly objects, which should imitate principles of augmented reality by analogial form. From technical standpoint Im interested in question of bidirectional remediation of new media and painting and how its evolution supports ilussion and imagination. In ontologiacal way im looking for mystical nature of picture. Final exhibition is an metaphor composed in hybryd picture based on technological and theoretical experiences in Painting. The result is little synthetic reality.
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Mais fontes

Livros sobre o assunto "Fiction"

1

Lardreau, Guy. Fictions philosophiques et science-fiction: Récreation philosophique. [Le Paradou]: Éditions Actes Sud, 1988.

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2

Paul, West. The universe, and other fictions: Short fiction. Woodstock, N.Y: Overlook Press, 1988.

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3

Lardreau, Guy. Fictions philosophiques et science-fiction: Récréation philosophique. Arles: Actes Sud, 1988.

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4

Zamaron, Alain. Récits et fictions des mondes disparus: L'archéologie-fiction. Aix-en-Provence: Publications de l'université de Provence, 2007.

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5

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

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6

Dietz, Steven. Fiction. New York: Samul French, Inc., 2005.

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7

Gilou, Le Gruiec, e Caujolle Christian, eds. Fiction. Munich, Germany: Kehayoff, 2001.

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8

Jenise, Williamson C., Alvarez Rafael e Minot George, eds. Fiction. Baltimore, Md. (1101 N. Calvert St. #1605, Baltimore 21202): Damascus Works, 1990.

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9

Dietz, Steven. Fiction. New York, NY: Samuel French, 2006.

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10

Ackerman, Michael. Fiction. Paris: Delpire, 2001.

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Mais fontes

Capítulos de livros sobre o assunto "Fiction"

1

Bertolet, Rod. "Concerning Fiction and Fictions". In What is Said, 173–218. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-2061-3_7.

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2

Smythe, William. "Fiction". In Encyclopedia of Critical Psychology, 727–30. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4614-5583-7_112.

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3

Rai, Pallavi. "Fiction". In Encyclopedia of Evolutionary Psychological Science, 1–10. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-16999-6_2864-1.

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4

Alexander, Michael. "Fiction". In A History of English Literature, 285–308. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-04894-3_11.

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Pinheiro, Marina Assis, e Lívia Mathias Simão. "Fiction". In The Palgrave Encyclopedia of the Possible, 1–10. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-98390-5_95-1.

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6

Barry, Peter. "Fiction". In Issues in Contemporary Critical Theory, 131–67. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-89244-0_12.

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7

Halliwell, Stephen. "Fiction". In A Companion to Ancient Aesthetics, 341–53. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781119009795.ch22.

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Schor, Hilary M. "Fiction". In A New Companion to Victorian Literature and Culture, 349–63. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118624432.ch23.

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Cooper, John Xiros. "Fiction". In A Companion to Modernist Poetry, 58–68. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch5.

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Alonso, Carlos J. "Fiction". In Comparative History of Literatures in European Languages, 141–53. Amsterdam: John Benjamins Publishing Company, 1994. http://dx.doi.org/10.1075/chlel.x.13alo.

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Trabalhos de conferências sobre o assunto "Fiction"

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LIU, CHUANG. "MODELS, FICTION, AND FICTIONAL MODELS". In Selected Papers from the International Conference on SEMS 2012. WORLD SCIENTIFIC, 2014. http://dx.doi.org/10.1142/9789814596640_0009.

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2

Lindley, Joseph. "Researching Design Fiction With Design Fiction". In C&C '15: Creativity and Cognition. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2757226.2764763.

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3

Heibeck, Felix, Alexis Hope e Julie Legault. "Sensory Fiction". In the 2nd ACM International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2660579.2660585.

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Proctor, Chris, e Paulo Blikstein. "Interactive fiction". In IDC '17: Interaction Design and Children. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3078072.3084324.

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Blythe, Mark. "Research Fiction". In CHI '17: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3025453.3026023.

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Glassner, Andrew, e Turner Whitted. "Fiction 2000". In ACM SIGGRAPH 99 Conference abstracts and applications. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/311625.311958.

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Sturdee, Miriam, Paul Coulton, Joseph G. Lindley, Mike Stead, Haider Ali e Andy Hudson-Smith. "Design Fiction". In CHI'16: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2851581.2892574.

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Guerrier, Olivier. "Frontière de la fiction, fiction de la frontière". In Frontières de la fiction (décembre 1999). Fabula, 2021. http://dx.doi.org/10.58282/colloques.7443.

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Freby, François. "L’effet de réel-fiction ou l’impossible non-fiction & l’impossible invraisemblance". In L'effet de fiction (2001). Fabula, 2022. http://dx.doi.org/10.58282/colloques.7737.

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Leiduan, Alessandro. "La sémiologie face au défi de la fiction interactive. Enjeux épistémologiques et esthétiques de la « transition » numérique". In Actes du congrès de l’Association Française de Sémiotique. Limoges: Université de Limoges, 2024. http://dx.doi.org/10.25965/as.8560.

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L’étude des manifestations fictionnelles de l’ère numérique ne saurait se borner à décrire les modalités à travers lesquelles celles-ci actualisent les potentialités expressives inscrites dans la technologie numérique. La conceptualisation de la « transition numérique » dans le domaine de l’imaginaire artistique doit également se poser la question de savoir si les nouvelles formes d’expressivité artistiques satisfont aux conditions esthétiques qui présidaient à la consécration des fictions traditionnelles (sous peine de ne pas pouvoir appliquer à leur phénoménologie l’appellation de « fiction »). Il a ainsi été nécessaire de redécouvrir les critères de conditionnalité esthétiques qui sont incorporés dans la notion « trans-historique » de fiction afin de recentrer sur eux la description – mais surtout l’évaluation critique – des nouveaux avatars de l’imaginaire numérique. Conformément à ces grandes lignes méthodologiques, cet article entreprend l’analyse du film interactif République, moins pour inventorier sur un ton émerveillé ses fonctionnalités numériques que pour les mettre à l’épreuve des paramètres esthétiques qui sous-tendent la catégorie culturelle de fiction.
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Relatórios de organizações sobre o assunto "Fiction"

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Leavitt, John. Killers: Fiction Pieces. Portland State University Library, janeiro de 2000. http://dx.doi.org/10.15760/etd.3016.

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Fyfe, J. A. Offshore data - fact and fiction. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/193941.

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Sanny, James T., e Sr. Operational Maneuver: Function or Fiction? Fort Belvoir, VA: Defense Technical Information Center, fevereiro de 1996. http://dx.doi.org/10.21236/ada307346.

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4

Backus, David, Espen Henriksen, Frederic Lambert e Christopher Telmer. Current Account Fact and Fiction. Cambridge, MA: National Bureau of Economic Research, novembro de 2009. http://dx.doi.org/10.3386/w15525.

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Miller, Ruth-Ellen. Enhancing impact assessment with extrapolative fiction. Portland State University Library, janeiro de 2000. http://dx.doi.org/10.15760/etd.816.

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Van Biesebroeck, Johannes. Wages Equal Productivity: Fact or Fiction? Cambridge, MA: National Bureau of Economic Research, dezembro de 2003. http://dx.doi.org/10.3386/w10174.

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Shishkin, Timur. Marginalized Characters in Contemporary American Short Fiction. Portland State University Library, janeiro de 2000. http://dx.doi.org/10.15760/etd.297.

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Martínez, Tomás Eloy. Myth, History and Fiction in Latin America. Inter-American Development Bank, maio de 1999. http://dx.doi.org/10.18235/0005928.

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Anderson, Erin M. Fact or Fiction: Internet Surveillance and Reconnaissance Cell. Fort Belvoir, VA: Defense Technical Information Center, outubro de 2008. http://dx.doi.org/10.21236/ada494156.

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Webster, James K. Science Fiction as a Prism for Understanding Geopolitics. Fort Belvoir, VA: Defense Technical Information Center, abril de 2015. http://dx.doi.org/10.21236/ad1003712.

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