Статті в журналах: "Fictions, Theory of"

1

Bannet, Eve Tavor. "Pluralist Theory-Fictions and Fictional Politics." Philosophy and Literature 13, no. 1 (1989): 28–41. http://dx.doi.org/10.1353/phl.1989.0089.

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2

Proudfoot, Diane. "Sylvan's Bottle and other Problems." Australasian Journal of Logic 15, no. 2 (July 3, 2018): 95. http://dx.doi.org/10.26686/ajl.v15i2.4858.

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According to Richard Routley, a comprehensive theory of fiction is impossible, since almost anything is in principle imaginable. In my view, Routley is right: for any purported logic of fiction, there will be actual or imaginable fictions that successfully counterexample the logic. Using the example of ‘impossible’ fictions, I test this claim against theories proposed by Routley’s Meinongian contemporaries and also by Routley himself (for what he called ‘esoteric’ works of fiction) and his 21st century heirs. I argue that the phenomenon of impossible fictions challenges even today’s modal Meinongians.

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3

Morris, Raphael. "Interpretive Context, Counterpart Theory and Fictional Realism without Contradictions." Disputatio 11, no. 54 (December 1, 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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4

Mikkonen, Kai. "Minimal Departure and Fictional Narrative Situations." Storyworlds: A Journal of Narrative Studies 13, no. 2 (December 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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5

Hansom, Paul, Christine Brooke-Rose, and Lars Ole Sauerberg. "Fictional Theories and Theoretical Fictions." Contemporary Literature 34, no. 4 (1993): 797. http://dx.doi.org/10.2307/1208813.

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6

Ilyas, Safa. "Psychological Effects of Sadaat Hasan Manto’s Fiction on Youth of Lahore, Punjab, Pakistan." Media and Communication Review 1, no. 2 (December 26, 2021): 19–37. http://dx.doi.org/10.32350/mcr.12.06.

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This study aims to look at the idea that Manto straightforwardly expounded on man and woman’s intimate relationships. Reading fiction, dramatizations and books are similarly impacted personalities of the readers as visual screenplays, Manto's fiction engravings in all accessible mediums of print and electronic although quotes from his fictions likewise broadly tune in and share in online communities. This persistence of his work accessibility and appreciation touched the researcher to deal with his fiction to check its psychological effects on the youth of Lahore. This inquiry is strengthened by the reader-response theory to identify the youth perception and understandings about his fictions and Uses and Gratification for the resolutions and intentions of youth to escalate his work. The quantitative survey method utilized, and data collected with Purposive sampling, 500 respondents were chosen, the findings of the study showed, that Manto's fictions make anxiety and eroticism in youth along with this his fictions create mindfulness about social taboo`s and social associations.

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7

Ilyas, Safa. "Psychological Effects of Sadaat Hasan Manto’s Fiction on Youth of Lahore, Punjab, Pakistan." Media and Communication Review 1, no. 2 (December 26, 2021): 19–37. http://dx.doi.org/10.32350/mcr.12.06.

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This study aims to look at the idea that Manto straightforwardly expounded on man and woman’s intimate relationships. Reading fiction, dramatizations and books are similarly impacted personalities of the readers as visual screenplays, Manto's fiction engravings in all accessible mediums of print and electronic although quotes from his fictions likewise broadly tune in and share in online communities. This persistence of his work accessibility and appreciation touched the researcher to deal with his fiction to check its psychological effects on the youth of Lahore. This inquiry is strengthened by the reader-response theory to identify the youth perception and understandings about his fictions and Uses and Gratification for the resolutions and intentions of youth to escalate his work. The quantitative survey method utilized, and data collected with Purposive sampling, 500 respondents were chosen, the findings of the study showed, that Manto's fictions make anxiety and eroticism in youth along with this his fictions create mindfulness about social taboo`s and social associations.

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8

Chakravorty, Mrinalini. "The Dead That Haunt Anil's Ghost: Subaltern Difference and Postcolonial Melancholia." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 542–58. http://dx.doi.org/10.1632/pmla.2013.128.3.542.

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Anil's Ghost, Michael Ondaatje's haunting novel about the Sri Lankan civil war, probes paradoxes that arise in postcolonial fictional representations of transnational violence. What is conveyed by novels of war and genocide that cast the whole of a decolonial territory as a “deathworld”? The prism of death in Anil's Ghost requires readers of this text to relinquish settled notions of how we as humans understand our finitude and our entanglements with the deaths of others. Postcolonial fictions of violence conjoin historical circumstance with phantasmatic expressions to raise important questions about mourning, collective agency, and the subalternity of postcolonial societies. Advancing a theory about “postcolonial crypts” in fiction, I argue that postcolonial fictions' attention to violence transforms notions about the value of human life appraised through a dominant human rights framework.

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9

Chander, Manu Samriti, and Eugenia Zuroski. "Refusing Eighteenth-Century Fictions: Introduction." Eighteenth-Century Fiction 36, no. 1 (January 1, 2024): 1–5. http://dx.doi.org/10.3138/ecf.36.1.1.

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In this introductory essay, we take issue with David Hume’s distinction between “fiction” and “belief” by arguing that the relationship between these categories depends as much on existing structures of authority and power as it does on individual judgment or feeling. We then describe the objectives of the two-part ECF special issue “Refusing 18th-Century Fictions”: to provide critical analyses of how particular eighteenth-century fictions attained the status of material realities that continue to condition lived worlds in the twenty-first century, and to prompt ongoing and future efforts to imagine and materialize realities beyond racial capitalism and settler colonialism.

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10

Chander, Manu Samriti, and Eugenia Zuroski. "Refusing Eighteenth-Century Fictions: Introduction." Eighteenth-Century Fiction 36, no. 2 (April 1, 2024): 203–7. http://dx.doi.org/10.3138/ecf.36.2.203.

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In this introductory essay, we take issue with David Hume’s distinction between “fiction” and “belief ” by arguing that the relationship between these categories depends as much on existing structures of authority and power as it does on individual judgment or feeling. We then describe the objectives of the two-part ECF special issue “Refusing 18th-Century Fictions”: to provide critical analyses of how particular eighteenth-century fictions attained the status of material realities that continue to condition lived worlds in the twenty-first century, and to prompt ongoing and future efforts to imagine and materialize realities beyond racial capitalism and settler colonialism.

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11

Summerley, Rory. "Approaches to Game Fiction Derived from Musicals and Pornography." Arts 7, no. 3 (August 27, 2018): 44. http://dx.doi.org/10.3390/arts7030044.

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This paper discusses the construction of consistent fictions in games using relevant theory drawn from discussions of musicals and pornography in opposition to media that are traditionally associated with fiction and used to discuss games (film, theatre, literature etc.). Game developer John Carmack’s famous quip that stories in games are like stories in pornography—optional—is the impetus for a discussion of the role and function of fiction in games. This paper aims to kick-start an informed approach to constructing and understanding consistent fictions in games. Case studies from games, musicals, and pornography are cross-examined to identify what is common to each practice with regards to their fictions (or lack thereof) and how they might inform the analysis of games going forward. To this end the terms ‘integrated’, ‘separated’, and ‘dissolved’ are borrowed from Dyer’s work on musicals, which was later employed by Linda Williams to discusses pornographic fictions. A framework is laid out by which games (and other media) can be understood as a mix of different types of information and how the arrangement of this information in a given work might classify it under Dyer’s terms and help us understand the ways in which a game fiction is considered consistent or not.

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12

Savage, Paul, Joep P. Cornelissen, and Henrika Franck. "Fiction and Organization Studies." Organization Studies 39, no. 7 (June 8, 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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13

Grenouilleau-Loescher, Rebecca, and Kathryn A. Haklin. "Introduction: Characters in/as Connection." L'Esprit Créateur 63, no. 3 (September 2023): 1–9. http://dx.doi.org/10.1353/esp.2023.a906705.

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Abstract: This introduction to the special issue "Connecting Characters in Modern and Contemporary French-language Fiction" offers a critical context for studying character networks and interdependency. Through the lens of Glissant's concept of "Relation" and in dialogue with Jagoda's notion of "network aesthetics," the issue examines what connects characters in fictional works, how these links shape narrative meaning within and across texts, and how character interdependency reflects diverse social, political, and historical contexts. From the nineteenth-century novel to the multi-perspectival fictions of today, the issue attests to a shift in our critical understanding of characters, from a focus on individual centrality to movement within community.

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14

Gittes, T. F. "“Forgers of Falsehood, Physicians of Nought”: Retailing Fictions in Boccaccio’s Decameron." Quaderni d'italianistica 38, no. 2 (February 4, 2019): 139–56. http://dx.doi.org/10.33137/q.i..v38i2.32234.

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Whereas Petrarch’s portrait of his doctor in Invectives Against a Physician is deliberately caricatural and seized at a glance, Boccaccio’s attitude towards doctors in the Decameron is far harder to grasp and easily overlooked. Yet, doctors and medical science are a central concern of the Decameron, whose first significant action (the brigata’s movement from the plague-afflicted city to the countryside) and activity (storytelling) are predicated on the Florentine doctors’ failure to find a remedy for the plague. Throughout the Decameron, the doctors’ glaring incapacity to help their patients is implicitly contrasted with the poets’ success in offering some measure of solace—if not a definitive cure—to those afflicted by the plague. The conventional view that poets retail fictions, and doctors, real cures, is repeatedly cast into doubt as Boccaccio reveals that all too often the real difference between doctors and poets is that doctors hawk medical fictions (their arsenal of exotic powders and decoctions) as true cures, whereas poets cloak true cures in poetic fictions. Medical fictions sicken the healthy and kill the sick; poetic fictions quicken the spirit and promote life. This counterpoising of doctors and poets (or painters), medicine and fiction in the Decameron both anticipates and contributes to Boccaccio’s lifelong defense of poetry that culminates in the 14th and 15th books of the Genealogy of the Pagan Gods.

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15

Levander, C. "Consenting Fictions, Fictions of Consent." American Literary History 16, no. 2 (June 1, 2004): 318–28. http://dx.doi.org/10.1093/alh/ajh014.

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16

Scobie, Ruth. "Breakfast with “Her inky Demons”: Celebrity, Slavery, and the Heroine in Late Eighteenth-Century British Fiction." Eighteenth-Century Fiction 34, no. 4 (June 1, 2022): 415–40. http://dx.doi.org/10.3138/ecf.34.4.415.

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Late eighteenth-century British newspapers were vehicles of celebrity and scandal; they were also venues for the advertising of slaves. The juxtaposition made newspapers a potentially explosive and productive object in British fiction. This essay identifies a formulaic scene, originating in William Hayley’s popular poem The Triumphs of Temper (1781) and recurring in various forms in fictions by Maria Edgeworth, Frances Burney, and Elizabeth Inchbald, as well as many less well-known novels of fashionable life, in which a young white woman experiences sudden unwanted celebrity by reading about herself in a morning newspaper. This essay introduces the term “dyspathy” for the mechanism by which these fictions present the heroine as always threatened by, but inevitably rescued from, a newspaper sphere in which older discourses of blackness, and metropolitan unease at the commodification of humans, were tightly but implicitly associated. Emerging white supremacist ideas of race are shown to be fundamental to the construction of feminine domestic subjectivity in these fictions.

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17

Barikova, Anna. "LEGAL FICTIONS FOR ADMINISTRATIVE COURTS." Administrative law and process, no. 4 (27) (2019): 102–14. http://dx.doi.org/10.17721/2227-796x.2019.4.09.

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Goal. The paper reveals features of applying administrative procedural legal fictions in order to avoid abuse of the right and evasion of the law when exercising procedural discretion. Methods. For achievement of research purposes, the author uses special legal methods of scientific knowledge: formal-logical, system-functional, formal-logical, comparative-legal. Results. Historiography of the legal fictions use has been dealt with. Essence of fictions has been highlighted in the paper as legal anomalies. The use of legal fictions in the administrative process has been detailed, taking into account the Grundnorm theory. The connection between legal fictions and legal regulations has been revealed. The legal fiction has been described as a reinterpretation of the facts of an event in order to make these facts compatible with the rule, and at the same time allowing to get the correct result. This is a type of legal fiction-reinterpreting X (or class X) as Y in order to avoid an “inconvenient”, unreliable, false, etc. result for the purposes of the law. As a rule, it is recognized that X is not Y. That is, the court considers the creation of a fiction as a legitimate action within the framework of the judicial process; the activity that could be performed without concealment as a discretely true category. Case law on the application of legal fictions has been described. It has been advised to use legal fictions when considering and resolving disputes, provided that there are false or clearly erroneous judgments in the provisions of existing applicable legal rules. As a consequence, time and resource costs for clarifying the facts of the case and over-motivating the judgment are minimized. Conclusions. Firstly, features of legal fictions have been highlighted, in particular, for achieving the goals and objectives of administrative proceedings. Secondly, the classification of arguments, methods and approaches to the application of such atypical regulators in the administrative process has been proposed by the “meta” degree: 1) on the fundamental metric – internal, or zero-order arguments; 2) at the derivative definitive level – by defining functional, structural and relative concepts.

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18

Qader, Nasrin. "Fictional Testimonies or Testimonial Fictions: Moussa Ould Ebnou'sBarzakh." Research in African Literatures 33, no. 3 (September 2002): 14–31. http://dx.doi.org/10.2979/ral.2002.33.3.14.

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19

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, no. 2 (September 3, 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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20

Farland, Maria Magdalena. ""That Tritest/Brightest Truth": Emily Dickinson's Anti-Sentimentality." Nineteenth-Century Literature 53, no. 3 (December 1, 1998): 364–89. http://dx.doi.org/10.2307/2903044.

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While the cultural importance of sentimental fiction has been well documented by critics such as Jane Tompkins and Claudia Tate, the nature and function of sentimental poetry has remained largely unexplored. This essay offers a corrective to this critical tendency by reading major poems by Emily Dickinson in terms of the contemporary sentimental fictions of death and immortality to which they are indebted. Against those critics who have emphasized Dickinson's embrace of sentimentality's domestication of death, the essay argues that her poems contest and even negate the fictions of immortality made available by popular authors such as Elizabeth Stuart Phelps and Ik Marvel. Dickinson's poems employ certain distinctive generic conventions of sentimentality's conduct of death-the passage from life to immortality, the posthumous reunion, the equation of heaven and home. But where sentimental fictions employ familiar scenes of earth and home to represent the less-familiar prospect of heaven and immortality, Dickinson's poems remove hometown places and persons from heaven's scene; where sentimental fictions domesticate death, her poems detach and strip it bare. The characteristic features of her poetry-scenelessness and temporal transcendence-are thus the mark neither of Dickinson's incipient modernism nor of the lyric voice's isolation from society or history, but rather of Dickinson's deliberate departure from a historically specific mode of representing immortality.

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Wetherill, P. M., and P. O'Neill. "Fictions of Discourse: Reading Narrative Theory." Modern Language Review 91, no. 3 (July 1996): 746. http://dx.doi.org/10.2307/3734151.

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22

Wanzo, Rebecca. "The Unspeakable Speculative, Spoken." American Literary History 31, no. 3 (2019): 564–74. http://dx.doi.org/10.1093/alh/ajz028.

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Abstract Exploring various absences—what is or should not be represented in addition to the unspeakable in terms of racial representations—is the through line of three recent books about race and speculative fictions. Mark C. Jerng’s Racial Worldmaking: The Power of Popular Fiction (2018) argues racial worldmaking has been at the center of speculative fictions in the US. In Posthuman Blackness and the Black Female Imagination (2017), Kristen Lillvis takes one of the primary thematic concerns of black speculative fictions—the posthuman—and rereads some of the most canonical works in the black feminist literary canon through that lens. Lillvis addresses a traditional problem in the turn to discussions of the posthuman and nonhuman, namely, what does it mean to rethink black people’s humanity when they have traditionally been categorized as nonhuman? Sami Schalk’s Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction (2018) speaks to the absence of a framework of disability in African American literature and cultural criticism. In addressing absence—or, perhaps silence—Schalk offers the most paradigm-shifting challenge to what is speakable and unspeakable: the problem of linking blackness with disability and how to reframe our treatment of these categories.

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23

Schweighauser, Philipp. "Antifiction Fictions." Early American Literature 56, no. 3 (2021): 731–54. http://dx.doi.org/10.1353/eal.2021.0065.

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Màrquez, Eduard. "Two Fictions." World Literature Today 88, no. 1 (2014): 26–27. http://dx.doi.org/10.1353/wlt.2014.0113.

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25

Oz, Daniel. "Nine Fictions." World Literature Today 89, no. 3 (2015): 82–83. http://dx.doi.org/10.1353/wlt.2015.0284.

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26

Eduard Màrquez and Translated by Lawrence Venuti. "Two Fictions." World Literature Today 88, no. 1 (2014): 26. http://dx.doi.org/10.7588/worllitetoda.88.1.0026.

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27

Noor, Ronny, and Barbara Croft. "Necessary Fictions." World Literature Today 73, no. 3 (1999): 525. http://dx.doi.org/10.2307/40154931.

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28

Beck, Ervin, and Wendy McGrath. "Recurring Fictions." World Literature Today 77, no. 2 (2003): 97. http://dx.doi.org/10.2307/40158042.

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29

LESJAK, C. "Professional Fictions." Novel: A Forum on Fiction 39, no. 1 (September 1, 2005): 138–41. http://dx.doi.org/10.1215/ddnov.039010138.

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30

Flint, K. "Photographic Fictions." Novel: A Forum on Fiction 42, no. 3 (September 1, 2009): 393–99. http://dx.doi.org/10.1215/00295132-2009-033.

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31

Most, G. W. "Why Fictions?" Literary Imagination 5, no. 3 (January 1, 2003): 487–89. http://dx.doi.org/10.1093/litimag/5.3.487.

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32

Karnes, Michelle. "Synchronous Fictions." New Literary History 51, no. 1 (2020): 265–68. http://dx.doi.org/10.1353/nlh.2020.0017.

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33

Talbott, Siobhan. "‘Causing misery and suffering miserably’: Representations of the Thirty Years’ War in Literature and History." Literature & History 30, no. 1 (May 2021): 3–25. http://dx.doi.org/10.1177/03061973211007353.

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This article examines a range of fictional literature – poetry, prose, play and song produced between the seventeenth and twenty-first centuries – that represents aspects of the Thirty Years’ War, a conflict fought in Europe from 1618 to 1648. Depiction of the Thirty Years’ War in literary works is compared to that found in empirical historical evidence and historians’ analyses. It is concluded that historical fictions offer a different, but equally valid, account of the conflict to academic histories, and that by using historical fictions and empirical evidence together, a more holistic picture of events is offered than academic histories alone provide.

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34

Qader, Nasrin. "Fictional Testimonies or Testimonial Fictions: Moussa Ould Ebnou's Barzakh." Research in African Literatures 33, no. 3 (2002): 14–31. http://dx.doi.org/10.1353/ral.2002.0088.

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Eppel, John. "Non-fiction fictions (Patrick Cullinan, Lionel Abrahams and Dan Wylie)." Scrutiny2 8, no. 2 (January 2003): 77–79. http://dx.doi.org/10.1080/18125440308566010.

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Gao, Jiali, and Yan Hua. "On the English Translation Strategy of Science Fiction from Humboldt's Linguistic Worldview —Taking the English Translation of Three-Body Problem as an Example." Theory and Practice in Language Studies 11, no. 2 (February 1, 2021): 186. http://dx.doi.org/10.17507/tpls.1102.11.

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In recent years, many science fictions have been published, such as The Three-body Problem, The Wandering Earth, and so on. The number of people who are interested in science fiction is increasing. Meanwhile, the translation of science fiction has become more important. The Linguistic Worldview proposed by Humboldt is of great importance to the translation of science fiction. This thesis is based on Linguistic Worldview. It analyzes The Three-body Problem (English version) and the importance of such theory to the translation of science fiction. It proposes three translation strategies: free translation, literal translation, and transcreation.

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37

Baker, William, and Jackson I. Cape. "Robert Coover's Fictions." Antioch Review 45, no. 2 (1987): 240. http://dx.doi.org/10.2307/4611730.

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38

Horvath, Brooke K., and Jackson I. Cope. "Robert Coover's Fictions." American Literature 59, no. 3 (October 1987): 488. http://dx.doi.org/10.2307/2927156.

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Kumar, Amitava. "Two Short Fictions." World Literature Today 84, no. 6 (2010): 32. http://dx.doi.org/10.1353/wlt.2010.0087.

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Zilberbourg, Olga. "Three Flash Fictions." World Literature Today 91, no. 1 (2017): 35–37. http://dx.doi.org/10.1353/wlt.2017.0262.

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41

Wagner, Frank. "Fictions du storytelling." Littérature N° 202, no. 2 (June 8, 2021): 52–63. http://dx.doi.org/10.3917/litt.202.0052.

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42

Ziolkowski, Margaret, Irina Ratushinskaya, and Alyona Kojevnikova. "Fictions and Lies." World Literature Today 73, no. 4 (1999): 770. http://dx.doi.org/10.2307/40155204.

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NOVAK, D. "Fictions of Enchantment." Novel: A Forum on Fiction 39, no. 1 (September 1, 2005): 142–45. http://dx.doi.org/10.1215/ddnov.039010142.

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44

Parsons, Nicola, and Amelia Dale. "Fictions of Character." Eighteenth-Century Fiction 35, no. 4 (October 1, 2023): 497–502. http://dx.doi.org/10.3138/ecf.35.4.497.

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This essay asks what happens to theorizations of literary character when we consider the formally complex treatment of character within the pornographic or otherwise disreputable texts that proliferate across eighteenth-century print. Harris’s List of Covent-Garden Ladies (1760–94), a catalogue of women involved in London’s sex trade, is a piece of character writing; its characters are the marginalized, racialized, and sexually commodified. We examine how repetition operates in the treatment of two women of West Indian origin, in separate annual editions, and show how Harris’s List embeds its characters in sexual and racial economies of reiteration and circulation. We demonstrate how characterization in such texts has implications for scholarship on the eighteenth-century novel and our understanding of novel characters, showing how Frances Brooke’s The Excursion (1777) and Thomas Holcroft’s The Adventures of Hugh Trevor (1794–97) ambivalently incorporate the forms of character writing that Harris’s List deploys.

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45

Barbantani, Silvia. "EPISTOLARY FICTIONS." Classical Review 52, no. 1 (March 2002): 32–34. http://dx.doi.org/10.1093/cr/52.1.32.

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van Gageldonk, Maarten. "Cinematic Fictions." English Studies 94, no. 2 (April 2013): 248–49. http://dx.doi.org/10.1080/0013838x.2013.765227.

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47

Markussen, Thomas, Eva Knutz, and Tau Lenskjold. "Design Fiction as a Practice for Researching the Social." Temes de Disseny, no. 36 (October 1, 2020): 16–39. http://dx.doi.org/10.46467/tdd36.2020.16-39.

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The aim of this paper is to contribute to a new conceptual foundation for design fiction. Much attention is dedicated to theorising how design fictions relate to our so-called actual world. This work can be seen as an attempt at securing the seriousness and legitimacy of design fiction as an approach to design research. The theory of possible worlds has proven promising in this regard. We argue, however, that a detailed understanding of design fiction is still lacking. In design fiction literature, authors often engage in critiquing techno-centric approaches while paying less attention to how design fiction has a potential to foster social change in situated actual affairs. We argue that analysis should start from the messy unfolding of the design event itself rather than from big ontological discussions of the boundaries between fiction and reality. To grasp the messiness of design fiction, we offer an interdisciplinary framework, bridging knowledge domains such as literally theory and design anthropology.

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Oza, Manish. "Fictions in Legal Reasoning." Dialogue 61, no. 3 (December 2022): 451–63. http://dx.doi.org/10.1017/s0012217322000312.

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AbstractA legal fiction is a knowingly false assumption that is given effect in a legal proceeding and that participants are not permitted to disprove. I offer a semantic pretence theory that shows how fiction-involving legal reasoning works.

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J. L., Ms Chithra. "The Paradox of Being Human and more than Human: Exploring the Class Struggle in Nancy Kress’ Beggars in Spain." Psychology and Education Journal 58, no. 1 (February 1, 2021): 4485–87. http://dx.doi.org/10.17762/pae.v58i1.1539.

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The human history is an apologue. It tells the struggle-some tale of races, aiming for power and prestige or for mere survival. Marxism, discontent with the existing struggle between the haves and have-nots, envisages a classless society. Science fiction, in contrast, assumes a fictious world, not of humans alone, but of a macrocosm of living and non-living creatures including human, non-human or subhuman entities. When the divergent communities co-exist within the same planet, there arises a dissonance. Posthuman theory assumes that “the dividing line between human, non-human or the animal is highly permeable.” There is quite a good number of Science fictions that conjures up towards a posthuman future. Even though, seemingly divergent aspects, Marxian and Posthuman theory, both presumes a fictional world. The first surmises on an ideal utopia of class-less society of unique economic equality, the second foresees a futuristic world of humans- less than or more than ‘humans.’ Nancy Kress’ Beggars in Spain is a typical science fiction which tells the negative impact of genetic engineering. A few fortunate parents who could afford the expensive genetic engineering, was able to brought about a new generation of sleepless children with unique features. But those without any alterations, remained as sleepers. In the long run, the ordinary humans seemed to lose the race with the much productive individuals, who is having a bonus of sleeping hours and much more added advantages. The conflict results in a class struggle of ‘haves and have-nots’. Marxian view of the class struggle between the proletariat and the aristocrats can be analyzed on par with the classification of individuals purely based on their talents whether they inherited or purposefully custom-made. The present scrutiny rounds off the assertion that, there is no ultimate victory over the war of human and posthuman races.

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Joannou, Maroula. "Historical Fictions." Women: A Cultural Review 17, no. 1 (April 2006): 127–28. http://dx.doi.org/10.1080/09574040600628864.

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