Готові списки джерел за темами / Historicisation of the fiction

Добірка наукової літератури з теми "Historicisation of the fiction"

Автор: Grafiati
Опубліковано: 3 лютого 2024

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Статті в журналах з теми "Historicisation of the fiction"

1

Gaucher, Élisabeth, and Gillette Labory. "Fictionalisation de l'histoire et historicisation de la fiction : le cas de Richard sans peur." Bien Dire et Bien Aprandre, no. 22 (April 1, 2022): 39–52. http://dx.doi.org/10.54563/bdba.1616.

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2

Buch, Esteban. "Relire Ingarden : l’ontologie des oeuvres musicales, entre fictions et montagnes." Articles 32, no. 1-2 (September 9, 2013): 61–81. http://dx.doi.org/10.7202/1018579ar.

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Qu’est-ce qu’une oeuvre musicale? La question ontologique soulevée par Roman Ingarden dans sa critique de la phénoménologie de Husserl a de nombreux points communs avec la querelle du “platonisme musical” déployée dans les années quatre-vingt par des philosophes analytiques tels que Jerrold Levinson et Peter Kivy. En 1992, Lydia Goehr a proposé une historicisation radicale du concept d’oeuvre musicale, sans pour autant liquider un projet ontologique qui, tout récemment, insiste dans les réflexions de Roger Pouivet à propos de “l’oeuvre musicale rock”. Cet article fait le point sur ces débats philosophiques avant de signaler la crise sociologique de la notion d’oeuvre liée au virage numérique et à la fragmentation du répertoire classique selon les standards de l’industrie culturelle. Reprenant la définition d’Ingarden de “l’objet purement intentionnel” à partir de cet ébranlement du sens commun, il compare pour finir le statut ontologique de l’oeuvre musicale à celui des êtres de fiction, un personnage de roman par exemple, ainsi qu’à celui d’entités qui, telles les montagnes évoquées par la “théorie granulaire de la réalité” de Barry Smith, résultent de la projection d’une pratique langagière sur la surface sonore du monde.
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3

Porcher, Louis. "Trouver le temps long ?" Documents pour l'histoire du français langue étrangère ou seconde 2, no. 1 (1988): 6–7. http://dx.doi.org/10.3406/docum.1988.877.

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Анотація:
Le travail d’historien aboutit presque toujours à instaurer des filiations, à faire apparaître des liens de descendance. C’est l’une des raisons, sans doute, pour lesquelles il produit parfois le goût (la tentation ?) de chercher des ressemblances comme il s’en trouve, au fil des siècles, entre les membres successifs d’une lignée. J’imagine que le débat est classique, chez les spécialistes, et qu’il donne lieu à des prises de position multiples sur les finalités de l’histoire. Puisque le passé, à partir de ce qui reste de lui, et même, plus précisément, à partir de ce que l’on sait en rester, est toujours repéré, reconstruit, par un regard ultérieur, il change évidemment avec la date même de ce regard. La «double historicisation» (historicisation du passé que l’on étudie, historicisation de celui qui l’étudie) constitue vraisemblablement une nécessité méthodologique forte du travail de l'histoire. L'analyse historique, dans ces conditions, est donc toujours une réévaluation du passé, une transformation des représentations que l’on en a, l’élaboration de figures neuves de l’autrefois.
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4

Christin, Olivier. "Pour une historicisation des concepts historiques." Actes de la recherche en sciences sociales 140, no. 5 (2001): 3. http://dx.doi.org/10.3917/arss.140.0003.

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Christin, Olivier. "Pour une historicisation des concepts historiques." Actes de la recherche en sciences sociales 140, no. 1 (2001): 3–6. http://dx.doi.org/10.3406/arss.2001.2830.

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Adkins, Lisa. "Sexuality and Economy: Historicisation vs Deconstruction." Australian Feminist Studies 17, no. 37 (March 2002): 31–41. http://dx.doi.org/10.1080/08164640220123434.

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Cordier, Pierre. "Historicisation, déshistoricisation : relire Ernesto De Martino." Anabases, no. 1 (March 1, 2005): 288–92. http://dx.doi.org/10.4000/anabases.1502.

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Pfeil, Ulrich. "Pour une historicisation des processus de réconciliation." Les Cahiers Irice N° 15, no. 1 (2016): 99. http://dx.doi.org/10.3917/lcsi.015.0099.

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Bert, Jean-François. "La contribution foucaldienne à une historicisation du corps." Corps 1, no. 1 (2006): 53. http://dx.doi.org/10.3917/corp.001.0053.

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Vidal, Fernando. "La psychologie empirique et son historicisation pendant l'Aufklärung." Revue d'Histoire des Sciences Humaines 2, no. 1 (2000): 29. http://dx.doi.org/10.3917/rhsh.002.0029.

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Дисертації з теми "Historicisation of the fiction"

1

Al, Jarrah Soumaya. "Romanciers ou historiens ? L'histoire contemporaine du Proche-Orient saisie par la fiction." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL094.

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Анотація:
Le sujet central de cette thèse se concentre sur la relation entre la littérature et plus précisément le roman et l’Histoire. Elle examine de manière approfondie une problématique composée de deux axes distincts, d'une part, le rôle du roman dans la représentation du passé, et d'autre part, sa distinction par rapport à la représentation de l'Histoire dans des œuvres historiques. Elle vise à démontrer que l'Histoire et le roman ne sont pas fondamentalement différentes dans la représentation du passé et que l'objectivité de l'historien est mise en question. Dans cette optique, l’approche consiste à analyser des romans traitant de l’histoire contemporaine du Liban et de la Syrie, en les confrontant aux œuvres historiques qui traitent du même sujet. Cela permet de répondre à la question posée dans le titre du travail. L’étude parvient à démontrer que toute perception des faits est empreinte, en définitive, d’une certaine subjectivité, elle-même tributaire de facteurs idéologiques, culturels, politiques et sociaux. La spécificité de ce travail redise dans la variation des perspectives représentés ainsi que dans la variation des œuvres analysés. Les corpus historique et littéraire qui sont constitués par des récits historique, romanesque, mémoriel, photographique, bande dessiné, écrits par des historiens et auteurs orientaux et occidentaux font que le travail a pu englober l’histoire contemporaine de cette région dans tous ses aspects et a révélé différents points de vue. Reste alors à considérer le rôle du lecteur dans sa conception des faits et sa construction de l’Histoire
The central subject of this thesis focuses on the relationship between literature, specifically the novel, and History. It thoroughly examines an issue composed of two distinct dimensions: firstly, the role of the novel in representing the past, and secondly, its distinction from the representation of History in historical works. The aim is to demonstrate that History and the novel are not fundamentally different in their representation of the past, and that the objectivity of the historian is called into question. In this perspective, the approach involves analyzing novels dealing with the contemporary history of Lebanon and Syria, comparing them to historical works that address the same subject. This helps answer the question posed in the title of the work. The study manages to show that any perception of events is ultimately marked by a certain subjectivity, which is itself influenced by ideological, cultural, political, and social factors. The uniqueness of this work lies in the variation of perspectives represented as well as in the variety of analysed works. The historical and literary corpus, consisting of historical, fictional, memorial, photographic, and comic narratives, written by both Eastern and Western historians and authors, allowed the research to encompass the contemporary history of this region in all its aspects and revealed different points of view. It remains to consider the role of the reader in their perception of facts and their construction of History
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2

Steinbrecher, Tal. "L' historicisation de la théodicée." Paris 1, 2009. http://www.theses.fr/2009PA010695.

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Dans ses cours sur la philosophie de l'histoire du monde Hegel affirme que l'objet des cours, la philosophie de l'histoire du monde, n'est autre que la théodicée leibnizienne qu'il convient de rendre concrète. Le point de départ de notre recherche se trouve dans cette récupération étonnante. Nous cherchons a comprendre les liens unissant le projet leibnizien et la philosophie hégélienne, un lien qui excède Ie simple cadre de la philosophie de l'histoire du monde. Notre thèse cherche a montrer que, bien au-dela de la philosophie de l'histoire, l'ensemble du dire hégélien obéit à une logique théodicéenne, c'est à dire une logique qui place en son cœur l'idée d'une réconciliation avec le mal, à travers la justification rationnelle de ce dernier. La théodicée, chez Leibniz comme dans la récupération hégélienne, est alors une logodicée, justification de la raison, malgré le mal présent dans le monde. Nous cherchons, par-delà Hegel, si ce lien entre la pensée de l'histoire et la justifIcation du mal se rencontre dans les grandes philosophies contemporaines de l'histoire. Nous voulons montrer que la pensée marxienne peut également être considérée comme une tentative allant dans un sens théodicéen, puisant ses racines dans le projet leibnizien. En ce qui concerne Schelling, toutefois, notre thèse montre que la radicalisation du projet théodicéen autour d'une philosophie historique menace ce lien, et met ainsi un terme à l'aventure de la théodicée leibnizienne, dans sa rencontre avec la philosophie de I 'histoire.
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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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4

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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Анотація:
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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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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8

Modrei, Karen. "Craft Fiction." Thesis, Konstfack, Textil, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7814.

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In this paper I introduce and explain the construct of ‘Craft Fiction’ as a setting for my own artistic work. Within a fictional framework, I am mediating between the field of craft and the contemporary environment of relocated materialities and digital worlds I find myself in. Using the vehicle of language and analyzing those dialogue that are ongoing in craft processes, I am assessing the intimate relationships between maker and its tools/machines, in order to discuss hierarchies and purpose of crafting.
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Atencia-Linares, P. "Arts and facts : fiction, non-fiction and the photographic medium." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1434513/.

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In this thesis, I deal with the rarely discussed issue of how the nature of a representational medium—in this case photography—affects or contributes to the classification of works as fiction or non-fiction, and I provide a novel view on the relation between photographs and documentary works. Part I focuses on issues concerning the nature of photographic representation, its special relation with the real and its purported fictional incompetence. Part II takes up issues concerning the nature of fiction and non-fiction with an emphasis on the category of non-fiction/documentary, and examines its application to photography. Firstly, I discuss the claim, put forward by Kendall Walton, according to which photographs, in virtue of being depictive, are or favour fiction. I deny that this is so, although I argue that Walton’s claim is frequently misunderstood. Then, I address the more intuitive claim that photographs favour non-fiction. I argue that, if this is so, it is not because photographs are fictionally incapable. Photographs, I claim, can depict ficta by photographic means. However, this is consistent with saying that photographs bear a special relation with the real: (1) photographs are typically natural ‘signals’; they are handicaps and indices (Green 2007, Maynard-Smith and Harper 2004)—and thereby typically factive; and (2) photographs are documental images, images that support an experience that preserves the particularity of the original scene. These features contribute to non-fiction/documentary. To see how, I discuss various views on the nature of documentary and I propose an alternative account based on Stacie Friend’s ‘Genre Theory’. Finally, I discuss the application of the categories of fiction and non-fiction to photography. I claim that although these are active genres in the medium, it is more accurate to speak about factual and non-factual photography, where the former is a more basic category. This, in turn, is a consequence of the nature of the medium itself.
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Jones, Margaret Anne. "The Blackshaw Chord ; Crime fiction, literary fiction : why the demarcation?" Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/366620/.

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My thesis is in two parts: Part 1 a novel, Part 2 a critical rationale. The novel examines abuse in a range of manifestations – parental power; alcohol; the press; corporate power – all of which combine to perpetrate a catalogue of abuse against my protagonist. But it is the completely innocent protagonist who is perceived as the abuser. The novel quite deliberately has the feel of a crime story although the only serious crime is off-the-page and not connected with any of the characters or locations. This is intentional. The critical rationale seeks to investigate the classification of crime fiction and literary fiction with crime in it, and attempts to examine where the demarcation appears. Much of the critical rationale examines my novel in this regard. Initially I was looking at the debate from the point-of-view of non-whodunnit crime, but my research took me increasingly towards literary authors who have moved into mystery writing, such as, Kate Atkinson, Susan Hill, John Banville (Benjamin Black) and Joanne Harris. I refer to several novels from the crime genre and from novels which occupy a ‘hinterland’ whereby crime is a major element of the narrative but where they are not regarded as crime fiction. I have researched the shelving policies of the local library and bookshops, and interviewed writers with regard to where they wish their work to be placed. I have also considered briefly what is genre and why hinterland novels are placed somewhere outside the classification of any genre. Where appropriate I have quoted from published authors with regard to their position in this debate, and have used four main novels to discuss the development of my novel - John Brown’s Body; Psycho; Rebecca and Brighton Rock.
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Книги з теми "Historicisation of the fiction"

1

Thomas, P. L., ed. Science Fiction and Speculative Fiction. Rotterdam: SensePublishers, 2013. http://dx.doi.org/10.1007/978-94-6209-380-5.

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2

1946-, Hottois Gilbert, ed. Science-fiction et fiction spéculative. [Bruxelles]: Editions de l'Université de Bruxelles, 1985.

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3

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

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4

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

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5

Elish, Dan. Fiction. New York: Marshall Cavendish Benchmark, 2012.

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6

Fiction. Torino: Einaudi, 2001.

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7

Leggett, Jane. Fiction. London: ILEA English Centre, 1986.

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8

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

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9

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

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10

S, Gwynn R., ed. Fiction. 2nd ed. New York: Longman, 1998.

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Частини книг з теми "Historicisation of the fiction"

1

Attwell, Katie. "Themes of Dissident Dissonance: Historicisation and Identification." In Jewish-Israeli National Identity and Dissidence, 117–43. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137429025_6.

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2

O’Brien, David, and Melissa Shani Brown. "The Past as Envisioned for the Future: Sinicisation through Historicisation." In People, Place, Race, and Nation in Xinjiang, China, 191–227. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-3776-7_7.

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3

Gnamuš, Nadja. "The Concept of Eastern Art and Self-Historicisation: The Slovenian Case." In State Construction and Art in East Central Europe, 1918–2018, 42–51. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003265818-5.

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4

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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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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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, and 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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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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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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Тези доповідей конференцій з теми "Historicisation of the fiction"

1

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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Heibeck, Felix, Alexis Hope, and 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, and 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, and 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, and 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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Tursinaliyevna, Jabborova Zuhra. "Notions of translation with fiction and non-fiction sources." In 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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Анотація:
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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Baumann, Karl, Ben Caldwell, François Bar, and Benjamin Stokes. "Participatory Design Fiction." In CHI '18: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3170427.3186601.

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McVeigh-Schultz, Joshua, Max Kreminski, Keshav Prasad, Perry Hoberman, and Scott S. Fisher. "Immersive Design Fiction." In DIS '18: Designing Interactive Systems Conference 2018. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3196709.3196793.

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Звіти організацій з теми "Historicisation of the fiction"

1

Leavitt, John. Killers: Fiction Pieces. Portland State University Library, January 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., and Sr. Operational Maneuver: Function or Fiction? Fort Belvoir, VA: Defense Technical Information Center, February 1996. http://dx.doi.org/10.21236/ada307346.

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Backus, David, Espen Henriksen, Frederic Lambert, and Christopher Telmer. Current Account Fact and Fiction. Cambridge, MA: National Bureau of Economic Research, November 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, January 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, December 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, January 2000. http://dx.doi.org/10.15760/etd.297.

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Anderson, Erin M. Fact or Fiction: Internet Surveillance and Reconnaissance Cell. Fort Belvoir, VA: Defense Technical Information Center, October 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, April 2015. http://dx.doi.org/10.21236/ad1003712.

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McCormick, Michael. Operational Factors: Fact or Fiction, Effective or Ineffective. Fort Belvoir, VA: Defense Technical Information Center, May 2006. http://dx.doi.org/10.21236/ada463547.

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