Готові списки джерел за темами / Historicisaton de la fiction

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Добірка наукової літератури з теми "Historicisaton de la fiction"

Автор: Grafiati

Опубліковано: 3 лютого 2024

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Статті в журналах з теми "Historicisaton de la fiction"

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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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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Ledun, Marin. "Fiction contre fiction." Santé Publique Prépublication (March 23, 2030): I1g—2. http://dx.doi.org/10.3917/spub.pr1.0027.

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Bailey, Edward. "Science Fiction, Historical Fiction and Religion Fiction?" Implicit Religion 17, no. 4 (December 12, 2014): 539–41. http://dx.doi.org/10.1558/imre.v17i4.539.

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Olson, Georgine. "Fiction Acquisition/Fiction Management." Journal of Electronic Resources Librarianship 10, no. 19 (February 17, 1998): 1–9. http://dx.doi.org/10.1300/j101v10n19_01.

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Reynier, Christine. "Short fiction as humble fiction." Short Fiction in Theory & Practice 10, no. 2 (October 1, 2020): 131–34. http://dx.doi.org/10.1386/fict_00022_2.

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Gerrig, Richard J. "Reexperiencing Fiction and Non-Fiction." Journal of Aesthetics and Art Criticism 47, no. 3 (1989): 277. http://dx.doi.org/10.2307/431007.

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Itwaru, Arnold Harichand. "Fiction in History in Fiction." World Literature Written in English 31, no. 1 (March 1991): 114–16. http://dx.doi.org/10.1080/17449859108589154.

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Guerrier, Simon. "The fiction behind science fiction." Lancet Psychiatry 6, no. 12 (December 2019): e32. http://dx.doi.org/10.1016/s2215-0366(19)30452-3.

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GERRIG, RICHARD J. "Reexperiencing Fiction and Non-Fiction." Journal of Aesthetics and Art Criticism 47, no. 3 (June 1, 1989): 277–80. http://dx.doi.org/10.1111/1540_6245.jaac47.3.0277.

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Дисертації з теми "Historicisaton de la fiction"

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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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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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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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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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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Dargnat, Mathilde. "L'oral comme fiction." Phd thesis, Université de Provence - Aix-Marseille I, 2006. http://tel.archives-ouvertes.fr/tel-00136043.

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Ce travail est consacré à une comparaison entre l'image de l'oral véhiculée par une œuvre théâtrale (cinq pièces de l'écrivain québécois Michel Tremblay) et par une transcription linguistique (corpus Sankoff-Cedergren et Montréal 84). Il aboutit à deux conclusions. D'une part, la comparaison systématique du corpus littéraire et linguistique met en évidence les contraintes différenciées qui pèsent sur le codage de l'oralité (aux niveaux graphique, syntaxique et énonciatif). D'autre part, l'oralité apparaît dans le corpus littéraire non seulement comme un paramètre sociolinguistique, mais aussi comme une composante de l'organisation fictionnelle narrative. L'oralité est ainsi doublement fictionnelle, à la fois imaginaire social de la langue et élément d'un univers narratif et affectif.

Du point de vue méthodologique, l'étude repose sur l'utilisation du logiciel Weblex (http://weblex.ens-lsh.fr/wlx/), qui permet de comparer les différentes transcriptions de mots et de locutions caractéristiques de l'oral, et de mettre en évidence les choix techniques ou esthétiques des transcripteurs et de l'écrivain. Par ailleurs, à l'intérieur du corpus littéraire, on peut faire apparaître des profils linguistiques pour les différents personnages, ou encore dessiner une évolution stylistique du traitement de la fiction langagière sur trente ans (1968-1998).

Du point de vue théorique, la question centrale est celle de la nature des « filtres » de l'oral. Ce travail montre une double nécessité : a. la nécessité d'une définition précise des catégories linguistiques pour constituer (annoter) et exploiter des corpus de langue non standard, qu'il s'agisse de transcriptions d'entretiens ou de littérature ; b. la nécessité d'articuler la description de la langue avec les aspects culturels et affectifs, pour mieux comprendre les trois dimensions (linguistique, symbolique et esthétique) du phénomène de l'oralité.

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Книги з теми "Historicisaton de la fiction"

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

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

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

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

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Fiction. Torino: Einaudi, 2001.

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

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

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

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

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Частини книг з теми "Historicisaton de la fiction"

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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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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Hart, Jonathan Locke. "Fiction." In J. Hillis Miller and the Play of Literature, 136–53. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781032648224-6.

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Тези доповідей конференцій з теми "Historicisaton de la fiction"

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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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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