Relevant bibliographies by topics / Author of fiction literature

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Academic literature on the topic 'Author of fiction literature'

Author: Grafiati
Published: 10 September 2021
Last updated: 11 February 2022

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Journal articles on the topic "Author of fiction literature"

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Saarti, Jarmo. "Fictional Literature, Classification and Indexing." KNOWLEDGE ORGANIZATION 46, no. 4 (2019): 320–32. http://dx.doi.org/10.5771/0943-7444-2019-4-320.

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Fiction content analysis and retrieval are interesting specific topics for two major reasons: 1) the extensive use of fictional works; and, 2) the multimodality and interpretational nature of fiction. The primary challenge in the analysis of fictional content is that there is no single meaning to be analysed; the analysis is an ongoing process involving an interaction between the text produced by author, the reader and the society in which the interaction occurs. Furthermore, different audiences have specific needs to be taken into consideration. This article explores the topic of fiction knowledge organization, including both classification and indexing. It provides a broad and analytical overview of the literature as well as describing several experimental approaches and developmental projects for the analysis of fictional content. Traditional fiction indexing has been mainly based on the factual aspects of the work; this has then been expanded to handle different aspects of the fictional work. There have been attempts made to develop vocabularies for fiction indexing. All the major classification schemes use the genre and language/culture of fictional works when subdividing fictional works into subclasses. The evolution of shelf classification of fiction and the appearance of different types of digital tools have revolutionized the classification of fiction, making it possible to integrate both indexing and classification of fictional works.
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Savelyeva, Elena Borisovna, and Elena Alexandrovna Lineva. "The Author in Fiction Literature Communication." XLinguae 8, no. 3 (2015): 76–90. http://dx.doi.org/10.18355/xl.2015.08.03.76-90.

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Zelinska, Anastasiia. "Semantic Limits of the Concept “Non-Fiction Book”." Current Issues of Mass Communication, no. 18 (2015): 62–73. http://dx.doi.org/10.17721/2312-5160.2015.18.62-73.

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In this study, the author proposed a terminologisation of the concept “non-fiction book” in the framework of Ukrainian theory of publishing. The relevance of the study is stipulated by the emergence in Ukrainian publishing space of the concept “non-fiction book”, which is widely used by publishers, authors, booksellers, literary managers and readers, while the term “non-fiction book” is not clearly defined in Ukrainian academic sphere and is absent in Ukrainian dictionaries. The main objectives of the study are: to summarize results of interdisciplinary discussions over the concept “non-fiction” in Ukrainian and foreign scientific discourses; to clarify the features and peculiarities of different professional approaches; and to define the semantic framework for interpretation of the concept “non-fiction book” in Ukrainian publishing. In the study, the author applied the following research methods: bibliographical method (to study the literature sources); conceptual analysis (to work out the basic terms and concepts); analysis and synthesis (to study the nature of the usage of terms and to identify their features); synthesis (to shape the own definition of the concept “non-fiction”). Having considered the various foreign definitions of the term “non-fiction”, the author came to the conclusions that it is predominantly used in two major senses – a broad and a narrow. In a broader sense, “non-fiction” is a literature that does not contain an artistic fiction. In this sense the term is widely used by the booksellers, authors and readers. In a narrow sense, ‘non-fiction” is a literature that is based on real events, documents, facts and biographies, interpreted by the author through artistic means without distorting the actual events of the story. The concept “non-fiction book” refers to the publications, the content of which is based not only on documents and facts, but also includes the author’s interpretation. The proposed terminologisation of the concept “non-fiction book” in the framework of Ukrainian theory of publishing can be used in further academic research in the relevant fields of study.
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Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-10-27.

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In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.
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Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/2500-4247-2021-6-2-10-27.

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In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.
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Saramago, Victoria. "The Rights of Nature, the Rights of Fiction: Mario Vargas Llosa and the Amazon." Novel 54, no. 1 (2021): 19–42. http://dx.doi.org/10.1215/00295132-8868761.

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Abstract The Amazonian region occupies a singular place in the fiction and nonfiction of the Peruvian writer Mario Vargas Llosa. Author of paradigmatic novels on the Peruvian Amazon, Vargas Llosa nevertheless has repeatedly defended extensive exploitation of Amazonian natural resources—at the expense of Indigenous rights and environmental conservation—in his essays and political activities. This article discusses this conflict between Vargas Llosa's fictional and nonfictional work on the Amazon through the lens of a theory of fiction that emerges from his essays across decades and that suggests that the fictional text is independent from the referential reality it represents. By revisiting his novels and writings about fiction, this article argues that Vargas Llosa's belief in the autonomy of fiction from its referential reality explains, to a certain extent, how the fascination with the Amazon present in the author's novels coexists with his defense of drastic changes in the region through environmental exploitation and the acculturation of Indigenous populations. While Vargas Llosa's work enjoyed a positive reception in the 1960s, the nontransitive notion of mimesis he proposed has gradually taken on reactionary undertones in the context of changing expectations since the 1980s and 1990s.
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Komarov, A. S. "Levels of subject communication in fiction literature." MGIMO Review of International Relations, no. 1(34) (February 28, 2014): 277–84. http://dx.doi.org/10.24833/2071-8160-2014-1-34-277-284.

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The article is devoted to personality intercourse between writer and reader in Belles-Lettres. The intercourse between the self of the writer and the self of the reader realizes itself in the processes of writing and reading belles-lettres texts that serve as specific mediators between the two selfs. The article shows the free and personal nature of the intercourse. In the article, the author singles out and gives descriptions of stages/levels of involvement into belles-lettres personality intercourse. The author distinguishes five conventional stages: superficial or shallow stage, contradiction or conflict stage, identity or emotional stage, transcendental stage and supersensitive stage. Degree of openness of selfs to each other and degree of willingness on the part of the participants to express their own selfs serve as criteria of separating one stage from another. Degree of openness of selfs to each other is represented as a degree of the reader's openness to the writer's influence. While degree of willingness to express one's own self is perceived as a degree of the writer's or reader's readiness to reveal their self. The author argues that at each stage of intercourse its participants demonstrate a different degree of their involvement into it, which leads to misinterpretations of texts on the part of the reader and on the whole to misunderstanding between the reader and writer. The reader's transition from one stage to another can have a gradual character. However, the reader's transition to the writer's stage of intercourse can also be instantaneous, which depends on the reader's individual ability of perception as well as the writer's skill. The author of the article comes to the conclusion that understanding or misunderstanding between writer and reader as well as different interpretations of the writer's belles-lettres work by the reader lie at different stages in a degree of the reader's involvement into the intercourse suggested to him/her by the writer. In cases when both parties find themselves at one and the same stage of personal involvement the intercourse between them results in agreement of the written text and its interpretation by the reader. Thus, the writer acquires their readership while the reader discovers the writer who responds to his/her individuality.
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Kumar, Fayaz Ahmad, and Colette Morrow. "Theorizing Black Power Movement in African American Literature: An Analysis of Morrison's Fiction." Global Language Review V, no. IV (2020): 45–53. http://dx.doi.org/10.31703/glr.2020(v-iv).06.

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This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.
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Jacobs, Arthur M., and Roel M. Willems. "The Fictive Brain: Neurocognitive Correlates of Engagement in Literature." Review of General Psychology 22, no. 2 (2018): 147–60. http://dx.doi.org/10.1037/gpr0000106.

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Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. The brain processes which play a role in the mental construction of fiction worlds and the related engagement with fictional characters, remain largely unknown. The authors discuss the neurocognitive poetics model ( Jacobs, 2015a ) of literary reading specifying the likely neuronal correlates of several key processes in literary reading, namely inference and situation model building, immersion, mental simulation and imagery, figurative language and style, and the issue of distinguishing fact from fiction. An overview of recent work on these key processes is followed by a discussion of methodological challenges in studying the brain bases of fiction processing.
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Ven, Inge Van De. "The Public Antagonist and Martyr: Reading A.H.J. Dautzenberg against Literary Typologies." Werkwinkel 12, no. 2 (2017): 65–80. http://dx.doi.org/10.1515/werk-2017-0013.

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Abstract I analyze the public authorship of Dutch writer A.H.J. Dautzenberg. I disentangle some of the main threads in his literature and public persona, singling out three socio-cultural issues on which he has publicly taken a stance in both his literature and his non-fiction texts. I base my analysis on three types of sources: Dautzenberg’s works of literary fiction, appearances in the media, and non-fictional texts. I argue that the case of Dautzenberg brings out the limits of any typology of engaged authorship, autonomous authorship, or stardom, and that his veiled emphasis on factuality under the flag of fiction to an important extent explains the efficiency of his style of media performance, and helps the author generate attention for his work. I conclude that in the final instance, both his work and his media performances are subordinate to his societal engagement, and that therefore, Dautzenberg is a public antagonist first, and an author only secondarily.
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Dissertations / Theses on the topic "Author of fiction literature"

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Mazhar, Syeda Faiqa. "A study of the theme of borderland in Nadine Gordimer's fiction." Thesis, University of Bedfordshire, 2007. http://hdl.handle.net/10547/134375.

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This doctoral project is an analytical study of South African writer, Nadine Gordimer's fiction produced from 1949 to 1994. She presents a theme similar to the post-colonial critic, Homi Bhabha's notion of borderland which he propounds as a place of creativity and cultural hybridity in his work The Location of Culture (1994). The "borderland" in Gordimer's fiction acts as a liminal space and becomes a connective tissue in her characters' lives. It emerges in the form of crossing physical frontiers and mental barriers which existed in South African society. Through moments of transition, Gordimer makes her characters aware of a liberal person's marginal position, between the reactionary colonial past and the "inbetween-ness" of the borderland in radical future of South Africa. Along with this introductory background, Chapter One establishes the dual working of physical and psychological processes through which Gordimer develops the theme of "borderland" in her fiction. The subsequent three chapters focus on the variety in the presentation of "borderland" encounters in her fiction written before and after Sharpeville (1960). The thesis concludes that the dual development of physical and psychological processes is a central narrative strategy which determines a link between chronology and the presentation of "borderland" in Gordimer's fiction.
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Malka, Ruth. "Fonction auteur et auteur-fiction chez André Gide." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121561.

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Since its publication, André Gide's works mainly generated biographical analyses. As Gide's texts are first-person narratives and as the stories written recall the author's life experience, especially as far as homosexuality is concerned, it is tempting to think that each book he wrote is somehow autobiographical. The point of this thesis is to question those analyses which seem to forget an essential dimension: fiction. Instead of thinking that each text is a mirror reflecting Gide's image, we are going to see how the author set himself in his fiction. Gide takes a posture: through his literary work, he doesn't show himself as he is, neither as he thinks he is, but rather as he would likely to be seen. The author-function established correspond to the author's invention of his own character: the author is created through fiction. The role Gide would like to endorse consists in defending pederasty. He is the one who creates gidian immoralism, a new ethics both hedonist and antimoralist. As Gide writes against social conventions and protestant moral, he establishes himself the prophet of a new religion. The posture Gide takes frees him from the guilt he inherited from his protestant upbringing for being a homosexual, trying to persuade not only his readership but also himself that he is right of doing so.<br>Depuis sa parution, l'œuvre d'André Gide a principalement suscité des analyses biographiques. Comme les textes gidiens sont écrits à la première personne et que les diégèses présentent des similitudes avec la vie de l'auteur, notamment en ce qui concerne l'homosexualité, il est tentant de penser que chaque ouvrage relève d'une forme d'autobiographie. L'objectif de ce mémoire est de montrer les limites de ces théories en s'appuyant sur une dimension qu'elles oublient, à savoir la fiction. Au lieu de voir dans chaque texte une projection de soi, il s'agit d'y déceler une mise en fiction de soi. Gide prend une posture : grâce à son écriture, il se donne à lire à son lectorat non pas tel qu'il est ni tel qu'il pense être, mais tel qu'il aimerait être perçu. La fonction auteur mise en place par Gide correspond à l'invention de son propre personnage : l'auteur est créé par la fiction. Le rôle que Gide cherche à endosser est celui du défenseur de la pédérastie. Il est celui qui établit l'immoralisme gidien, une nouvelle éthique hédoniste et antimoraliste. Se dressant contre les conventions sociales et la morale protestante, s'établissant prophète d'une nouvelle religion, la posture que prend Gide lui permet de se débarrasser de toute la culpabilité que lui a laissée son éducation puritaine en regard de l'homosexualité, à la fois aux yeux du lecteur et à ses propres yeux.
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Mooney, Susan. "Drawing bridges : publicprivate worlds in Russian women's fiction." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60561.

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This thesis questions how Russian women's identity is attached to the textual use of public/private spaces in contemporary literature by Russian women writers by drawing from feminist theories. I. Grekova and N. Baranskaia portray female protagonists in their everyday lives, public and private worlds overlapping. While these heroines create stable support systems with other women, male figures enter as interruptive forces in women's lives. Hospital settings in several works by Russian women allow comparisons between women's fictional hospital experiences and those of Muscovite women interviewed. In L. Petrushevskaia's stories, women protagonists' identities are linked to the uncertain quality of locale and the tenuous relationships which transpire in it. Russian women's identity expressed in fiction may change as the self-perceptions of a younger generation of Russian women writers evolve toward a new, gendered concept of self.
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Oliveira, Bruno Lima de. "A autoficção no campo da escrita de si: a construção do mito do escritor em Nove noites, de Bernardo Carvalho, e outros procedimentos autoficcionais na prosa brasileira contemporânea." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1821.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A literatura brasileira contemporânea apresenta como uma de suas características o retorno do autor, explicado pela participação do escritor, no século XXI, no circuito midiático. A presença assídua de escritores em programas de rádio e televisão, em lançamentos de livros, em feiras literárias, em palestras e congressos etc. confere-lhes uma identidade imagética suficientemente forte para despertar nos leitores o desejo por conhecer mais amiúde o que eles têm a dizer para além do texto literário. Sua participação como personagem literário, no entanto, apesar de conter referências autobiográficas, está longe de representar uma verdade biográfica, mas, ao contrário, cria uma aura de indecisão a respeito das referências narradas. A autoficção, desse modo, seria uma crítica à noção de sujeito e ao demasiado apelo do real em nossos dias. Bernardo Carvalho é um autor exemplar de uma escrita autoficcional. Nove noites é um romance que, além de fornecer signos extratextuais importantes para a construção de uma identidade autoficcional, textualmente baralha os conceitos de verdade e mentira, ficção e realidade, resultando num texto híbrido, característico da mitificação a que se submete o autor contemporâneo. O presente trabalho, preocupado em ofertar uma novidade para os estudos literários, amplia o corpus analisado e não se limita à análise do já canônico Bernardo Carvalho. Sete outros autores somam-se a este para uma maior abrangência do panorama da literatura brasileira contemporânea. Clarah Averbuck, Milton Hatoum, Ivana Arruda Leite, Marcelo Mirisola, Cíntia Moscovich, João Gilberto Noll e Silviano Santiago completam a pesquisa em torno da autoficção<br>The contemporary Brazilian literature presents as one of its features the return of the author, explained by the participation of the writer, in the twenty-first century, in the media circuit. The constant presence of writers in radio and television programs, book launches, literary fairs, lectures and conferences etc. gives them an imagery identity strong enough to awaken in readers the desire to know in a more detailed way what they have to say beyond the literary text. His participation as a literary character, however, although it contains autobiographical references, it is far from being a "true" biography, but, instead, it creates an aura of indecision about the narrated references. The autofiction thus would be a criticism of the notion of subject and the exaggerated appeal of the real today. Bernardo Carvalho is an example of an author writing autofiction. Nove noites is a novel that, in addition to providing important extratextual signs to build an autofictional identity, literally shuffles the concepts of truth and lie, fiction and reality, resulting in a hybrid text, characteristic of myth-making submitted by the contemporary author. This work, concerned about offering something new to literary studies, extends the corpus analysis and it is not limited to the analysis of the already canonical Bernardo Carvalho. Seven other authors are added to him for a more comprehensive panorama of the contemporary Brazilian literature. Clarah Averbuck, Milton Hatoum, Ivana Arruda Leite, Marcelo Mirisola, Cíntia Moscovich, João Gilberto Noll and Silviano Santiago complete the search about the autofiction
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Langston, Jessica. "Writing herself in : mother fiction and the female Künstlerroman." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79957.

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This project examines the 'mother-writer problem' within contemporary Canadian fiction by women. Using three novels that tell the story of a mother who is also a writer, Margaret Laurence's The Diviners, Audrey Thomas' Intertidal Life and Carol Shields' Unless, I will outline the manner in which the roles of mother and writer are negotiated by the authors and their central characters. Further, I will investigate how creating a narrative about a female artist who is also a mother challenges and changes the structure and content of the standard female kunstlerroman. Finally, this thesis will attempt to determine how or if such challenges and changes improve the portrait-of-the-female-artist novel.
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阮佩儀 and Pui-yee Yuen. "A study of the Art of Mu Shiying's fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222134.

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Nicolas, Agathe. "La grande saga de l’industrialisation de la fiction : le renouveau créatif de la franchise Harry Potter." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL024.

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Le constat d’une difficulté est à l’origine de cette thèse : est-il encore possible de parler de clôture de la fiction face au fonctionnement contemporain des franchises fondées sur le développement transmédiatique d’univers transfictionnels ? Cette thèse traite des problématiques de création dans le cadre des industries culturelles : quelles sont les influences de l’industrie sur la création d’une fiction ? Quelles sont les influences de la fiction sur les médiations et les représentations de l’industrie ? Quelles sont les conséquences de l’industrialisation sur les circulations de la fiction ? Comment comprendre la permanence d’une figure d’auteur dans un régime de création collective ? L’étude se structure autour de quatre hypothèses principales, correspondant à autant de parties : tout d’abord, il est désormais nécessaire de parler de « fictions industrialisées », dans la mesure où la fiction, ses formes et ses contenus sont façonnés par l’industrie. Réciproquement, on constate l’émergence d’une « industrie narrativisée » : l’industrie participe de la création culturelle mais devient aussi objet culturel marqué par les codes de la fiction. La proposition de la notion de « fiction totale » rend nécessaire de repenser les notions de participation et de convergence qui, paradoxalement, ne sont pas incompatibles avec le concept d’autorité ; ainsi, il semble que l’ouverture de la fiction soit le symptôme d’un verrouillage institutionnel accru. Enfin, cette thèse pose l’hypothèse de l’émergence d’une nouvelle forme d’auctorialité, fondée sur l’assimilation de la figure d’auteur à un triple produit<br>One main question originated this PhD Thesis : is it still possible to talk about the closure of a fiction when contemporain franchises work on continual developments and expansions ? This document questions the concept of fiction through the notion of cultural industry. How is the creation of fiction influenced by its industrial environment ? What consequences does fiction have on its industrial environment ? What does industrialisation do to the circulation of fiction ? How does evolve the notion of authorship in this collective environment for creation ? Our study is structured around four main hypothesis, which are each studied in a dedicated part of this thesis : firstly, we underline the relevance of the notion of « industrialised fictions » ; indeed, fictional contents and formats’ evolutions are deeply linked to industrial developments. Furthermore, these contents and formats are sometimes shaped accordingly to their potential industrial developments. Reciprocally, we emphasize the notion of « narrated industry » : industry participates in cultural creation and is a cultural creation contaminated by fiction. A new notion is therefore necessary : the « totalizing fiction ». We worked on a renewed approach for the notions of convergence and participatory cultures which are, paradoxically, strongly linked to the concept of authority : the oppenness of fiction would be the symptom of an institutional lockout. Finally, this thesis defines the appareance of a new form of authority, shaped on the assimilation of authorship to a product : the author is produced as a figure, as a comercial and cultural object and as a self-creation
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Bush, Douglas Paul William. "Selling a Feeling: New Approaches Toward Recent Gay Chicano Authors and Their Audience." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366247518.

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Barlow, Jenna Elizabeth. "Womens historical fiction after feminism : discursive reconstructions of the Tudors in contemporary literature." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86303.

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Thesis (PhD)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: Historical fiction is a genre in a constant state of flux: since its inception in the nineteenth century, it has been shaped by cultural trends and has persistently responded to the way in which history is popularly conceptualised. As such, historical novels have always revealed as much about the socio-political context of their moment of production as they do about their historical settings. The advent of feminism was among the most significant movements which shaped the evolution of the women’s historical novel in the twentieth century, prompting as it did a radical shift in historiographic methodology. As feminist discourse became embedded in popular culture in the latter decades of the twentieth century, this shift in turn allowed authors of historical fiction the opportunity to reconsider the ways in which women have been traditionally represented in both historical narrative and fiction. The historical novel thus became a site for exploring the female perspective of history, a perspective that had been denied or ignored by more male-centred historical narratives. This dissertation will assess the impact wrought by the popularisation of feminist discourse on the genre of women’s historical fiction during the twentieth and twenty-first centuries. An examination of a selection of contemporary women’s novels set during the Tudor era will prove particularly useful in executing this assessment, not least because of the Tudors’ unprecedented popularity as the focus of literature and film in the last decade. More significantly, the women of this period have proven to be ideal subjects for their authors to imaginatively reconstruct in the mould of third wave feminist icons in the twenty-first century. By examining how Tudor women have been represented in the contemporary historical fiction of Jean Plaidy, Philippa Gregory, Mavis Cheek, Suzannah Dunn and Emily Purdy, this dissertation will demonstrate the ways in which popular feminist discourse has impacted on the development of women’s historical fiction in the last century, focusing specifically on texts published within the last decade. Three key aspects of the genre will be assessed in detail in this regard: the author’s self-conscious feminist intervention in the characterisation of her historical heroines; the shift in the narrative perspective adopted and the deployment of postmodern literary devices; and the representation of female sexuality. The evolution of the genre as a whole will also be examined in some detail, and the shifting parameters of modern feminisms will be interrogated in order to fully understand their manifestations in popular culture.<br>AFRIKAANSE OPSOMMING: Historiese fiksie is ’n voortdurend veranderende genre: sedert die ontstaan daarvan in die negentiende eeu is dit beïnvloed deur kulturele neigings en het dit aanhoudend bly reageer op die manier waarop die geskiedenis populêr gekonseptualiseer word. As sodanig het historiese romans altyd net soveel oor die sosiopolitieke konteks van hulle produksiemoment as oor hul historiese milieus onthul. Feminisme was een van die betekenisvolste bewegings wat gedurende die twintigste eeu die evolusie van die historiese roman vir vroue sou beïnvloed, en het sodoende aanleiding gegee tot ’n radikale verandering in historiografiese metodologie. Namate feministiese diskoers in die latere dekades van die twintigste eeu deel van die populêre kultuur geword het, het hierdie verandering op sy beurt die skrywers van historiese fiksie die geleentheid gegun om die maniere waarop vroue tradisioneel in sowel historiese narratief as fiksie uitgebeeld is, te heroorweeg. Die historiese roman het dus ’n terrein geword waarop die vroulike perspektief op die geskiedenis verken is, naamlik ’n perspektief wat deur meer manlik-gesentreerde historiese narratiewe ontken of geïgnoreer is. Hierdie verhandeling sal die impak evalueer wat die popularisering van feministiese diskoers op die genre van historiese fiksie vir vroue gemaak het tydens die twintigste en een-en-twintigste eeue. ’n Ondersoek na ’n seleksie van kontemporêre vroueromans wat in die Tudor-tydperk afspeel, is veral nuttig in hierdie verband, onder andere as gevolg van die Tudors se ongekende gewildheid as die fokus van letterkunde en film in die afgelope dekade. Wat meer veelseggend is, is dat dit blyk die vroue van hierdie tydperk was ideale subjekte wat verbeeldingryk deur hulle outeurs gerekonstrueer kon word in die vorm van derdegolf-feministiese ikone in die een-en-twintigste eeu. Deur te ondersoek hoe Tudorvroue uitgebeeld is in die kontemporêre historiese fiksie van Jean Plaidy, Philippa Gregory, Mavis Cheek, Suzannah Dunn en Emily Purdy sal hierdie verhandeling die impak demonstreer wat populêre feministiese diskoers in die afgelope eeu op die ontwikkeling van historiese fiksie vir vroue gemaak het, met die fokus spesifiek op tekste wat in die afgelope dekade gepubliseer is. In hierdie verband sal drie sleutelaspekte van die genre uitvoerig geassesseer word: die skrywer se selfbewuste feministiese ingryping in die karakterisering van haar historiese heldinne; die verskuiwing in die vertellingsperspektief en die ontplooiing van postmoderne letterkundige tegnieke; en die uitbeelding van vroulike seksualiteit. Die evolusie van die genre as geheel word ook beskou, en die veranderende parameters van moderne feminismes word ondervra sodat hul manifestasies in die populêre kultuur ten volle verstaan kan word.
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Prindle, Paige Ann. "Publishing, property, and problematic heiresses representations of inheritance in nineteenth-century American women's popular fiction /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355845.

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Thesis (Ph. D.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 237-258).
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Books on the topic "Author of fiction literature"

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Figuring the woman author in contemporary fiction. Palgrave Macmillan, 2005.

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Moonshower, Candie. Vivian Vande Velde: Author of fantasy fiction. Enslow Publishers, 2009.

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Colapinto, John. About the author. Fourth Estate, 2001.

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Colapinto, John. About the Author. HarperCollins, 2001.

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The writer in the writing: Author as hero in postwar American fiction. International Scholars Publications, 1998.

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Great authors of popular fiction. Rosen Publishing, 2014.

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Colapinto, John. About the author: A novel. HarperCollins, 2001.

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Marchand, Henry. Multicultural literature: Essays, fiction, and poetry. The Center for Learning, 1997.

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Liberating literature: Feminist fiction in America. Routledge, 1994.

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Sheen, Barbara. Stephenie Meyer: Twilight saga author. KidHaven Press, 2010.

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Book chapters on the topic "Author of fiction literature"

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Friedman, Emily C. "Afterword: Novel Knowledge, or Cleansing Dirty Data: Toward Open-Source Histories of the Novel." In Data Visualization in Enlightenment Literature and Culture. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-54913-8_10.

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AbstractThis afterword discusses the most important, most under-rewarded, and most unsexy aspect of data visualization: the production and use of reliable underlying data. Starting from the premise that visualizations are only as good as their underlying evidentiary base, Freidman addresses the contributions of digital projects that have laid the foundation for such practices, including massive multi-institution projects like Orlando, mid-sized projects like The Early Novels Database (END), and the author’s own small-scale project, Manuscript Fiction in the Age of Print (MFAP). Following this assessment, the author proposes a set of guidelines for best practices in creating new data so that amendable, transformable visualizations can be produced, built on collective knowledge.
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Tosi, Alessandra. "Women and Literature, Women in Literature: Female Authors of Fiction in the Early Nineteenth Century." In Women in Russian Culture and Society, 1700–1825. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230589902_4.

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Rainsford, Dominic. "Prose fiction." In Literature in English. Routledge, 2020. http://dx.doi.org/10.4324/9780429277399-6.

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

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Korte, Barbara, and Georg Zipp. "Literary Fiction." In Poverty in Contemporary Literature. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137429292_5.

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Korte, Barbara, and Georg Zipp. "Non-Fiction." In Poverty in Contemporary Literature. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137429292_7.

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Schor, Hilary. "Fiction." In A Companion to Victorian Literature and Culture. Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405165358.ch22.

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Whitmarsh, Tim. "Prose Fiction." In A Companion to Hellenistic Literature. Blackwell Publishing Ltd, 2014. http://dx.doi.org/10.1002/9781118970577.ch26.

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Welty, Eudora. "“Author Gave Life to Fictional County”." In The Dixie Limited. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496803382.003.0029.

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This chapter argues that William Faulkner saw all the world in his fictional county where we can see it now—where he made it live. It suggests that Faulkner's novels and stories were built at every step and stage out of his long passion of seeing life he knew by seeing as well as he could into it and around it. What is great and puny, what is tragic and uproarious about us all in our own dogged lives everywhere, is a living life itself in Faulkner's fiction. And in literature it is this that matters and always will matter. Humanity was his subject, but he was a poet when he was born to see what he saw. His work has a poet's authority by which it travels the world and puts the world to measure.
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Hitchcott, Nicki. "Rwandan Fiction." In Rwanda Genocide Stories. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781381946.003.0002.

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This chapter provides a detailed context to the state of Rwanda’s literary and publishing infrastructure, as well as the economic, political and linguistic challenges that hinder its continued development. In particular, the lack of accessibility that Rwandans had to fiction and publications prior to the early 2000s, and how this has had an effect on the fiction produced about the genocide. As a result of the large number of factors that hinder the production and distribution of genocide fiction by Rwandan authors, this chapter analyses the skewed perception of the genocide in the West, and how Rwandan literature is presented to the Anglophone world.
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Conference papers on the topic "Author of fiction literature"

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Dmitriyev, Alexey. "The Welfare of Each and Everyone in Russian Legal Theory." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-24.

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The prerequisite for the study was the spread of views in the academic literature that the category of public welfare, without accounting for concretising factors, was a void abstraction, and that in Russia, public welfare was seen as the dominant principle over the individual. The main purpose of the study is to analyse the content of the term ‘the welfare of each and everyone’ in Russian legal theory. The author uses the methods of conceptual history and intellectual history to analyse the concept of ‘the welfare of each and everyone’ in the works of pre-revolutionary authors and the relationship between the concepts of ‘the welfare of each and everyone’ and ‘the common good’. The author determined that: ‘public welfare’ can be classified as fiction, purpose, method, interest and balance, depending on the context of use and semantic scope. The term ‘the welfare of each and every one’ became theoretically meaningful (as an objective, method, and interest), and was enshrined in law in Russian Empire in the XVIII -early XX centuries. The term was understood as achieving the common good, preserving the good of everyone and the reduction of public harm. Twentyfirst century Russian legal theory uses the related notion of ‘public welfare’, understood as a fiction, a goal, a method, an interest, a balance. The main findings of the study suggest that today the ‘public welfare’ is reduced to bringing benefits to anyone and everyone (D. I. Dedov), which is close to the historical understanding of ‘the welfare of each and every one’. The public welfare theory incorporates progressive elements such as the veil of ignorance, the win-win principle, and shapes institutions, resources, practices and formulates the issue of the emergence of a new generation of human rights.
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Senkar, Patrik. "HISTORICAL ASPECTS IN NON-FICTION LITERATURE." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s11.25.

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Kusumaningtyas, Dwi Nur C. S., and Bayu A. Nugroho. "Semiotic Analysis of Cyber Literature Mini-Fiction @fiksimini." In International Joint Conference on Arts and Humanities (IJCAH 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201201.094.

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Anisimov, Andrei. "GOTHIC FICTION TRADITIONS IN THE 19TH CENTURY AMERICAN LITERATURE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s27.060.

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Nurieva, Nailya, Tatyana Borisova, and Margarita Kulikova. "Application of Blended Learning in English Fiction Literature Course." In the 2nd International Conference. ACM Press, 2018. http://dx.doi.org/10.1145/3284497.3284504.

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Black, Dylan. "Life of Pi as Contemporary “Island Fiction” and “Master Narrative”." In Annual International Conference on Language, Literature and Linguistics. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2251-3566_l315.90.

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Manjavacas, Enrique, Folgert Karsdorp, Ben Burtenshaw, and Mike Kestemont. "Synthetic Literature: Writing Science Fiction in a Co-Creative Process." In Proceedings of the Workshop on Computational Creativity in Natural Language Generation (CC-NLG 2017). Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-3904.

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Rahmayati, R., R. Rengganis, and T. Tjahjono. "Portrayal of Ecological Crisis In Indonesian Prose: Fiction and Reality." In 2nd Workshop on Language, Literature and Society for Education. EAI, 2019. http://dx.doi.org/10.4108/eai.21-12-2018.2282792.

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Elyusra, Elyusra, Dian Susyla, Dian Chandra, and Syanurdin Syanurdin. "Multiliteracies in Teaching Materials of Fiction Prose Study based Ador-Meverlee." In 2nd Workshop on Language, Literature and Society for Education. EAI, 2019. http://dx.doi.org/10.4108/eai.21-12-2018.2282703.

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Song, Xiaoping. "Time, History and Self in Chinese Fiction in the 1980s: A Reading from New Perspectives." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l312171.

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Reports on the topic "Author of fiction literature"

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Kost’, Stepan. THE CONCEPT OF CREATIVITY IN JOURNALISM. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11092.

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The article analyzes some theoretical and practical aspects of creativity. The author shares his opinion that the concept of creativity belongs to the fundamental concepts of philosophy, psychology, literature, art, pedagogy. Creativity is one of the important concepts of the theory of journalism. The author does not agree with the extended definition of creativity. He believes that journalistic activity becomes creativity when it is free and associated with the creation and establishment of new national and universal values, with the highest intensity of intellectual and moral strength of the journalist, when journalism is a manifestation of civic position, when this activity combines professional skills and perfect literary form.The author also believes that literary skill and the skill of a journalist are not identical concepts, because literary skill is a component of journalistic skill.
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Bolton, Laura. Attitudes to Water Usage in Jordan. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/k4d.2021.105.

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The author undertakes a literature review of attitudes to water usage in Jordan. One survey was identified which assessed attitudes towards water conservation, sampling 2000 residents in three regions in Jordan (Irbid, Amman, and Zarqa) in 2017. According to the survey, only 61% of respondents believed there was a water shortage in Jordan. 23% believed the water shortage was due to population pressures. The survey focussed more on water conservation than water use. Most of the respondents felt the government were not doing enough on water shortage issues. They were not asked how they feel about the role of the government versus their individual responsibility. Older respondents perceived the shortages to be more critical. A lack of interest in participating in water saving activities was identified among the youth. Water quality was perceived as poor in the USAID survey and noted in other sources. The survey found that most residents had management strategies in place for the day that the water was delivered. Views about politics of regional cooperation and refugee pressure on water use potentially affect attitudes to water but this was not identified specifically within the scope of this report.
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Styugina, Anastasia. Internet game "Sign me up as an astronaut" for the formation of the social and psychological experience of younger adolescents with disabilities by means of game psychocorrection. Science and Innovation Center Publishing House, 2020. http://dx.doi.org/10.12731/sign_me_up_as_an_astronaut.

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In the practice of a teacher-psychologist at the School of Distance Education, the game “Sign me up as an astronaut”, developed by the author, was tested, aimed at developing the skills of social and psychological interaction in younger adolescents with disabilities through the awareness and strengthening of personal resources by means of game psychocorrection. The specifics of the work of a psychologist at the School of Distance Education are determined by the following circumstances: - students have a severe disability and the corresponding psychophysical characteristics: instability of the emotional-volitional sphere, lack of motivation, severe physical and mental fatigue, low level of social skills, etc. - the use of distance educational technologies in psychocorrectional work; - lack of methodological recommendations for psychocorrectional work in conditions of distance technologies with school-age children. Such recommendations are available mainly for adults, they relate to the educational process, but they do not cover the correctional process. There is enough scientific and methodological literature on psychological and pedagogical correction, which is the basis for ensuring the work of a practicing psychologist, but there are difficulties in transferring these techniques, games, etc. - to the remote mode of correctional and developmental work, especially in the form of group work. During the game, various social and psychological situations are solved, which are selected strictly according to the characteristics of the social experience of the participants.
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