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Journal articles on the topic 'Author of fiction literature'
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1
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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Vázquez- Espinosa, Emma, Claudio Laganà, and Fernando Vazquez. "The Spanish flu and the fiction literature." Revista Española de Quimioterapia 33, no. 5 (2020): 296–312. http://dx.doi.org/10.37201/req/049.2020.
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This review focuses on the fictional literature in which the Spanish flu is represented either as an anecdotal or as a historical aspect and the effect on the author or fictional character. We examine this sociocultural period in the press and mainly in Anglo-Saxon literary works and from other countries, including Spanish and Latin American literature that is not very represented in some international reviews on the subject. Also, we include books about the previous and subsequent influenza pandemics to the Spanish flu.
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Volet, Jean-Marie. "From Autobiography to Fiction: Swiss Author Anne Cuneo." World Literature Today 70, no. 2 (1996): 295. http://dx.doi.org/10.2307/40152046.
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Heath, Malcolm. "Greek Literature." Greece and Rome 63, no. 1 (2016): 116–21. http://dx.doi.org/10.1017/s0017383515000285.
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As Aeschines famously said, phēmē (‘fame’) can't be trusted: that's why ‘famously’ so often prefaces a mistaken report. Karen ní Mheallaigh knows that in Gorgias B23 it is the sophisticated audience which is deceived, and she understands the ‘contractual’ relationship that Gorgias posits between audience and author (e.g. 30, 32, 78). But, making the fatal mistake of calling it ‘Gorgias’ famous dictum’, she hallucinates a reference to madness and says that ‘what is at stake…is the confusion between reality and representation, which is a measure either of the audience's lack of sophistication, or of the artist's supreme skill’ (29). Her invitation to ‘read with imagination, and with pleasure’ (xi) succeeds admirably. Reading her exploration of the self-conscious, extremely sophisticated, and persistently playful fictionality of Lucian (Toxaris, Philopseudes, True Stories) and others (Antonius Diogenes, Dictys and Dares, Ptolemy Chennus) was, for me, an intensely stimulating and pleasurable experience. But the Gorgias aberration was not the only thing that also often made it annoying. ‘The irony that pervades Lucian's work…is not a symptom of exhaustion but of exuberance’ (37): doesn't that state the obvious? ‘Having read Toxaris, it is difficult to read Chaereas and Callirhoe without feeling its improbable storyishness’ (49): is that any less difficult for those who haven't read Toxaris? ‘Is Toxaris a dialogue about friendship, or about fiction?’ (67): the headline answer (‘both: for the theme of friendship is itself entwined with the dynamics of fiction in the dialogue’) is undercut by what follows, which reductively treats the friendship theme as a pretext and pretence (‘in Lucian's work, fiction is almost invariably enjoyed under the pretext of doing or talking about something else, and Toxaris is no exception: it is a dialogue about novelistic narrative, masquerading as a dialogue about friendship’; my emphasis). A fictional speaker's oath ‘compels the reader into acquiescence that the story he is listening to is true’ (68, original emphasis): how is that possible when (given the existence of perjury) even non-fictional oaths don't have that power? Is it true that a ‘constant oscillation between the poles of belief and disbelief…takes place in the reader's mind when (s)he reads fiction’ (70)? The internal audience may be waveringly doubtful about the status of what they are hearing, but sophisticated external audiences of fiction are capable of maintaining a complex attitude free of oscillation. ‘The reader must wonder whether (s)he is him or herself contained within that remote specular image on the Moon, a minute mirror image of a reader and a book, within the very book (s)he is now holding’ (226): that's not the ‘must’ of necessity, since I don't wonder that at all. Am I violating some ‘must’ of obligation? But why should anyone be obliged to wonder anything so daft? I was not disturbed by ‘the disturbing idea that every reality may be a narrative construct, another diegesis in which we are the characters, being surveyed by some remote and unseen reader, perhaps right now’ (225; compare 207), nor unsettled by ‘the unsettling possibility that the real world outside Lucian's text could be just as fictional, if not more so, than the world inside the book’ (230; compare 8). If you are of a nervous disposition, do not read this book: thirty-six occurrences of ‘anxiety’ and ‘anxious’ might make you jittery. Otherwise, read it, enjoy it, and (from time to time) shout at it in frustration.
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Weigand, Edda. "Words between reality and fiction." Literary Linguistics 3, no. 1 (2013): 147–63. http://dx.doi.org/10.1075/ld.3.1.09wei.
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The transition from reality to fiction can be best illustrated by analysing autobiographies which claim to describe the life of the author. Essentially they are based on memories, which poses the question whether what is being remembered really happened in this way. In what respect do ‘real’ stories differ from ‘literary’ or ‘fictional’ ones? Several literary autobiographies are analysed and contrasted with popular autobiographies. Are there special literary devices by which we can recognize that a story is intended to be fictional? According to Searle there is ‘no textual property that will identify a stretch of discourse as a work of fiction’. The paper discusses Searle’s position and identifies an interesting textual difference in the way persons are introduced in fiction. Even if there is no sharp division between fiction and non-fiction, there are a few verbal and cognitive means of the game which enable us to recognize how the text is intended.
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Simsone, Bārbala. "Science Fiction In Latvian Literature." Interlitteraria 22, no. 2 (2018): 397. http://dx.doi.org/10.12697/il.2017.22.2.16.
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The present paper is devoted to the overview of the beginnings and development of the genre of science fiction in Latvian literature. Similarly to other popular fiction genres, science fiction in Latvian literature has not been very popular due to social and historical reasons; however, during the course of the 20th century several authors have at least partially approached the genre and created either fully fledged science fiction works or literary works with science fiction elements in them. The paper looks at the first attempts to create science fiction-related works during the beginning of the 20th century; it then provides an insight into three epochs when the genre received comparatively wider attention: 1) the 1930s produced mainly adventure novels with elements of science fiction mirroring the correspondent world tendencies of that time period; 2) the period between the 1960s and 80s saw authors who had the courage to leave the strict platform of Soviet Social Realism, experimenting with a variety of science fiction elements in the postmodern literary context which allowed for a wide metaphoric interpretation. This epoch also saw the emergence of a specific phenomenon – humorous / satiric science fiction which the authors employed in order to offer social criticism of the Soviet lifestyle; 3) the beginning of the 21st century saw the emergence of several science fiction works by a new generation of writers: these works presently comprise the majority of newly published science fiction. The paper outlines the main tendencies of the newest Latvian science fiction such as authors experimenting with a variety of themes, the preference for dystopian future scenarios and humour. The paper offers brief conclusions as to the possible future of Latvian science fiction in context of the current developments in the genre.
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Ballesteros Roselló, Fernando J., and Eusebio V. Llácer Llorca. "Poe: corazón científico. Los antecedentes de la ciencia ficción." Mètode Revista de difusió de la investigació, no. 5 (April 16, 2015): 97. http://dx.doi.org/10.7203/metode.0.3480.
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When we talk about the origins of science fiction and literature, the names Herbert G. Wells or Jules Verne immediately come to mind, indeed these prolific late nineteenth-century authors inspired later generations. However, few take account of Edgar Allan Poe, an author from the beginning of that century who inspired the aforementioned authors. In fact, if Verne and Wells were the fathers of science fiction, then Poe was undoubtedly the grandfather.
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Ríos Romero, Francisco. "Marcel Schwob, illusionniste de vies." Anales de Filología Francesa 27, no. 1 (2019): 291–310. http://dx.doi.org/10.6018/analesff.380881.
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Este artículo aborda los aspectos teóricos de la biografía y la autobiografía, géneros con aspiraciones históricas y contenidos testimoniales, y su fusión con otros géneros literarios como la novela, el cuento, el ensayo lo que ha engendrado otras modalidades como la bioficción o la autoficción. Esta división entre el contenido referencial y el imaginario así como la imposibilidad de determinar muchas veces donde está la realidad o la ficción en los relatos biográficos ha producido un debate entre diferentes escritores y críticos que ha favorecido en nuestros días el interés por estas obras de carácter biográfico. Un gran número de escritores que cultivan esta literatura tienen a un autor del siglo XIX, Marcel Schwob como uno de los escritores que más ha influido en esta literatura al fusionar en sus biografías realidad y ficción. Tomando como eje central la obra de este autor, este articulo trata de mostrar cómo muchas de las actuales características del género fueron desarrolladas por este autor. This article has as subject the theoretical aspects about biography and autobiography, genres connected with the history and with factual contents, and their fusion with other literary genres as the roman, the tales or the essay and how this fusion has generated other modes like the biofiction and autofiction. This division between factual or imaginary contents and the impossibility to determine where it’s the reality or the fiction in the biographical stories has produced a debate among several writers and critics that benefits nowadays the interest in the biographical literature. Many writers of biographical narrative think that Marcel Schwob, an author of XIX century, is one of more influencer writers in this literature for combining fiction and reality in his biographical compositions. By taking as main subject the works of this author, this article shows that many actual characteristics of biographical narrative have been exposed for this author. This article has as subject the theoretical aspects about biography and autobiography, genres connected with the history and with factual contents, and their fusion with other literary genres as the roman, the tales or the essay and how this fusion has generated other modes like the biofiction and autofiction. This division between factual or imaginary contents and the impossibility to determine where it’s the reality or the fiction in the biographical stories has produced a debate among several writers and critics that benefits nowadays the interest in the biographical literature. Many writers of biographical narrative think that Marcel Schwob, an author of XIX century, is one of more influencer writers in this literature for combining fiction and reality in his biographical compositions. By taking as main subject the works of this author, this article shows that many actual characteristics of biographical narrative have been exposed for this author.
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Luce-Kapler, Rebecca. "Fragments to Fractals: The Subjunctive Spaces of E-Literature." E-Learning and Digital Media 4, no. 3 (2007): 256–65. http://dx.doi.org/10.2304/elea.2007.4.3.256.
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This article chronicles the experience of two writers working in digital technologies to write fiction. One writer, the author of the article, describes how her experience writing with the software Storyspace influenced her writing of print fiction, changing her processes and challenging her notions of genre. The other writer, a 16-year-old secondary student, also wrote with Storyspace. While she did not find the form as challenging as the first writer, she followed similar processes of creation. The author compares the possibilities of digital and print text writing and suggests that there are different potentials. She also suggests that moving from a metaphor of fragments to fractals when thinking of hypertext writing may be a productive way to consider digital literary work.
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Bushey, Tahirih, and Richard Martin. "Stuttering in Children's Literature." Language, Speech, and Hearing Services in Schools 19, no. 3 (1988): 235–50. http://dx.doi.org/10.1044/0161-1461.1903.235.
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In this paper, the authors present brief reviews of 20 works of children's fiction in which a character stutters. The purposes of the reviews were (a) to provide speech-language clinicians with synopses of most of the currently available children's fiction involving characters who stutter, and (b) to explore how the authors of children's fiction portray certain aspects of stuttering, such as symptomatology, causation, and treatment.
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Całek, Anita. "Fantastyczne biblioteki widmowe. Od fikcyjnych książek do pozatekstowych artefaktów." Prace Filologiczne. Literaturoznawstwo, no. 8(11) cz.2 (June 30, 2019): 139–55. http://dx.doi.org/10.32798/pflit.73.
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The article tackles the problem of fictional (constructed) literature termed by Paweł Dunin-Wąsowicz ‘spectral’. Reading through Arturo Pérez-Reverte’s The Club Dumas, Susanna Clarke’s Jonathan Strange and Mr. Norell, and J.K. Rowling’s three works alluding to the Harry Potter cycle, the author proceeds with describing a tendency observed in postmodern fiction, namely, (1) creating fictional artefacts transgressing the borders of fictional world, and (2) constructing libraries within this very world which collect fictional texts imitating the factual ones.
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Gajewska, Grażyna. "Myśleć fantastyką. Przez science fiction do posthumanizmu." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (2021): 5–19. http://dx.doi.org/10.14746/i.2020.37.01.
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 The author presents the thesis that fantastic literature and film, especially in the science fiction variant, is a privileged form of expression in posthumanist discourse. The themes, motifs and protagonists of science fiction are invoked in various contexts by Donna J. Haraway, Rosi Braidotti, Luciana Parisi, and Pramod K. Nayar. The author analyzes various areas of the involvement and usage of science fiction in posthumanist discourse: on the ontological, axiological and epistemological levels.
 
 
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Polishchuk, Yaroslav. "LITERATURE AND POST-TRUTH." Слово і Час, no. 6 (November 26, 2020): 57–71. http://dx.doi.org/10.33608/0236-1477.2020.06.57-71.
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The author examines the current state of literature, which has been marginalized by the boom of modern media and the free market. Literature is called to restore a worthy place in the system of cultural communication of society. It is contradicted by the experience of postmodernism, which has led to disorientation in the system of art values. Postmodernism was an important formation of the transition period. Three aspects of the postmodern worldview ― dehumanization of art, lack of truths' hierarchy and their plurality, and the loss of the author’s authority ― have led to a long-lasting crisis in the post-Soviet literatures, but in the wider context, it was a crisis of relations with society and public opinion. The continuation of this crisis is stimulated by the use of technologies aimed at producing the post-truth. In the contemporary world, dominated by mass media and popular culture, fiction is not fully responsible for the crisis of society. The author of the paper considers examples that confirm the relevance of literature to ideological conflicts and propaganda rhetoric. The novelties of Ukrainian, Russian, and Belarusian literatures provide good material for the study of the post-truth in its Eastern European modifications. Nowadays fiction is seeking its place once again; its potential means of influencing the human consciousness in the post-truth world are being renewed. This process should be seen dialectically, with its probable positive and negative consequences. The post-truth world gives literature a chance to leave the shadows of media and restore its authority in the cultural sphere. At the same time, the confluence of literary fiction with post-truth poses a considerable danger, since it may be applied in modern manipulative technologies. The establishment of social and psychological communication, which became one of the priority tasks of modern literature, should not be implemented at the cost of human degradation.
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Baimukhametova, K. I., T. I. Galeeva, S. Kh Kaziakhmedova, and E. A. Yanova. "PHONOSTYLISTICS LANGUAGE TOOLS AS A SOUND TEXT ARRANGEMENT IN ENGLISH AND RUSSIAN LITERATURE." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (2019): 447–60. http://dx.doi.org/10.35634/2412-9534-2019-29-3-447-460.
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This article considers in details the phonostylistics language tools and techniques as a part of culture, history of the language and the perception of their basic specific properties. The theoretical material is illustrated by examples from Russian and English literature.The analysis of the phonostylistic means and their functioning in a fiction text makes it possible to solve a number of issues related to the sound organization of a text, their use by the authors of works of art. Any fiction text accomplishes a communicative function, that’s why an author needs any certain phonostylistic means to draw the reader's attention for creating a particular emotional image or mood. The similar phonostylistic tools can lead readers to a different perception of a text.
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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.
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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.
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Szpila, Grzegorz. "Proverbs as Vehicles of Truth in Contemporary English Fiction." Armenian Folia Anglistika 3, no. 2 (4) (2007): 39–44. http://dx.doi.org/10.46991/afa/2007.3.2.039.
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The article addresses one of the key issues of the studies of proverbs which refers to the use of proverbs in literature. The article is an attempt to reveal the attitude of the author and the character towards the proverbial truth. The traditional wisdom contained in a proverb can be either accepted or totally rejected. Besides these extremes, there is another situation when the characters of a literary text and/ or the author accept the proverbial truth to a certain extent. A proverb is applied in most diverse ways in literature starting from traditional interpretations to literary reinterpretations which serve the specific needs of the author.
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Hanikmah, Luluk. "THE BLUE ALIEN IN KOI MIL GAYA FILM: POPULAR LITERATURE." English Teaching Journal : A Journal of English Literature, Language and Education 4, no. 1 (2019): 10. http://dx.doi.org/10.25273/etj.v4i1.4356.
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<p>The purpose of this research is to<strong> </strong>describe<strong> </strong>the blue alien as the phenomenon Alien’s representation in science fiction of Bollywood and Bollywood’s action in bringing outer space alien to Indian culture that is represented in<em> Koi Mil Gaya </em>film. This research uses qualitative research. The researcher needs popular literature by Ida Rochani Adi to get what the author is willing to share her readers. It is also a way to the researcher to investigate why the author choose alien as the new character, and is there popular culture inside the character evidences the effects and goals of the author in creating a story. The analysis reveals that the alien’s representation of Bollywood’s science fiction, and Bollywood’s action in bringing outer space alien to India culture. The conclusion shows there are similar formula in each Bollywood science fiction in alien’s representation and Bollywood action in bringing outer space alien to India culture is influenced by 3 factors, there are: Hollywood influence, Ancient India influence, and popular news in India. The researcher uses the symbol to analyze the blue alien as the representation of Lord Krishna. It is Hindu mythology. Hindu mythology is popular culture in India belief. It is appropriate with the researcher’s assumption that the blue alien has correlation with India culture. In conclusion, the alien which has blue skin is the appearance of Lord Krishna.</p>
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Khayrullin, Ruslan Z. "The Myth in the Literature of Peoples of the North: Book Review: Zhuleva, A.S. (2019). Mifopoeticheskaya model' mira v nenetskoi literature [Mythopoetic World Model in the Nenets Literature]. Moscow: IMLI RAS." RUDN Journal of Studies in Literature and Journalism 26, no. 1 (2021): 158–62. http://dx.doi.org/10.22363/2312-9220-2021-26-1-158-162.
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The analysis of A.S. Zhulevas monograph is carried out. The author investigates Nenets mythopoetic world model on the basis of pieces of fiction and attracts various sources to fulfill this task: myths, folklore, the epos, data from linguistics, ethnography and ethnology, history of people and also materials about traditional representations in consciousness of the modern person. In the course of the research the author considered works of the different periods, including such writers as Tyko Vylka, I. Nogo and also their followers: V. Ledkov, L. Laptsuy, L. Nenyang, Yu. Vella, A. Nerkagi, etc.
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Gregor, Kerstin, and Steffen Neuß. "Why the Epistemic Value of Fictional Literature Does Not Depend Crucially on Its Fictionality." Grazer Philosophische Studien 96, no. 3 (2019): 463–75. http://dx.doi.org/10.1163/18756735-09603014.
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Mitchell Greenʼs conception of the thesis of Literary Cognitivism states that literary fiction can be a source of knowledge that depends crucially on its being fictional. By a modal argument the authors show that the criterion of fictionality cannot be crucial to the epistemic value of literary fiction. Rather, it lays in a certain kind of distance, e.g. a temporal, cultural, or interpersonal one. This will be motivated by drawing parallels to Gadamerʼs hermeneutics, especially his conception of fusion of horizons. In doing so, we agree with Green’s characterisation of knowledge that can be gained from engaging with literary fiction, but present a different approach to the source of this knowledge. At the same time, this approach enables us to extend the epistemic value of literary fiction both quantitatively and qualitatively.
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Marchesi, Simone. "Fiction with Fiction: Confessing to Dante in Decameron I.1." Quaderni d'italianistica 38, no. 2 (2019): 157–77. http://dx.doi.org/10.33137/q.i..v38i2.32235.
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This essay addresses one specific element of Decameron I.1, the curious order in which the holy friar questions Ciappelletto in his confession, and relates it to the larger dialogue Boccaccio establishes with Dante’s Commedia. By avoiding the canonical models of confessing penitents, which traditionally unfolded according to the Decalogue, the seven deadly sins, or the sinner’s circumstances, the confession proceedings in the first novella evoke most distinctively and idiosyncratically the order of sins in Dante’s hell. Dante’s authoritative but not canonical text about the Christian afterlife, thus, colors our reading of the first novella of the new work, in which the protagonist, narrator, and author are all similarly involved in the making of a fiction.
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Dymet, Marcin. "Letters from the Future." Digital Culture & Society 4, no. 2 (2018): 203–18. http://dx.doi.org/10.14361/dcs-2018-0211.
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Abstract Sociologists have long used the biographical approach as a research method. Diaries, memorials and personal correspondence are treated as existing source material, which can help enrich social knowledge about the life of social groups. This can embrace different genres, for instance autobiographical novels. These, although fictional, are still grounded in the reality of an author and can be utilized as material for social analysis. The same rules apply to science fiction literature. Worlds presented in it are versions of the future or alternative realities, anchored frequently in the present time. Throughout history, authors have been using science fiction as a social and political commentary for their contemporary world. These thought experiments represent valuable material to help analyse the policies of the present and predict future forms of society in the rapidly changing world supersaturated with new technologies. In the present article, the idea of using biographical method to analyse Arctic science fiction is presented. The article explores the mutual interrelation of climate change, the development of Information and Communication Technologies (ICTs), and digital citizenship in the Arctic region. Science fiction is considered from the perspective of thought experiment in which potential futures of the Arctic in relation to the three above-mentioned areas are imagined and constructed.
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Paul, Alison. "Fact and Fiction in Community Health." Australian Journal of Primary Health 3, no. 3 (1997): 110. http://dx.doi.org/10.1071/py97031.
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In July 1996, La Trobe University's Schools of English, Nursing and Public Health joined forces to produce a unique program for three Writers-in-Residence. For six weeks the writers spent one day a week teaching writing techniques to clients from two Community Health Centres. In response, the clients and staff drew on their experiences of illness and health, producing autobiographical and fictional works. The Writers-in-Residence Program was funded by the Literature Board of the Australia Council. Financial support was also provided by the Public Health Branch of the Victorian Department of Health and Community Services. The writers involved were author Andrea Goldsmith, playwright Ray Mooney and poet Earl Livings. Projects involving two of these authors are described here.
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Saydullaeva, Feruza Abdullajon kizi. "PROBLEMS OF RECREATING NATIONAL PECULIARITIES OF FICTION TRANSLATION." Journal of Central Asian Social Research 01, no. 01 (2020): 95–105. http://dx.doi.org/10.37547/jcass/volume01issue01-a12.
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In this article, the problems of re-creation of nationality in the translation of works of art are studied and additional ideas are given. Problems arising in the process of translating samples of Uzbek literature into English, Russian and other languages were considered. Theoretical information on the reconstruction of history and nationality is provided. National words are an integral part of the language of the fiction, through which the author creates the image of the hero, helps to accurately describe the national identity of the people. Because of this reason, national words are one of the aspects of fiction translation that bothers the translator, complicates the translation, and often confuses him.
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Sales Salvador, Dora. "Vikram Chandra's constant journey : swallowing the World." Journal of English Studies 2 (May 29, 2000): 93. http://dx.doi.org/10.18172/jes.61.
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The purpose of this paper is to account for the challenging hybridity and in-betweenness that derives from the presence of non-Western traces in contemporary fiction written in a global language. Among the huge and ever-growing group of the so-called "new literatures in English", the focus will be placed on Vikram Chandra's novel Red Earth and Pouring Rain (1995). This Indian author, who lives between Bombay and Washington, is a real master when it comes to fictionalized oral storytelling, echoing the traditional Indian epics -the Ramayana and the Mahabharata. It is no wonder, then, that Chandra would define himself as a storyteller. The generic shaping of a text tends to voice the ontological conception of literature that an author has, as it is the case with Chandra's transcultural narrative. His work, delineated on the borders between oral rite and written fiction, displays an intersystemic dialogue in which literature becomes a space of intercultural communication, an endless journey.
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Sacido-Romero, Jorge. "Liminality in Janice Galloway’s Short Fiction." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (2018): 443–59. http://dx.doi.org/10.1515/zaa-2018-0037.
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Abstract One of the most salient developments in recent short story criticism focuses on the genre’s connection with liminality. Both short fiction’s suitability to convey the liminal and liminality as a defining feature of the short story are at stake. The short fiction of contemporary author Janice Galloway is a good example of this. After a brief introduction to the concept of liminality, I discuss one story from each of Galloway’s collections of short fiction: “Frostbite” is the story of how a young music student crosses an existential boundary and leaves behind disabling expectations and fears; “jellyfish” features a divorced woman undergoing a liminal moment in her experience of motherhood, whereas the woman in a homeless couple in “a night in” narrates her experience as a privileged witness to ontological liminality affecting both space and language.
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Knepper, Marty S. "Lesbian Detective Fiction: Woman as Author, Subject and Reader." Journal of Popular Culture 40, no. 4 (2007): 750–52. http://dx.doi.org/10.1111/j.1540-5931.2007.00446.x.
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Ločmele, Laimdota. "Egīla Ventera fenomens latviešu literatūrā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 181–96. http://dx.doi.org/10.37384/aplkp.2021.26-1.181.
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The article aims to study Egīls Venters’s latest works from the point of view of text semiotics and interpretation to make conclusions about the possibilities of interpretation of texts written by this author and his place in Latvian literature. In this article, a semiotic analysis of Venters’s fiction is applied as well as research of the book reviews on his recent prose texts. The present paper deals with the factors determining the popularity of a work of fiction; these factors may be related to the text itself or the readers’ ability and desire to read such texts. The most innovative work of Venters, “Mainīgā intervence” (2012), which received Dzintars Sodums Prize for Innovation in Literature, has been semiotically analysed in terms of its literary form. This work of fiction is a complex, multi-layered message, although outwardly it seems laconic and aphoristic. The possibilities of interpreting fiction depend on the language used by the author to express the content and the language available to the reader for decoding the text. Thus, the reader needs the experience of reading texts, a desire to gain new unprecedented experience, and the ability to evaluate the language and form of the work of fiction. Venters’s writing does not belong to the popular literature of easy reading; it has fewer readers who can accept the world created by Venters’s texts and are open to the unpredictable in literature.
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Hyttinen, Elsi. "Samaan aikaan toisaalla. 1910-luvun siirtolaiskuvaukset toisin kuvittelemisen tilana." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 1 (June 1, 2017): 39–53. http://dx.doi.org/10.30665/av.64262.
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 Simultaneously Elsewhere. Imagining Migrancy in Early 20th Century Finnish Literature
 The article discusses the functions of early 20th century Finnish language fiction on FinnishAmerican migrancy. The author suggests that fiction depicting migrant life served its contemporary readership as a utopic ”elsewhere” where mobility, gender and agency could be articulated differently from what could be done in literature depicting life in Finland. The argument is developed through readings of three reoccurring tropes articulating migrant subjectivity in fiction: the family (or, rather, its absence), the tramp and the urban housemaid.
 From a transnational perspective, the article engages with, even if respectfully distances itself from, earlier research on FinnishAmerican migrant literature with its strong emphasis on reading fiction as representing reallife migrant. Instead, it is proposed that it might be fruitful to approach migrant literature and Finnish literature depicting life in Finland as a diffuse whole, where ideological investments are to an extent bound to locations but not explained causally by them.
 
 
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Pallavi, Mrs Koyyana, and Prof Y. Somalatha. "A Literary Inquiry into Disability, Trauma and Narrative Strategies in Lisa Genova’s Novels." SMART MOVES JOURNAL IJELLH 9, no. 3 (2021): 114–34. http://dx.doi.org/10.24113/ijellh.v9i3.10954.
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The reaisltic illustration of central characters suffering from rare and severe neurological sicknesses in Lisa Genova’s novels provide an ideal prospect to study trauma in pathography novels, a subset of science fiction. However, despite its scope, these genres of novels have received little consideration in American literary trauma studies. This paper will present a new analysis of trauma in relationship to the ‘neuro’genre, followed by an analysis of narrative and literary devices employed by the author to illustrate traumatic episodes in her novels. Through this case study and critical reflection of how the author has engaged trauma in the novels supports strengthening literary trauma theory within trauma literature and the genre also. The writing of traumatic experiences of the victims, transformed identity, stigmas, fears and phobias and providing face to the sufferer doomed fate, offers an opportunity for a neuroscientist turned novelist like Lisa Genova to advocate about the neurological sicknesses and its suffering with enriched empathetic experience to the non-scientific societies. It also provides a balanced realistic narrative platform for the reader to reflect on their own uncertainties, brought on by the representation of such fictional characterization. This literary research analysis will provide scope to science fiction authors, particularly those aiming to engage with medicine and literature, for a more accurate depiction of trauma in their work. It will further broaden the scope of research in phenomenology, narrative and genre theories and criticism in literary studies.
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De Mulder, Hannah N. M., Frank Hakemulder, Rianne van den Berghe, Fayette Klaassen, and Jos J. A. van Berkum. "Effects of exposure to literary narrative fiction." Scientific Study of Literature 7, no. 1 (2017): 129–69. http://dx.doi.org/10.1075/ssol.7.1.06dem.
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Abstract Literary narrative fiction may be particularly effective in enhancing Theory of Mind (ToM), as it requires readers to contemplate author and character intentions in filling the literary ‘gaps’ that have been suggested to characterise this fiction type. The current study investigates direct and cumulative effects of reading literature on ToM using confirmatory Bayesian analyses. Direct effects were assessed by comparing the ToM skills of participants who read texts that were manipulated to differ in the amount of gap filling they required. Cumulative effects were assessed by considering the relationship between lifetime literary fiction exposure and ToM. Results showed no evidence for direct effects of reading literature on ToM. However, lifetime literary fiction exposure was associated with higher ToM, particularly cognitive ToM. Although reading a specific piece of literary fiction may thus not have immediately measurable effects on ToM, lifetime exposure to this fiction type is associated with more advanced ToM.
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Matallana, Susana. "Ursula K. Leguin, o relatos para una puesta en escena distinta." La Manzana de la Discordia 1, no. 1 (2016): 17. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v1i1.1436.
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Resumen: Reconociendo la importancia de los relatos para la imagenque las mujeres se formarán de sí mismas, se plantea lanecesidad de acometer la tarea feminista de ir en busca denuevos relatos, de nuevos argumentos, que nos permitanreescribir la vida de las mujeres como protagonistas. En estaperspectiva se presenta el trabajo literario de Ursula K. Leguin,reconocida por la crítica como autora una de las mejores prosasde la literatura norteamericana contemporánea, y cuya obraha sido catalogada como ciencia-ficción social, ya que trabajael género de la ciencia ficción de tal modo que éste sirve comocomentario social.Palabras clave: Literatura norteamericana, Crítica literariafeminista, Ciencia ficción, Ursula K. LeguinAbstract:Recognizing the importance of stories for the image womenwill form of themselves, this study asserts the need to take onthe feminist task of searching for new stories, new plots, thatwill allow us to rewrite women’s lives as protagonists. In thisperspective, the literary work of Ursula K. Leguin is presented,an author recognized by critics as writer of some of the bestprose in US literature today, and whose work is catalogued associal science fiction, since she works the genre of science fictionin such a way that it serves as social commentary.Key words: United States literature, feminist literary criticism,science fiction, Ursula K. LeGuin
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Germanovich Melikhov, Alexey, Olga Olegovna Nesmelova, and Yuri Viktorovich Stulov. "THE IMAGE OF SHERLOCK HOLMES IN CONTEMPORARY BRITISH-AMERICAN FICTION." Humanities & Social Sciences Reviews 7, no. 6 (2019): 276–80. http://dx.doi.org/10.18510/hssr.2019.7649.
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Purpose: The article analyzes the image of Sherlock Holmes in the works of some of the contemporary authors. The great detective created by Sir Arthur Conan Doyle had a major impact not only on literature but on the world culture as a whole. This image spawned a lot of works featuring similar characters or even himself long before the series became public domain, and after that point, the number of works featuring Sherlock Holmes raised drastically.
 Methodology: The primary method is comparative analysis; we use it to compare the original image of Sherlock Homes with later versions
 Result: As one would assume, the perception of the image is different from author to author and therefore is different from the original created by Sir Arthur Conan Doyle. In this article, we will analyze several works of fiction of contemporary authors (for example, Neil Gaiman and Mitch Cullen), the image of the great detective presented in then and compare it with the one from the original literature series. In conclusion we will discuss Sherlock Holmes as a modern archetype and its most prominent features.
 Applications: This research can be used for universities, teachers, and students.
 Novelty/Originality: In this research, the model of The Image of Sherlock Holmes in Contemporary British-American Fiction is presented in a comprehensive and complete manner.
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Ahokas, Pirjo. "Bernard Malamud's fiction and the rise of ethnic literary studies." Nordisk Judaistik/Scandinavian Jewish Studies 12, no. 2 (1991): 125–29. http://dx.doi.org/10.30752/nj.69490.
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The increasing visibility of a number of previously marginalized literary cultures is one of the most challenging developments in post-war American fiction. My dissertation deals with the novels of Bernard Malamud (1914–1986), a contemporary Jewish-American author, whose work is linked with this phenomenon as well as other significant trends in the recent literature of the United States. It is customary to think that ethnic authors write within the older realist or naturalist traditions. The new scholarship, however, claims that literary forms are not organically connected with ethnic groups. Jewish-American fiction offers much evidence that ethnicity and modernism form a false set of opposites.
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Adami, Esterino. "More than Language and Literature." Le Simplegadi 18, no. 20 (2020): 44–54. http://dx.doi.org/10.17456/simple-155.
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This article investigates the interdisciplinary connections between language and literature in the Indian postcolonial context. I argue that a linguistic approach to contemporary Indian English fiction is useful to unpack complex cultural, social and identitarian questions. As a case study, I analyse some of the short stories from The Adivasi Will Not Dance (2017) by Hansda Sowvendra Shekhar, a contemporary author from a marginalised ethnic group of rural India. My methodology benefits from postcolonial studies, sociolinguistics and critical stylistics, to show how Shekhar reshapes the canon by foregrounding Indian English, borrowings from the Santhali language and registers of specialised discourse.
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Zoriana, Hodunok. "The Physical Discourse of Fan Fiction." PSYCHOLINGUISTICS 24, no. 2 (2018): 11–28. http://dx.doi.org/10.31470/2309-1797-2018-24-2-11-28.
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The research of physical discourse, typical characters, stereotypical gender roles of fan fiction’s texts, based on “Harry Potter”, “Supernatural”, “The Song of Ice and Fire”/“The Game of Throne”, is realized in the article. The author uses Psycholinguistics (Frame Method and Free Associative Experiment), Hermeneutics, some elements of Comparative analysis to describe the main characteristics of the personages and explain peculiarities of their sexual interactions.
 Fan fiction prose is a kind of virtual mass literature, so it has special features inherent to mass literature in general, for example, comfort reading, typical personages in typical dramatic plot, often – happy end etc.
 The physical discourse is the most important part of fan fiction’s texts, because the experience of sexual interactions is desirable for a person and it is a base of human’s life. The frame “body” covers not only sex, but also love and security (for example, to be safe in one’s hands). The most frequent nouns of the frame are “hands/fingers” and “eyes/ gaze”. It is important to note that man’s hands and eyes often show his character. But woman’s eyes and hands realize her emotions and feelings. It depends on stereotypical gender roles of mass culture: man has a function to interact with the world, and woman has a function to safe life inside (to give birth), which is confirmed by the free associative experiment.
 Physical damages (scars, injuries, deceases – for man; rapes – for woman) make the personages more emotionally close to a reader of fan fiction; show an act of initiation (transition from the fandom text to fan fiction text).
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Williams, Raymond L. "New Approaches to the novel: From Terra Nostra to twitter literature." Co-herencia 12, no. 22 (2015): 13–23. http://dx.doi.org/10.17230/co-herencia.12.22.1.
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This article addresses new approaches to the novel in the twenty-first century. It begins with an affirmation that even the most avant-garde of contemporary critics in the late twentieth and early twenty-first century share a commonality: a background in what was identified as “close reading” in the Anglo-American academic world and analyse de texte in French. After numerous declarations in recent decades about the death of the novel, the death of the author and the death of literary criticism, it is evident that the novel as a genre has survived, authors remain a subject of study, and new approaches are possible. The study of trauma in fiction (as introduced by Cathy Caruth and David Aberbach), as well as eco-criticism, are promising new points of departure. The required close reading implied by Twitter also opens up new possibilities.
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Rojas, Carlos. "A Surplus of Fish: Language, Literature, and Cultural Ecologies in Ng Kim Chew’s Fiction." International Journal of Taiwan Studies 4, no. 1 (2021): 121–41. http://dx.doi.org/10.1163/24688800-20201150.
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Abstract This essay uses an examination of intertwined thematics of fish and text in the fiction of the ethnically Malaysian Chinese author Ng Kim Chew in order to reflect on a broader set of ecological concerns, including issues relating to the natural ecology of the Southeast Asian regions depicted in Ng’s works, together with the overlapping literary ecosystems within which his works are embedded. In particular, the essay is concerned with the ways in which Ng’s fiction reflects on the relationship between the field of Southeast Asian Sinophone literature and the partially overlapping ecosystem of world literature.
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Almqvist, Éilís Ní Dhuibhne. "Reflections on Memoir as a New Genre." Irish University Review 50, no. 1 (2020): 153–63. http://dx.doi.org/10.3366/iur.2020.0442.
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The article opens with a brief overview of memoir writing in Ireland, with special reference to early twentieth-century regional memoirs in the Irish language. The validity of the view that memoirs are much more numerous now than in the past is assessed. Various categories of memoir are described, as is the relationship between fiction, autobiography, and memoir. Finally, the author recounts her own experience of writing a memoir after many decades of writing fiction. She comments on the relationship of fiction and memoir in her own writing experience, and on differences between the genres as regards process, publication, and reaction.
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Caldas, Carlos. "SPACE ANGELS: ANGELOLOGY IN C. S. COSMIC LEWIS’S TRILOGY." Perspectiva Teológica 52, no. 2 (2020): 417. http://dx.doi.org/10.20911/21768757v52n2p417/2020.
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The Northern Irish author C. S. Lewis (1898-1963) was one of the outstanding Christian thinkers of the last century. A prolific author, he moved through different areas, such as literary criticism, youth literature, science fiction, and texts of theological exposition and of apologetics. In science fiction there is his remarkable “Cosmic Trilogy”: Beyond the Silent Planet, Perelandra, and That Hideous Strength. In these three books, Lewis presents a vast array of themes. Among these is angelology,the systematic study of heavenly beings known as angels. The aim of this article is to present the major influences that Lewis used to build his angelology: old Jewish literature, exemplified in texts such as the Ethiopian Enoch (or the Book of Enoch or First Enoch), and the biblical tradition itself. The article will seek also to defend the hypothesis that, using fiction, Lewis builds an imaginative and suggestive theology that is a critique of the rationalism of continental theology of his day.
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Merljak Zdovc, Sonja. "Literary journalism : the intersection of literature and journalism." Acta Neophilologica 37, no. 1-2 (2004): 17–23. http://dx.doi.org/10.4312/an.37.1-2.17-23.
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Literary journalism is a style of newspaper and magazine writing that developed as a reaction against facto graphic and objective journalism. Rather than answering the informational who, what, when, or where, it depicts moments in time. It has also managed to eschew the formula of newspaper feature writing, with its predictability and cliches. Instead, it appointed the techniques of realistic fiction to portray daily life. The author of this paper attempts to present the genre that belongs at the same time to literature and journalism; it combines the best of both practices in order to give the reader the most vivid and accurate picture of society. The author of this paper also attempts to present literary journalism as it exists in Slovenia.
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Eggen, Jo. "What did he actually say? About translation as politics and interpretation in factual literature." Filozofija i drustvo 18, no. 2 (2007): 173–86. http://dx.doi.org/10.2298/fid0702173e.
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Twenty years ago, Slobodan Milosevic uttered a sentence which was afterwards repeated in the literature about the Yugoslav tragedy innummerable times. The sentence "Niko ne sme da vas bije" was directed to the Serb demonstrators in Kosovo. In this text, the author analyzes the ways this sentence was translated in factional literature (non-fiction literature: essays, newspaper article, history, biographies etc.) and shows that different versions, apart from being different lexically and semantically, influence the political interpretation and understanding of the Yugoslav conflict. This text poses another, maybe even more important question: are unprecise and wrong translations of Milosevic's words a proof of what Georg Johannesen claimed - that faction is fiction. .