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Journal articles on the topic 'Creative fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Sparkes, Andrew C. "Fictional Representations: On Difference, Choice, and Risk." Sociology of Sport Journal 19, no. 1 (2002): 1–24. http://dx.doi.org/10.1123/ssj.19.1.1.

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This article is intended to stimulate debate regarding recent calls for fictional representations to be used within the sociology of sport. Based on the notion of “being there,” it differentiates between ethnographic fiction and creative fiction. Examples of the former are provided, and their grounding in the tradition of creative nonfiction is established. Moves toward the use of creative fiction are then considered in relation to the willingness of authors to invent people, places, and events in the service of producing an illuminative and evocative story. The issue of purpose is highlighted

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2

Patrick, Anne E. "Creative Fiction and Theological Ethics." Annual of the Society of Christian Ethics 17 (1997): 29–35. http://dx.doi.org/10.5840/asce1997175.

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3

Brown, Duncan, and Antjie Krog. "Creative Non-Fiction: A Conversation." Current Writing 23, no. 1 (2011): 57–70. http://dx.doi.org/10.1080/1013929x.2011.572345.

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4

Yarbakhsh, Elisabeth. "Fiction/Creative Nonfiction First Prize." Anthropology and Humanism 43, no. 1 (2018): 159–64. http://dx.doi.org/10.1111/anhu.12211.

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5

Bacanu, Horea. "Globalisation of Cultural Circuits. The Case of International Awards for Fiction." European Review Of Applied Sociology 8, no. 11 (2015): 19–30. http://dx.doi.org/10.1515/eras-2015-0008.

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Abstract In the international circuit of fictional texts from the last fifty years (perhaps even one hundred years, in some cases), several independent international organizations, academic and editorial platforms of critique and debate have been established. They have been organizing international contests, fine authorities of critical appreciation, evaluation and awarding of most prolific authors and most successful fictional texts: novels, short stories, stories or utopian and dystopian fictions. The allotment on cultural corridors, the geographical identification of both author and title d

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6

Schneiderman, Leo. "Norman Mailer and Rank's Theory of the Creative Self." Imagination, Cognition and Personality 14, no. 1 (1994): 3–18. http://dx.doi.org/10.2190/5bc6-cxca-d48t-n941.

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The present article investigates Mailer's fiction and non-fiction in relation to Rank's views on creativity. Both Rank and Mailer are interpreted as examples of artists who invent themselves, the former as an intuitive therapist, the latter as the creator of a public and private persona. In Mailer's case, projections of the persona are traced to his fictional alter egos. Special attention is given to analyzing the significance of Mailer's creation of fictional protagonists who act out antisocial, anarchic impulses in a seemingly conflict-free way. This tendency, which characterizes Mailer's wo

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7

Efremova, Valeria V. "Legal fiction in copyright." Russian Journal of Legal Studies 6, no. 3 (2020): 74–78. http://dx.doi.org/10.17816/rjls19110.

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The need to study the possibilities of development of legal thought in copyright is caused by the fact that imposed on the legislator since the 90s, and more actively since the 2000s, the illusion that all relations of intellectual property in general are related to trade, is not true, and regulatory approval would lead to the destruction of significant and truly human traditional institutions of the Russian system of law such as copyright. No one can argue that it is one of a kind that allows a person to get acquainted with his inner content, and hence his potentials in the scale of participa

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8

Woodward, S. "Pro-Creative Disorder in Gogolian Fiction." Russian Literature 26, no. 3 (1989): 297–303. http://dx.doi.org/10.1016/s0304-3479(89)80011-0.

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9

Brews, Peter. "Great Expectations: Strategy as Creative Fiction." Business Strategy Review 16, no. 3 (2005): 4–10. http://dx.doi.org/10.1111/j.0955-6419.2005.00367.x.

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10

Furnham, Adrian. "Great Expectations: Strategy as Creative Fiction." Business Strategy Review 16, no. 4 (2005): 32–36. http://dx.doi.org/10.1111/j.0955-6419.2005.00377.x.

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11

Nuraeni, Iin, and Fahrus Zaman Fadhly. "CREATIVE PROCESS IN FICTION WRITING OF THREE INDONESIAN WRITERS." Indonesian EFL Journal 2, no. 2 (2017): 117. http://dx.doi.org/10.25134/ieflj.v2i2.644.

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This research investigates the creative process in fiction writing employed by three writers of different writing genres: short story, novel, and poem. This study applied a qualitative method that involved one male and two female writers in Kuningan and Majalengka. The data collected from document analysis, observation, and interview were analyzed through descriptive qualitative method. The results of the analysis revealed that there were five creative processes of writing fiction used by the writers in writing fiction, namely preparation, incubation, insight, evaluation, and elaboration. Besi

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12

Khorob, S. S. "OPINION JOURNALISM: THE GENRE OF LITERATURE OR JOURNALISM?" PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 364–70. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-364-370.

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The article raises the problem of genre and type definition of opinion journalism, its belonging to fiction and journalism. It proves that this creation, coming out of laws of creative work, characterizes activities of both writers and journalists to an equal extent, being on the border in works of belles-lettres and mass media. In addition, the analysis of manifestations of opinion journalism gives grounds to affirm that opinion journalism is not a separate type of literature and not a separate genre of journalism. It is rather the system of genres among major forms that are inherent in liter

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13

Land, Caroline. "I Do Not Own Gossip Girl”: Examining the Relationship between Teens, Fan Fiction, and Gossip Girl." Language and Literacy 12, no. 1 (2010): 38. http://dx.doi.org/10.20360/g2rp4q.

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After reading Gossip Girl, I explored several pieces of fan fiction related to the series that were created by teen authors. From these pieces, I observed how teens can use fan fiction to exercise their own creative ideas, align a fictional world with their own, connect with other fans and writers, and receive instant feedback on their work. From these findings, I suggest how teachers and librarians can use this knowledge to support teens that are engaged or interested in the practices of writing fan fiction and writing for pleasure.

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Adil Majidova, Ilaha. "The dystopian genre as one of Ray Bradbury’s creative trends." SCIENTIFIC WORK 61, no. 12 (2020): 87–90. http://dx.doi.org/10.36719/2663-4619/61/87-90.

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Utopia is a common literary theme, especially in a speculative and science-fiction genre. Authors use utopian genre to explore what a perfect society would look like. Utopian fiction is set in a perfect world, while a dystopian novel drops its main character into a world where everything seems to have gone wrong. Dystopian fiction can challenge readers to think differently about current world. The article is devoted to the etymology of dystopia genre within Ray Bradbury’s creativity. In his short stories he tried to show the depth of his imagination. In Ray Bradbury’s fiction the world is a te

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15

Dowling, H. F. "Imaginative Exposition: Teaching "Creative" Non-Fiction Writing." College Composition and Communication 36, no. 4 (1985): 454. http://dx.doi.org/10.2307/357864.

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16

Peterle, Giada. "Carto-fiction: narrativising maps through creative writing." Social & Cultural Geography 20, no. 8 (2018): 1070–93. http://dx.doi.org/10.1080/14649365.2018.1428820.

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17

Perkins, Tanya. "Strang(er) Places: Collaborative Creativity in Real and Virtual Spaces." Journal of Teaching and Learning with Technology 8, no. 1 (2019): 99–107. http://dx.doi.org/10.14434/jotlt.v8i1.26744.

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In the writing classroom, collaborative learning often takes the form of co-authoring, peer workshops or critique sessions. While useful, what other active learning approaches might be effective, particularly in light of the range of media with which students are increasingly familiar? World-building—creation of an alternative/speculative or futuristic land, world or universe—offers an approach to fiction writing amenable to both creative collaboration and digital modalities. This article examines how a team-based world-building project in an advanced writing course engenders creative-making t

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18

Chamberlain, Stephen. "Truth, Fiction and Narrative Understanding." International Philosophical Quarterly 60, no. 2 (2020): 201–19. http://dx.doi.org/10.5840/ipq2020602153.

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This paper defends the cognitive value of literary fiction by showing how Paul Ricoeur’s account of narrative understanding emphasizes the productive and creative elements of fictional discourse and defends its referential capacity insofar as fiction reshapes reality according to some universal aspect. Central to this analysis is Ricoeur’s retrieval of Aristotelian mimesis and mythos and their convergence in the notion of emplotment. This paper also supplements and specifies further Ricoeur’s account by retrieving an Aristotelian concept disregarded by Riceour, namely, synesis (understanding).

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19

Ali, A. Wahab. "Muhammad Yusof Ahmad: A Pioneer of Modern Malay Fiction." Malay Literature 25, no. 1 (2012): 91–108. http://dx.doi.org/10.37052/ml.25(1)no6.

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This is a study on Muhammad Yusof Ahmad, a pioneer in modern Malay fiction. To explore his contributions, this study focuses on his creative process, specifically in his writing of formal realism fictions such as his short stories and novelette. This study is approached via the writer’s biography and linking it to his era, and the systems of traditional and western education which shaped his creative abilities. His main works entitled “Percintaan Lady Brazil”, “Zaman Sari” and Mencari Isteri were selected as samples for analysis. This study reveals that Muhammad Yusof’s creativity is based on

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20

Edkins, Jenny. "Novel writing in international relations: Openings for a creative practice." Security Dialogue 44, no. 4 (2013): 281–97. http://dx.doi.org/10.1177/0967010613491304.

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Prompted by Elizabeth Dauphinee’s The Politics of Exile, the article explores the political potential of novel ways of writing in international relations. It begins by examining attempts to distinguish between narrative writing and academic writing, fiction and non-fiction, and to give an account of what narrative might be and how it might work. It argues that although distinctions between narrative writing and academic writing cannot hold, there are nevertheless ways of judging the practical political effects that writing can produce. It briefly examines feminist, postcolonial and other inter

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21

Revzina, O. G. "Dream and Fiction." Critique and Semiotics 39, no. 1 (2021): 176–92. http://dx.doi.org/10.25205/2307-1737-2021-1-176-192.

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Dream and fiction are treated through a prism of creativity and creative capacity. The attempt is made to compare Freud’s method of dream’s analysis and different meth-ods of fiction analysis. The following topics are discussed: possible worlds of dreams and of fiction; correlations between literary meaning and depth meaning; between dreamer and teller in fiction; psychic processes in dreams and their correlates in literary fiction; expressive means of dreams and means in fiction; suggestive processes and language creativity.

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22

Treat, James. "Imagining Ourselves: Classics of Canadian Non-Fiction, and: Going Some Place: Creative Non-Fiction Across Canada, and: Crisp Blue Edges: Indigenous Creative Non-Fiction (review)." Fourth Genre: Explorations in Nonfiction 7, no. 2 (2005): 121–23. http://dx.doi.org/10.1353/fge.2005.0045.

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23

Mehta, Brinda J. "Indo-Trinidadian Fiction: Female Identity and Creative Cooking." Alif: Journal of Comparative Poetics, no. 19 (1999): 151. http://dx.doi.org/10.2307/521917.

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24

Hackley, Chris. "Auto‐ethnographic consumer research and creative non‐fiction." Qualitative Market Research: An International Journal 10, no. 1 (2007): 98–108. http://dx.doi.org/10.1108/13522750710720422.

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25

Spanier, David. "Art & craft: Creative fiction and Las Vegas." Journal of Gambling Studies 11, no. 1 (1995): 77–90. http://dx.doi.org/10.1007/bf02283206.

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26

ATTIA, Nesrine, and Kantaoui MOHAMED. "CONTEMPORARY CREATIVE FICTION WRITING SOCIAL AND HOMELAND ISSUES." RIMAK International Journal of Humanities and Social Sciences 03, no. 07 (2021): 11–16. http://dx.doi.org/10.47832/2717-8293.7-3.2.

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The narrative story has evolved from its precursor, when the old myths are shattered, in which the new novel has become a text with numerous cultural formats within its contents. Fragmentation and separation have been two of the most significant aspects of modern creative writing. In order to grasp the evolving reality, novelists must assume new creative forms in which the reader joins the realms of secrecy and marginalization. Those looking for the positions of the novelist critics will notice that contemporary writing has occupied a distinguished position due to the issues it raises regardin

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27

Birat, Kathie. "“Creative Biography”: Fiction and Non-fiction in Caryl Phillips’s Foreigners: Three English Lives." Commonwealth Essays and Studies 36, no. 1 (2013): 57–67. http://dx.doi.org/10.4000/ces.5278.

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28

Muradian, Gaiane, and Anna Karapetyan. "On Some Properties of Science Fiction Dystopian Narrative." Armenian Folia Anglistika 13, no. 1-2 (17) (2017): 7–18. http://dx.doi.org/10.46991/afa/2017.13.1-2.007.

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Dystopia is a narrative form of fiction in general and of science fiction in particular. Using elements of science fiction discourse like time travel, space flight, advanced technologies, virtual reality, genetic engineering, etc. – dystopian narrative depicts future fictive societies presenting in peculiar prose style a future in which humanity has fallen into destruction, ruin and decline, in which human life and nature are wildly abused, exploited and destroyed, in which a totalitarian, highly centralized, and, therefore, oppressive social organization sacrifices individual expression, free

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29

Gorlée, Dinda L. "Kenneth L. Pike and science fiction." Semiotica 2015, no. 207 (2015): 217–31. http://dx.doi.org/10.1515/sem-2015-0043.

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AbstractKenneth L. Pike’s tagmemic explanation of his etic-emic equivalence corresponds to the notion of “approximate” translation. According to a weaker version of the Sapir-Whorf hypothesis, Pike’s cross-cultural and multilingual perspective of Bible translation approximates the duality and triadicity of Peirce’s immediate/emotional, dynamical/energetic, and final/logical interpretants. Pike’s astronautical examples of the artificial language Kabala-X translated into English and the science fiction story of the Earthmen who invaded Mars are fictional and creative artifacts of human-alien cry

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30

BOKOWIEC, MARK ALEXANDER, and JULIE WILSON-BOKOWIEC. "Spiral Fiction." Organised Sound 8, no. 3 (2003): 279–87. http://dx.doi.org/10.1017/s1355771803000256.

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Spiral Fiction is a piece of interactive performance staged by the authors in 2002. The paper provides detailed information about the technology used, the nature of the interactivity employed, the artists use of the Bodycoder System© and the aesthetic and theoretical issues arising out of the work. The paper addresses the problematic nature of the audience gaze, the seductive qualities of new technology, creative balance in the presence of new technologies and the problem of placing interactive performance along side analogue and single art form disciplines. The paper also explores the psychop

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31

Yaffe, Philip. "Notes on writing from writers of note." Ubiquity 2021, August (2021): 1–8. http://dx.doi.org/10.1145/3481719.

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Each "Communication Corner" essay is self-contained; however, they build on each other. For best results, before reading this essay and doing the exercise, go to the first essay "How an Ugly Duckling Became a Swan," then read each succeeding essay. A distinction is often made between creative writing (fiction) and expository writing(non-fiction). However, they are more alike than most people think. Creative writers can learn from expository writers, and vice versa.

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32

Ruggiero, Vincenzo. "Fiction, war and criminology." Criminology & Criminal Justice 18, no. 5 (2018): 604–16. http://dx.doi.org/10.1177/1748895818781198.

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This article proposes an understanding of war and criminology through the use of the creative sources offered by literature. These sources, while communicating exemplary meanings and morals, can help describe and comprehend the social and cultural landscapes of war and crime. Stendhal and Tolstoy are chosen as classical major providers of such sources, and an analysis of their respective novels, The Charterhouse of Parma and War and Peace, will offer support to the idea that the inclusion of war in criminological thinking is timely as well as necessary.

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33

Rahma Dwi Nopryana, Wahyudin,. "FILOSOFIS KEBENARAN FIKSI SEBAGAI PENGEMBANGAN INTELEGENSI BAGI KEHIDUPAN INDIVIDU MANUSIA." Jurnal Bimbingan Penyuluhan Islam 1, no. 2 (2020): 269. http://dx.doi.org/10.32332/jbpi.v1i2.1723.

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The study of intelligence development, as a form of analyzing the intelligence of creativity in revealing objects and trying to find specific, unique things contained in fiction. Changes in the way of thinking intelligence in a fictional truth is a discourse to express a pattern and story line with an understanding. Understanding of intelligence by distinguishing, guessing, then explaining, which is in fiction. The problem of literary works called fiction is a work that tells something that did not really happen. There is a difference of opinion in a work of fiction because it is not in accord

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34

Nguyen, Thuy Thi Phuong. "Creative non-fiction in Cochin-Chinese Cities from 1945 to 1954." Science and Technology Development Journal 16, no. 2 (2013): 82–93. http://dx.doi.org/10.32508/stdj.v16i2.1465.

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From 1945 to 1954, creative non-fiction writing makes a noticeable contribution to Cochin-chinese literature. Works of this genre focus on various prominent topics such as economy, politics, culture and war. The authors are not only those who grew up in the area but also those who came from the northern part of the country. They contributed greatly to the variety of literary styles in Cochinchina during this period. In this paper, various works of creative non-fiction published from 1945 to 1954 will be studied on different aspects such as content, structure, and style to highlight their value

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35

Umarova, Makhliyo. "THEORETICAL BASES OF THE PROBLEM OF CREATIVE PERSONALITY AND HERO." INTERNATIONAL JOURNAL OF WORD ART 2, no. 3 (2020): 172–77. http://dx.doi.org/10.26739/2181-9297-2020-2-24.

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The article explains the scientific significance of the problem of the creative personality and heroism in literary criticism. The relations between the author of fiction and his worldview are analyzed. The concept of the creative personality of the writer is scientifically substantiated

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36

Sharp, Sabine Ruth. "Salt Fish Girl and “Hopeful Monsters”: Using Monstrous Reproduction to Disrupt Science Fiction’s Colonial Fantasies." Contemporary Women's Writing 13, no. 2 (2019): 222–41. http://dx.doi.org/10.1093/cww/vpz022.

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Abstract The revival of the Frankenstein origin myth has left science fiction’s relationship to colonialism undertheorized. More recent creative interventions have, however, challenged the genre’s colonialist legacy: two works that achieve this are Larissa Lai’s novel Salt Fish Girl (2002) and Hiromi Goto’s short story “Hopeful Monsters” (2004). Using different forms of unruly reproduction—strange births, recurring histories, and eclectic intertextuality—these texts unravel the tangled histories of science fiction and colonialism. Using tropes of repetition and mutation, Lai and Goto trace not

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37

Hill, Jonathan. "Architects of fact and fiction." Architectural Research Quarterly 19, no. 3 (2015): 249–58. http://dx.doi.org/10.1017/s1359135515000494.

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Conceiving a design as both a history and a fiction is not exclusive to the analogy of architecture to landscape. But it is central to this tradition because of the simultaneous and interdependent emergence in the early eighteenth century of new art forms, each of them a creative and questioning response to empiricism's detailed investigation of subjective experience and the natural world: the picturesque landscape, analytical history and English novel, which its early advocates conceived as a fictional autobiography and characterised as a history not a story. The conjunction of new art forms

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38

Mamatqosimov, Jahongir. "International and specification of the artistics of artistics." International Journal on Integrated Education 2, no. 4 (2019): 8–10. http://dx.doi.org/10.31149/ijie.v2i4.97.

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This article contributes to the different distribution of fiction, as well as the scientific and theoretical and creative aspects of working with one of the creative processes. Assistance is provided on the types of scenarios, the creative stages of working on the artwork. Abbreviations for the use of methods of assurance of the manufacture of artworks.

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39

Rogers, Hannah Star. "Cheering Artificial Intelligence Leader: Creative Writing and Materializing Design Fiction." Leonardo 53, no. 1 (2020): 58–62. http://dx.doi.org/10.1162/leon_a_01578.

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Bringing together science and literature for purposes of casting these knowledge areas into relief is a well-established analytical practice. Rather less studied is the turn toward material practice as it has unfolded across science studies and the arts. However, this trend has the potential to open up new methods for thinking about science and literature and new forms of public engagement. This paper explores one possibility for combining creative writing in the form of sports cheers. It posits a materialized future scenario designed to encourage the public to consider potential futures and e

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40

Webb, Dominique. "Screen industry collaboration:The Knock– producing fiction with Creative England/BFI." Media Practice and Education 19, no. 2 (2018): 173–87. http://dx.doi.org/10.1080/25741136.2018.1469355.

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41

Manzi, Tony. "Fact and Fiction in Housing Research: Utilizing the Creative Imagination." Housing, Theory and Society 22, no. 3 (2005): 113–28. http://dx.doi.org/10.1080/14036090510011595.

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York, Emily, and Shannon N. Conley. "Creative Anticipatory Ethical Reasoning with Scenario Analysis and Design Fiction." Science and Engineering Ethics 26, no. 6 (2020): 2985–3016. http://dx.doi.org/10.1007/s11948-020-00253-x.

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Kochanowicz, Rafał. "„Kwazar”, „Fantom”, „Czerwony Karzeł”, „Inne Planety”. Kilka uwag krytycznych o nietypowej sytuacji fantastycznych fanzinów w kulturze polskiej." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 249–69. http://dx.doi.org/10.14746/pspsl.2016.28.13.

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In Poland, research-related fanzines rarely include writings edited by Polish fans of science fiction, horror and fantasy. Active fans edited amateur magazines which were very important because they popularized fantastic literature and culture in Poland. The role of fantastic fanzines was not limited solely to the promotion of amateur creativity or publishing translations of foreign fiction not available on the market, but also consisted in the creation of creative bonds between writers and readers. The remnants of the activities of Polish fantastic fiction fans are about one hundred titles in

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44

Malykh, Vyacheslav Sergeevich. "RUSSIAN AND AMERICAN HORROR FICTION AS A GENRE, CREATIVE WRITING AND EDUCATIONAL PHENOMENON: A PROBLEM STATEMENT." Russian Journal of Multilingualism and Education 11, no. 1 (2019): 63–69. http://dx.doi.org/10.35634/2500-0748-2019-11-63-69.

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Although the genre of horror has gained an extraordinary popularity in contemporary literature, it still raises controversy among specialists. The situation in Russia is especially complicated. Until the beginning of the 20th century, Russian horror fiction used to develop concurrently with the evolution of horror genre in the U.S., but after the revolution of 1917 and until the late 1980s this tradition was interrupted in Russia. Therefore, nowadays the question “What is horror fiction?” is unclear for Russian philologists, the question “How to write horror fiction?” is unclear for Russian wr

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45

BABAEI, ABDOLRAZAGH, and AMIN TAADOLKHAH. "Portrayal of the American Culture through Metafiction." Journal of Education Culture and Society 4, no. 2 (2020): 9–15. http://dx.doi.org/10.15503/jecs20132.9.15.

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Kurt Vonnegut’s position that artists should be treasured as alarm systems and as biological agents of change comes most pertinent in his two great novels. The selected English novels of the past century – Cat’s Cradle (1963), Slaughterhouse Five (1969), and Breakfast of Champions (1973) – connect the world of fiction to the harsh realities of the world via creative metafictional strategies, making literature an alarm coated with the comforting lies ofstorytelling. It is metafi ction that enables Vonnegut to create different understandings of historical events by writing a kind of literature t

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46

Bladon, Henry. "Fiction, empathy and mental health nursing." British Journal of Mental Health Nursing 8, no. 4 (2019): 207–12. http://dx.doi.org/10.12968/bjmh.2018.0032.

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Fiction can be a ‘powerful tool’ for understanding. This article looks at how narrative fiction can be of use to help engender empathy in mental health nurses. It examines the role of empathy within the therapeutic relationship and suggests that reading literature can not only help to developing skills but that it can be incorporated into reflective practice as part of continuing professional development. Beyond this, the skills learned through reading fiction sit well alongside the use of other forms of creative arts in recovery programmes.

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Filipowicz, Stanisław, and Paweł Janowski. "Europe as Fiction." Civitas. Studia z Filozofii Polityki 11 (January 30, 2009): 40–51. http://dx.doi.org/10.35757/civ.2009.11.02.

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What is the meaning of the “Europe” and the idea of unity? For when did a “united” Europe exist? Back when German emperors ineffectively tried to enforce their rule on a territory which was none too large anyway? Or when they were entangled in a dispute with the papacy? Or during the crusades against the Catharists? Or maybe during the Reformation or during the French Revolution when new coalitions of opponents arose? During the Napoleonic Wars which in themselves pay testimony to ruptures and conflicts? The 20th century alone brought two wars. The first already signified, as Jan Patocka once

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48

Troscianko, Emily T. "Fiction-reading for good or ill: eating disorders, interpretation and the case for creative bibliotherapy research." Medical Humanities 44, no. 3 (2018): 201–11. http://dx.doi.org/10.1136/medhum-2017-011375.

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Compared with self-help bibliotherapy, little is known about the efficacy of creative bibliotherapy or the mechanisms of its possible efficacy for eating disorders or any other mental health condition. It is clear, however, that fiction is widely used informally as a therapeutic or antitherapeutic tool and that it has considerable potential in both directions, with a possibly significant distinction between the effects of reading fiction about eating disorders (which may—contrary to theoretical predictions—be broadly negative in effect) or one’s preferred genre of other fiction (which may be b

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Page, Joshua, and Philip Goodman. "Creative disruption: Edward Bunker, carceral habitus, and the criminological value of fiction." Theoretical Criminology 24, no. 2 (2018): 222–40. http://dx.doi.org/10.1177/1362480618769866.

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Drawing on Edward Bunker’s semi-autobiographical novels, this article argues for the criminological value of fiction. Drawing inspiration and extending core insights from “narrative criminology” and “popular criminology”, we posit that novels and other creative sources can disrupt scholarly commonsense, pushing scholars to reconsider and extend theoretical perspectives. Specifically, Bunker’s fiction encourages re-thinking of overly cognitive (i.e. “mentalist”) understandings of “prisonization”, which do not sufficiently capture the embodiment of carceral culture and routines. Through Bunker’s

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Yekimova, Anastasiya V. "Directing “Mixed” Forms. Dialogue of Classical Traditions and Modern Creative Practice." Journal of Flm Arts and Film Studies 8, no. 1 (2016): 54–62. http://dx.doi.org/10.17816/vgik8154-62.

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The article compares the expressive means used in Soviet and modern docu-fiction films. The influence of digital technologies as well as the determination of multimedia aesthetics have led to a quantum leap (not always positive) in making of hybrid forms.

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