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Books on the topic 'Fictin'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

W, Hall James. Silencer. New York: Minotaur Books, 2010.

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2

artist, Rubín David 1977, ed. La ficción = The fiction. Bilbao: Astiberri, 2015.

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3

Stilton, Gerónimo. Mouseford Academy: The puppy problem. New York: Scholastic, 2015.

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Fuentes, Carlos. Tiempos y espacios. México: Fondon de Cultura Económica, 1997.

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5

Murphy, Ted. Saving Santa's seals. Teaticket, Mass: Leapfrog Press, 2009.

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6

Williams, Ioan. Capel a chomin: Astudiaeth o ffugchwedlau pedwar llenor Fictoraidd. Caerdydd: Gwasg Prifysgol Caerdydd, 1989.

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7

Llosa, Mario Vargas. Cervantes y la ficción =: Cervantes and the craft of fiction. Basel: Schwabe, 2001.

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8

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

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9

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

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10

Jenise, Williamson C., Alvarez Rafael, and Minot George, eds. Fiction. Baltimore, Md. (1101 N. Calvert St. #1605, Baltimore 21202): Damascus Works, 1990.

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11

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

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12

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

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13

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

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14

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

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15

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

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16

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

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17

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

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18

Handley, Kathy. World of Love and Envy: Short Stories, Flash Fictin and Poetry. Independent Publisher, 2011.

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19

Pulpo ficcion/ Octopus Fiction. Public Square Books, 2007.

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20

Stilton, Gerónimo. UN CHIEN A LA MAISON N° 29 (A.M. TEA STI.PO) (French Edition). ALBIN MICHEL, 2018.

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21

Stilton, Gerónimo. Un cadell busca casa. Estrella Polar, 2020.

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22

Un cucciolo in cerca di casa. Piemme, 2015.

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23

Stilton, Gerónimo. Un cachorro busca casa. Destino Infantil & Juvenil, 2020.

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24

Brake, Mark, and Neil Hook. Different Engines: How Science Drives Fiction and Ficton Drives Science. Palgrave Macmillan, 2008.

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25

Isaac Asimov. Sobre LA Ciencia Ficcion/Asimov on Science Fiction. Edhasa, 1986.

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26

Abell, Catharine. Fiction. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198831525.001.0001.

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The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences identify their contents, or to identify the norms governing the correct understanding and interpretation of works of fiction. This book answers a wide range of both metaphysical and epistemological questions concerning fiction in a way that clarifies the relations between them. The metaphysical questions include: what distinguishes works of fiction from works of non-fiction; what is the nature of fictive utterances; what determines the contents of works of fiction; what kinds of fictive content are there; how broad in scope is fictive content; and what kinds of things are fictional entities? The epistemological questions include: how do audiences identify the contents of authors’ fictive utterances; how does understanding a work of fiction differ from interpreting it; and what role do thinking and talking about fiction from an external perspective play in enabling communication through fiction? This book develops the first single theory that provides answers to all these questions.

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27

Stock, Kathleen. The Nature of Fiction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798347.003.0006.

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Drawing upon extreme intentionalism, a theory of fiction is built, arguing that a fiction is a set of instructions to a reader, instructing her to imagine various things. Call this ‘the basic claim’. This view is defended against those, such as Gregory Currie, Peter Lamarque and Stein Olsen, and David Davies, who would agree with the basic claim as one condition of fiction, but who would argue that a theory of fiction also needs additional conditions. It is also defended against those, such as Stacie Friend and Derek Matravers, who would reject even that basic claim. Finally there is a consideration of what to say about less straightforward cases, such as split narrative, ‘ambiguous fictions’, ‘fictions within fictions’, unreliable narration, and those cases where a fictional character appears as such in a fiction.

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28

Stephenson, Neal. Criptonomicon: 3. El codigo Aretusa (Ciencia Ficcion / Science Fiction). 5th ed. Ediciones B, 2005.

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29

Stephenson, Neal. Criptonomicon: 2. El codigo Pontifex (Ciencia Ficcion / Science Fiction). Ediciones B, 2005.

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30

Pamies, Daniel Pérez, José Rovira Collado, Luis E. Froiz Casal, Johana Caplliure, Fran Mateu, Francisco Cuéllar Santiago, Elisa Martínez, et al. Space Fiction: Visiones de lo cósmico en la ciencia ficción. Cinestesia, 2020.

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31

Ezell, Margaret J. M. Novels: Or, Fictions, Fables, Travels, and True Histories. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780191849572.003.0016.

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The 1680s and 1690s saw continued interest in fiction, including translations of important continental works by Rabelais and Cervantes. Among popular forms, fictions purporting to be ‘real’ letters and life histories flourished. Several dramatists used the plots found in popular novels as the basis for stage productions, including adaptations of Behn’s fictions, such as Oroonoko by Thomas Southerne. Behn set several of her short fictions in continental nunneries with scandalous heroines, while other fiction writers insisted on a didactic message. Dampier’s travel narratives created imitations and there were multiple versions of the animal fables by Aesop.

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32

Leacock, Stephen. Frenzied Fiction: Fiction. Independently published, 2018.

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33

Jean Michel, et al. Alberola. Fiction? Non-Fiction? Editions Florence Loewy, 1995.

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34

Lynch, Deidre. Early Gothic Novels and the Belief in Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0010.

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This chapter looks at Gothic novels. A Gothic Romance or even ‘a Gothic Story’ may be one thing, but a Gothic Novel is something else again. Though that term has been retrospectively applied to a body of macabre, sensational, ghost-infested fiction from the late eighteenth century only since the early twentieth, in its suggestion of a perverse hybridizing of the outmoded and the up-to-date it aptly captures the transgressiveness these fictions represented for their original critics. More directly than the contemporary fictions that aspired to be life-like and observe the norms of probability, Gothic novels foreground that peculiar mental gymnastics that since the eighteenth century has enabled readers to participate in a secular culture industry ‘which invites the subtle and supple deployment of belief’. In this sense, by helping to define the frontiers of the fictive, the Gothic mode did not interrupt the rise of the novel, but instead completed it.

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35

Fletcher, Ralph J. Also Known As Rowan Pohi. Houghton Mifflin Harcourt Trade & Reference Publishers, 2011.

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36

Ezell, Margaret J. M. Fictions: Politics and Secrets. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780191849572.003.0023.

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While examples of conventional romance fiction continued during this decade, fiction also became the vehicle for topical satire, as seen in Jonathan Swift’s Tale of a Tub and Delarivier Manley’s New Atalantis. Publishers were offering collections of novels in uniform editions. Epistolary fictions were increasingly popular, such as Thomas Brown’s Letters from the Dead to the Living. Fictions by Daniel Defoe and others mingled factual accounts of events and people with allegory, fable, and sensational adventure, as found in A True Relation of the Apparition of One Mrs. Veal.

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37

Fiction and Non-fiction. Rigby Educational Publishers, 2007.

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38

Fiction South-Fiction North. Ridgefield Press, 1992.

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39

Stock, Kathleen. Fiction, Belief, and ‘Imaginative Resistance’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798347.003.0005.

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The chapter starts with a focus on the relation between fiction and the inculcation of justified belief via testimony. The claim, relied upon in Chapter 3, that fictions can be sources of testimony and so justified belief, is defended. Then the fact that fictive utterances can, effectively, instruct readers to have beliefs, is implicated in a new explanation of ‘imaginative resistance’. The author suggests that the right account of this phenomenon should cite the reader’s perception of an authorial intention that she believe a counterfactual, which in fact she cannot believe. This view is defended against several rivals, and distinguished from certain other views, including the influential view of Tamar Gendler. Finally there is a consideration of whether one can propositionally imagine what one believes to be conceptually impossible.

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40

Serrano, Bartolo Luque, and Álvaro Márquez González. Marte y Vida/ Mars and Life: Ciencia Y Ficcion/ Science and Fiction. EQUIPO SIRIUS, S.A., 2004.

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41

Wells, H. G., and various. Los Mejores Relatos De Ciencia Ficcion/Best Science Fiction Stories (Short Stories). Santillana USA Publishing Company, 1999.

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42

Elish, Dan. Fiction. Cavendish Square Publishing LLC, 2012.

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43

RIvard, Gabriel. Fiction. Independently Published, 2019.

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44

Lamarque, Peter. Fiction. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0021.

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The concept of fiction is not identical to that of literature, and the discussion that follows concentrates on the former alone. Not only do the terms ‘fiction’ and ‘literature’ have different extensions — not all fictions are literary and not all literary works are fictional — but their meanings differ too, not least because the latter has an evaluative element lacking in the former. Of course, many of the great works of literature are also fictional, so an analysis of fiction will shed light on one aspect of them. But it should not be supposed that an analysis of fiction will exhaust all there is to say about literature, nor that such an analysis will encompass distinctively literary qualities.

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45

Author, The, and Author. Fiction. Xlibris Corporation, 2001.

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46

Cox, David, John Coldwell, Nick Warburton, and Erica James. Fiction. Oxford University Press, 2012.

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47

Petrushevskaya, L. Fiction. Koch, Neff & Oetinger & Co, 1997.

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48

Trimmer, Joseph F. Fiction. 4th ed. Harcourt College Pub, 1999.

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49

Matthews, L. S. Fiction. Hodder Arnold, 2006.

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50

O'Callaghan, Conor. Fiction. Wake Forest University Press, 2005.

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