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Journal articles on the topic 'Fiction’s poetics'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Bertram, Alex. "Creative Non-fiction and ABSTRACT Photography: An Insightful Partnership." Writing in Practice 08 (January 29, 2022): 53–64. https://doi.org/10.62959/wip-08-2022-06.

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A key issue in debates about creative writing as an academic discipline is the question whether practice- based research can contribute to knowledge. Creativity has traditionally been valued for its innate qualities that transcend reason and method. The practice of creative writing today has evolved from a craft that can be taught into a discipline with its own research frameworks. This paper outlines how a recent practice- based creative writing PhD took a multi-frame approach to research to write the creative non-fiction thesis: a cultural biography of a portrait of French actress, Sarah Ber

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Zalomkina, Galina V. "GOTHIC COMPONENTS OF SCIENCE FICTION’S GENEALOGY." VESTNIK IKBFU PHILOLOGY PEDAGOGY AND PSYCHOLOGY, no. 2 (2023): 43–59. http://dx.doi.org/10.5922/pikbfu-2023-2-5.

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Science fiction can be defined as the literature about cognizable unusual phenomena which represents hypothetical scientific, technical and social products of their rational exploration. Before the genre emerged, the subject of exploring the unusual was developed mainly in the field of mythological fiction, which became the basic element of Gothic literature. In Gothic, the features of science fiction began to form: in M. Shelley’s novel “Frankenstein, or the Modern Prometheus”, the motives of the supernatural are rationalized through the use of scientific and technical issues. The goal of the

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Van Gerwen, Rob. "Fiction as Universal Truth." Aesthetic Investigations 3, no. 1 (2019): i—v. http://dx.doi.org/10.58519/aesthinv.v3i1.11946.

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 Perhaps, a work of fiction’s truth is the unfaltering manner in which its details guide the spectator, reader or listener to the coherent whole of the work, and never disappoint their experience, or at least never for long. This view requires us to hold back the inclination to think of truth as short for the correspondence of some representation to something beyond itself, which is the normal way to view truth in real life, in journalism and in science. A work that is true to itself may be said to generate a particularist type of universal knowledge, like Aristotle characterised poetry

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Bowering, Thea. "A New Ontology for the Female Subject: The Rise of the Flat Character in Stories by Solvej Balle and Kirsten Thorup." Scandinavian-Canadian Studies 15 (December 1, 2005): 8–21. http://dx.doi.org/10.29173/scancan1.

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ABSTRACT: This paper examines the way the literary convention of the “flat-character” is re-imagined, in Kirsten Thorup’s story “Crazy Marie” and Solvej Balle’s “Alette V.,” as a feminist trope that disrupts modern fiction’s clichéd representations of female characters. The flat-character, a term coined by E.M. Forster, is an undeveloped figure designated to embody “a single idea or quality.” Based on the poetics of Erin Mouré that theorize the preposition as the woman’s sign: “because in the language it has no power, & can’t exist alone,” the essay compares the value of the flat character

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Огульчанська, Оксана Анатоліївна. "СВІЙ/ЧУЖИЙ ХРОНОТОП У ТВОРАХ ВІКТОРА ДОМОНТОВИЧА «ДОКТОР СЕРАФІКУС» І ВОЛОДИМИРА НАБОКОВА «ЗАХИСТ ЛУЖИНА»". Наукові записки Харківського національного педагогічного університету імені Г.С. Сковороди "Літературознавство" 3, № 82 (2015): 95–104. https://doi.org/10.5281/zenodo.45542.

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Chronotope is an important part of the work of fiction’s poetics. The analysis of the spacetime coordinates gives a researcher an opportunity to go deep into a character’s inner life, to represent features of a writer’s worldview. The comparative analysis of the Ukrainian and Russian writers’ works was made by R. Tkachuk, N. Romanyuk and others. The article focuses on the fact that in both characters’ consciousness the space is divided into one’s and somebody’s. Such precise distinction of the space gave an opportunity to make the versatile analysis of

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Gilman, Donald. "Teaching the Truth: Thomas More, Germanus Brixius, and Horace’s Ars poetica." Moreana 42 (Number 164), no. 4 (2005): 43–66. http://dx.doi.org/10.3366/more.2005.42.4.7.

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In his Letter to Brixius (1520) Thomas More proposes a poetics that incorporates Horatian prescriptions of structure, style, and the role of the poet. In attacking the untruths in the poem Chordigerae navis conflagratio (1513) by the French humanist Germanus Brixius or Germain de Brie, More alludes frequently to loci classici in Horace’s Ars poetica and, at the same time, presents three poetic principles: (1) the use of history in imaginative literature; (2) the significance of decorum and verisimilitude in the creation of fictional representation; (3) the nature of the poet who, similar to th

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Zhang, Richard, and Duri Long. "Beyond Content: Leaning on the Poetics of Defamiliarization in Design Fictions." Proceedings of the ACM on Human-Computer Interaction 9, GROUP (2025): 1–19. https://doi.org/10.1145/3701184.

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Literary approaches to design fictions, though previously theorized to be diverse in form and content, often fall within narrow stylistic and content boundaries such as speculative abstracts, memos, and studies. By drawing on a rich history of science fiction criticism, we advocate for literary design fictions that diverge from what is commonplace in HCI and design research. We foreground our paper with a discussion of the poetics of science fiction, and their relationship to current design fiction practices. Specifically, we highlight how the poetics of a design fiction can work to familiariz

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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 noncanon

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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 noncanon

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Orlemanski, Julie. "Literary Persons and Medieval Fiction in Bernard of Clairvaux’s Sermons on the Song of Songs." Representations 153, no. 1 (2021): 29–50. http://dx.doi.org/10.1525/rep.2021.153.3.29.

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Like many exegetes before him, the twelfth-century Cistercian abbot Bernard of Clairvaux regarded the lovers in the Song of Songs as allegorical fictions. Yet these prosopopoeial figures remained of profound commentarial interest to him. Bernard’s Sermons on the Song of Songs returns again and again to the literal level of meaning, where text becomes voice and voice becomes fleshly persona. This essay argues that Bernard pursued a distinctive poetics of fictional persons modeled on the dramatic exegesis of Origen of Alexandria as well as on the Song itself. Ultimately, the essay suggests, Bern

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KIM, Sunghyun. "Comparative Study of Philosophical Poetics of T. S. Eliot’s Finite Center and Wallace Stevens’ Supreme Fiction: From the Perspective of Sociology of Knowledge." Journal of the T. S. Eliot Society of Korea 33, no. 1 (2023): 1–26. http://dx.doi.org/10.14364/t.s.eliot.2023.33.1.1-26.

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It is widely known that T. S. Eliot’s poetics and philosophy are grounded on the epistemology of F. H. Bradley. Wallace Stevens, who played another significant role in the modernist poetics during a similar period, presented his unique philosophy on reality and phenomena in “Notes Toward a Supreme Fiction.” According to Stevens, humans inevitably need the concept of the “supreme fiction” to grasp reality. This paper aims to examine the roles played by Bradley’s concept of the “finite center,” which Eliot employed as a poetic or philosophical concept, and Stevens’ concept of the “supreme fictio

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Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious." Jurnal POETIKA 5, no. 1 (2017): 51. http://dx.doi.org/10.22146/poetika.25994.

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This study aims to analyze astral projection as a concept of Death and Dying by using a postmodern fiction discourse analysis perspective in Insidious movie script. This study found that astral projection is a capability possessed by a person to leave physical body and explore an astral world or the spirit world. Astral projection is a death and dying concept that is presented as one of the postmodern fictional strategies known as superimposition. This strategy illustrates that there are two worlds that accumulate and co-exist with each other. Its presence is a way of deconstructing thoughts a

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Marković, Bojan. "The Meaning of Writing Modern Poetry in a/the New Century." Transcultural Studies 11, no. 1 (2015): 22–34. http://dx.doi.org/10.1163/23751606-01101004.

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The paper deals with the sense of writing poetry as a form of text immanence that is antinomous to the contemporary age, which is also an alternative system of thought, of transformation, of imitation and of critical redefinition of the reality of that contemporary age. At the same time, poetry is a neglected, peripheral literary genre, but also a hyperbolized fictional form that opens the way to an alternative victory of opinions and feelings. Essayistic in structure, the paper discusses several poems and the poetics of three 20th century Serbian and Yugoslav Modernists (Kosovel, Dis, Crnjans

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Borjan, Etami. "Cesare Zavattini’s Poetics of Objectivity." Anafora 7, no. 2 (2020): 505–20. http://dx.doi.org/10.29162/anafora.v7i2.10.

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Cesare Zavattini was an acclaimed neorealist screenwriter and a theorist of neorealism. He has played a pivotal role in the critical rethinking of the new postwar Italian cinema although many of his concepts were considered avant-garde for that period. He stood for a direct, spontaneous, and immediate cinema with real people and real events. Despite his desire to eliminate all that was fictional from his films, Zavattini’s concept of new realist cinema cannot simply be described as a documentary approach. He was not so much interested in making documentary films but in making documentary-like

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RAGACHEWSKAYA, Marina. "POETICS OF DESIRE IN D.H. LAWRENCE’S SHORTER FICTION." Astraea 2, no. 1 (2021): 61–78. http://dx.doi.org/10.34142/astraea.2021.2.1.04.

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Desire is a specific subject of research in many areas, including literary studies and text analysis. The representation of desire in fiction is an inseparable part of the sub-genre of psychological prose; its interpretation by readers and scholars requires an interdisciplinary approach and relies on psychoanalytic theories and terminology for elucidation. Shorter psychological fiction – novellas and short stories – depend on the authors’ mastery of language use, while the formal textual length is limited. Therefore, the study of desire encoded in a short fictional piece is both difficult due

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ŠUNDALIĆ, Zlata. "SECONDARY GENRES IN ODMETNIK." Lingua Montenegrina 17, no. 1 (2016): 167–98. https://doi.org/10.46584/lm.v17i1.495.

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The central subject of the present paper is a novel by Ivan Antunović from 1875, Odmetnik (Outlaw). After the introductory bio-bibliographic contextualization, the author focuses on the analysis of Antunović’s epistolary “hidden poetics”. Namely, Pavao Pavličić wrote that the old Croatian writers did not write poetic tracts, but revealed their poetic attitudes concisely in the introductory texts to their works (P. Pavličić, Skrivena teorija (Hidden Theo-ry), 2006). Prose poetics of Bishop Antunović is not hidden in the homage of his works but in the letters sent to the various addressees. Ther

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Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.

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AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of con

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Stockwell, Peter. "Schema Poetics and Speculative Cosmology." Language and Literature: International Journal of Stylistics 12, no. 3 (2003): 252–71. http://dx.doi.org/10.1177/09639470030123005.

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Speculative cosmology is a sub-genre of science fiction that particularly focuses on the difficulties for the deployment of existing knowledge in reading. This article assesses the usefulness of competing models of world-monitoring in order to arrive at a usable framework for discussing the particular issues in science fictional reading. It is suggested that schema theory, while containing many flaws in general, nevertheless offers an appropriate degree of delicacy for the exploration of sf. Schema poetics - the application of the theory to the literary context - is used to discuss speculative

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Poch, Chantal. "Inner and deeper: Motifs of fiction in Werner Herzog's films." CINEJ Cinema Journal 7, no. 2 (2019): 101–28. http://dx.doi.org/10.5195/cinej.2019.224.

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The emphasis on the mix of facts and inventions has prevailed in the studies about Bavarian director Werner Herzog’s treatment of fiction, leading to the same result again and again: for Herzog, poetic truth is more important than factual truth. But how can we go beyond this conclusion? This paper will try to open an alternative path of analysis more adequate to his philosophy of filmmaking, one that works through the detection of visual and narrative motifs in his films, thus searching the impact of Herzog’s idea of fiction into his poetics.

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Sandy, Mark. "The Sense of an Ending: Poetic Spaces and Closure in Keats’s 1819 Odes." Romanticism 28, no. 2 (2022): 188–96. http://dx.doi.org/10.3366/rom.2022.0554.

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Following Frank Kermode’s distinction, in The Sense of an Ending, between the stability of myth and the changeability of fiction, Keats’s ‘Ode on Indolence’ offers an understated self-conscious presentation of myth and fiction in comparison with the Nightingale and Grecian Urn odes. All three of these odes invest in mythologies as much as they remain alert to their own poetic frames and the fictive nature of the fictions behind them. This poetic self-awareness reconnects Keats’s odes with the reality of death behind the mythic figures of nightingale, urn, and indolence. Such subtle, shifting,

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Aleksander, Bjelčevič. "Truth and lie in literature: Slovene writers sued for slander." "Świat i Słowo" – "World and Word" 29, no. 2 (2018): 207–20. https://doi.org/10.5281/zenodo.1216274.

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In 1999 novelist Breda Smolnikar was sued for defamation in her novel Ko se tam gori olistajo breze (When the Birches Up There Are Greening) by certain family Nakrst. Smolnikar received broad public support. In public defence different arguments were in play, the most frequent were trying to prove that the novel does not speak about the family Nakrst because (a) all literature is fiction and all literary characters are fictional beings; (b) similarity between literary character and a real person is always a coincidence; (c) all literature is a possible world and refers to people’s counte

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Moss-Wellington, Wyatt, Ming-Yeh T. Rawnsley, and Yat Ming Loo. "Screening the Port City: Poetics and Promotions." Genre 55, no. 2 (2022): 85–115. http://dx.doi.org/10.1215/00166928-10001336.

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Abstract This article contrasts a range of films from around the world that take place within port cities. It presents the port city film as a case of transnational “geographic imaginary” that dramatizes spaces of contact across lifeworlds. The authors find that there are two primary narrative modes in the port city film: a dominant mode in which gender, ethnic, class, and other identities bestowed by the geographic imaginary become inescapable, and a resistant or transformative mode in which characters are offered the opportunity to locate a new identity within a world of ephemeral relationsh

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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

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Huttunen, Tomi. "От "словообразов" к "главокадрам": имажинистский монтаж Анатолия Мариенгрофа [From "word-images' to "chapter-shots": The imaginist montage of Anatolij Mariengof]". Sign Systems Studies 28 (31 грудня 2000): 181–98. http://dx.doi.org/10.12697/sss.2000.28.10.

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From "word-images' to "chapter-shots": The imaginist montage of Anatolij Mariengof. The article discusses the three dominant imaginist principles of Anatolij Mariengofs (1897-1962) poetic technique, as they are translated into prose in his first fictional novel Cynics (1928). These principles include the "catalogue of images", a genre introduced by Vadim Shershenevich, i.e. poetry formed of nouns, which Mariengof makes use of in his longer imaginist poems. Another dominant imaginist principle, to which Mariengof referred in his theoretic articles and poetic texts, is similar to the creating of

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Lunde, Ingunn. "The Presence of the Past in Contemporary Russian Prose Fiction: A Comparative Reading of Guzel’ Iakhina and Sergei Lebedev." Zeitschrift für Slawistik 67, no. 2 (2022): 171–96. http://dx.doi.org/10.1515/slaw-2022-0008.

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Summary This article studies the poetics of historical reimagination in works by Guzel’ Iakhina and Sergei Lebedev, two contemporary Russian prose writers. The main tendencies in Russian official history politics and memory culture of the last decade form the backdrop for the study. I illustrate these tendencies by a case study analysis of the representation of Stalinist repressions in the history park Rossiia — moia istoriia (Russia — My History). The comparative reading of Iakhina’s and Lebedev’s novels seeks to determine the key poetic features of the two authors’ fictional treatment of the

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Prus, Robert. "Poetic Expression and Human Enacted Realities: Plato and Aristotle Engage Pragmatist Motifs in Greek Fictional Representations." Qualitative Sociology Review 5, no. 1 (2009): 3–27. http://dx.doi.org/10.18778/1733-8077.5.1.01.

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Poetic expressions may seem somewhat removed from a pragmatist social science, but the history of the development of Western civilization is such that the (knowingly) fictionalized renderings of human life-worlds that were developed in the classical Greek era (c700-300BCE) appear to have contributed consequentially to a scholarly emphasis on the ways in which people engage the world. Clearly, poetic writings constitute but one aspect of early Greek thought and are best appreciated within the context of other developments in that era, most notably those taking shape in the realms of philosophy,

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Weste, Marija. "CONNECTIVITY: THE SPACE OF DOCUMENTARY SEQUENCES IN THREE FICTION FILMS OF RIGA FILM STUDIO." Culture Crossroads 10 (November 10, 2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.

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The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the gen

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Hodgkins, Hope Howell. "Rhetoric versus Poetic: High Modernist Literature and the Cult of Belief." Rhetorica 16, no. 2 (1998): 201–25. http://dx.doi.org/10.1525/rh.1998.16.2.201.

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Abstract: High-modernist writers professed a disdain for rhetoric and yet found it hard to escape. They scorned the artifice of traditional, overt rhetoric and they did not wish to acknowledge that all communication is rhetorical, whether frankly or covertly. They especially distrusted “persuasion by proof” just as they distrusted traditional religion, aversions which had significant consequences for modernist literature. Modernists such as Pound favored poetry over the more frankly rhetorical genre of fiction. They valued the poet's privilege, first articulated by Aristotle and later by Sidne

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Fedoriaka, Liudmyla, and Iryna Klymenko. "THOMAS NASHE IS NOT A SATIRIST: THE IMAGE OF “THE BLACK DEATH” IN HIS POETRY." Fìlologìčnì traktati 14, no. 2 (2022): 126–40. http://dx.doi.org/10.21272/ftrk.2022.14(2)-13.

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The authors of this article focus on poetics of “triptych about the Black death”, which is included in the play “Summer’s Last Will and Testament” (1592) written by the Elizabethan writer Thomas Nashe. As this writer is well-known to modern literary scholars mostly as a talented satirist, the author of a novel and numerous pamphlets, the attention to his poetic heritage is nowadays surprisingly relevant from the view point of their thematic vector and from the viewpoint of the author’s contribution into the development of the Elizabethan poetic tradition. The three poems about the London plagu

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Huttunen, Tomi. "Montage in Russian Imaginism: Poetry, theatre and theory." Sign Systems Studies 41, no. 2/3 (2013): 219–29. http://dx.doi.org/10.12697/sss.2013.41.2-3.05.

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The article discusses the concept of montage as used by the Russian Imaginist poetic group: the montage principle in their poetry, theoretical writings and theatre articles. The leading Imaginist figures Vadim Shershenevich and Anatolij Mariengof were active both in theorizing and practising montage in their oeuvre at the beginning of the 1920s. Shershenevich’s application of the principle in poetry was called “image catalogue”, a radical poetic experiment in the spirit of both Walt Whitman and Sergei Eisenstein. Mariengof ’s main contribution to the montage poetics was his first fictional nov

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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Jurnal POETIKA 5, no. 1 (2017): 37. http://dx.doi.org/10.22146/poetika.25810.

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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers pre

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Ghazanfar, Amina, Arshad Mahmood, and Angela Jackson Brown. "Historical Verisimilitudes in Fictional Universe: Cultural Poetics in the Works of Allende." Global Regional Review IV, no. IV (2019): 550–56. http://dx.doi.org/10.31703/grr.2019(iv-iv).49.

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This study analyzed Isabel Allendes novel The House of the Spirits by probing the correlation between fiction and history. The theory of New Historicism was used to examine the textuality of history and the historicity of the text. The study argues that Allendes novel can be read as a subversive text that problematizes the boundary between fiction and history. The novel was analyzed by creating a parallel between the fictional work i.e. The House of the Spirits and the history book i.e. The History of Chile to question the neutrality and objectivity of history. The appraisal incorporated the b

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Mahlberg, Michaela, Peter Stockwell, Johan de Joode, Catherine Smith, and Matthew Brook O'Donnell. "CLiC Dickens: novel uses of concordances for the integration of corpus stylistics and cognitive poetics." Corpora 11, no. 3 (2016): 433–63. http://dx.doi.org/10.3366/cor.2016.0102.

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This paper introduces the web application CLiC, which we developed as part of a research project bringing together insights from both cognitive poetics and corpus stylistics, with Dickens's novels as a case study. CLiC supports the analysis of discourse in narrative fiction with search options that make it possible to focus on stretches of text within and outside quotation marks. We argue that such search options open up novel ways of using concordances to link lexico-grammatical and textual patterns. We focus specifically on patterns for the creation of fictional characters. From a technical

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Silva e Silva, Fernando. "Chronotopographies." UnderCurrents: Journal of Critical Environmental Studies 21 (October 18, 2022): 11–16. http://dx.doi.org/10.25071/2292-4736/40286.

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In this paper, I delineate the workings of my concept of chronotopography. Starting from Bakhtin’s concept of chronotope—historico-poetic forms combining time, space and subjectivity—I define chronotopographical fiction as exploring radically other ways to combine and recombine the three elements of the chronotope. In the first section, I review some of the basic characteristics of the chronotope in Mikhail Bakhtin’s work. In the second section, I bring a definition of fiction in order to develop the concept of chronotopography as a unique kind of fiction that confronts existing chronotopes. I

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Raghunath, Riyukta. "Possible worlds theory, accessibility relations, and counterfactual historical fiction." Journal of Literary Semantics 51, no. 1 (2022): 1–18. http://dx.doi.org/10.1515/jls-2022-2047.

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Abstract Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relat

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Makarova, L. E. "Nikolay Grech’s Rhetorical Teaching as a Tool of Text Analysis." Bulletin of Kemerovo State University 22, no. 4 (2021): 1098–106. http://dx.doi.org/10.21603/2078-8975-2020-22-4-1098-1106.

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Russian rhetoric began with Mikhail Lomonosov’s Brief Guide to Eloquence (1765), which was written in the classical tradition of the Aristotelian-Ciceronian teaching about effective and persuasive speech. By the time philology had become a unified knowledge system in 1820s, Russian rhetoric stopped being a part of the trivium of verbal sciences, which also included grammar and logic, and evolved into a theory of language arts [slovesnost] that included both fiction and nonfiction literature. Its focus shifted from statement building to development and classification of the existing types and g

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Makarova, L. E. "Nikolay Grech’s Rhetorical Teaching as a Tool of Text Analysis." Bulletin of Kemerovo State University 22, no. 4 (2021): 1098–106. http://dx.doi.org/10.21603/2078-8975-2020-22-4-1098-1106.

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Russian rhetoric began with Mikhail Lomonosov’s Brief Guide to Eloquence (1765), which was written in the classical tradition of the Aristotelian-Ciceronian teaching about effective and persuasive speech. By the time philology had become a unified knowledge system in 1820s, Russian rhetoric stopped being a part of the trivium of verbal sciences, which also included grammar and logic, and evolved into a theory of language arts [slovesnost] that included both fiction and nonfiction literature. Its focus shifted from statement building to development and classification of the existing types and g

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Toshniyozova, Ra'no. "Ontological Poetics as a New Approach to the Study of Fiction." Golden scripts 1, no. 4 (2019): 99–119. http://dx.doi.org/10.52773/tsuull.gold.2019.4/guvv4545.

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This article discusses the research on ontological poetics and its synergistic basis knowledge. The results of theoretical and methodological studies of synergetics are based on universal approaches to solve philological problems and creating models for the interpretation of ontological poetics. The new model of reading, analysis of the subtextual layer in future will serve as a methodological basis for the interpretation of the immanent problems in the process of self-development of the artistic text (system). Synergistic paradigms increase the practical significance of philological research

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MIŠKOVIĆ, Sanja. "POSTMODERN FRAMEWORKS OF PEKIĆ’S TEXTS (II)." Lingua Montenegrina 2, no. 2 (2008): 145–66. https://doi.org/10.46584/lm.v2i2.47.

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Narrative methods dominant in the prose of the second half of the XX century are also present in the prose of Borislav Pekić. Interpreting Pekić’s work is actually trying to understand those writings, firstly through the Bible key, then through the key of myths, philosophical reminiscences, historical documents... One can say that Pekić’s literary work supersedes frameworks of time, not only by artistic values, but by poetic, aesthetic, and semantic values as well. Expressed through the works of fiction, essays and dairy annotations, his explicit poetics renders a distinctive, autopoetic refle

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Petrov, Alexander. "PROSIMETRICAL COMPOSITIONS IN THE WORKS OF VIKTOR PUL’KIN." Проблемы исторической поэтики 20, no. 2 (2022): 406–24. http://dx.doi.org/10.15393/j9.art.2022.10942.

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The article deals with the problem of prosimetry (prosimetrum) in a work of literary fiction. Viktor Pul’kin’s works in the literary tale genre (narration in the first person, or skaz) from “The Kizhi Stories”, “The Bronze Horseman”, and “The Royal Fingers” literary collections were analyzed. A hypothesis is put forward that Viktor Pul’kin’s works can be classified as prosimetrical compositions. Literary tales (skaz) are proven to be an important material for the study of prosimetry and are of particular interest for verse studies. The author discovers that Viktor Pul’kin relies on the spoken

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Donnarieix, Anne-Sophie. "Les chamanes contemporains – figures d’instabilité." Quêtes littéraires, no. 6 (December 30, 2016): 187–96. http://dx.doi.org/10.31743/ql.229.

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Antoine Volodine and Christian Garcin both make a distinctive use of shamanism in fictional novels. By multiplying shaman characters and intertwining the shamanistic principles and the narrative, they develop a poetic of instability noticeable through various hybridization processes notably strengthened by the intrusion of supernatural elements. The analysis of three motives in which this game of unstable balance is particularly mirrored – identity, History and fiction – shall turn our attention to the role of shamanism as a vector of fictional dynamism.

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Hanauer, David I. "Intermediate states of literariness." Empirical Studies of Literariness 8, no. 1 (2018): 114–34. http://dx.doi.org/10.1075/ssol.18001.han.

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Abstract This study utilizes texts which sit between the literary and non-literary to explore the outcomes and mechanisms of literariness. Literariness can be activated by (a) linguistic foregrounding and (b) paratextual specification. In a 2 × 2 design, manipulated versions of two soldier narratives were produced (poetry/fiction; poetry/fact; prose/fiction; prose/poetry). 215 participants were randomly assigned to read one of the textual versions and respond to rating scales dealing with perception of textual features, empathy, sympathy, and cognitive perspective-taking. The results show that

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Gittes, T. F. "“Forgers of Falsehood, Physicians of Nought”: Retailing Fictions in Boccaccio’s Decameron." Quaderni d'italianistica 38, no. 2 (2019): 139–56. http://dx.doi.org/10.33137/q.i..v38i2.32234.

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Whereas Petrarch’s portrait of his doctor in Invectives Against a Physician is deliberately caricatural and seized at a glance, Boccaccio’s attitude towards doctors in the Decameron is far harder to grasp and easily overlooked. Yet, doctors and medical science are a central concern of the Decameron, whose first significant action (the brigata’s movement from the plague-afflicted city to the countryside) and activity (storytelling) are predicated on the Florentine doctors’ failure to find a remedy for the plague. Throughout the Decameron, the doctors’ glaring incapacity to help their patients i

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Zipfel, Frank. "The Pleasures of Imagination. Aspects of Fictionality in the Poetics of the Age of Enlightenment and in Present-Day Theories of Fiction." Journal of Literary Theory 14, no. 2 (2020): 260–86. http://dx.doi.org/10.1515/jlt-2020-2007.

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AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositio

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Auklend, Morten. "Fabelvejen mod nord." Passage - Tidsskrift for litteratur og kritik 34, no. 82 (2019): 67–84. http://dx.doi.org/10.7146/pas.v34i82.118283.

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   Merethe Lindstrøm’s novel Nord [North] (2017) deals with end time-themes. The novel formally departs from mainstream science fiction and apocalyptic fiction by providing flashes of the past and the present in concentrated lyrical images that are repeated throughout the novel. Through poetic rituals and ceremonies, and in metaphorical patterns of personification wherein a devastated nature comes ‘alive’, a world is reborn rhetorically and the reader is forced to ponder the abilities and qualities embedded in an overwhelmingly poetical language. By focusing on the demarcatio

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Yingxuan, Chen. "A Rewriting Theoretic Approach to Ken Liu’s Translation of Folding Beijing." English Literature and Language Review, no. 67 (September 9, 2020): 110–18. http://dx.doi.org/10.32861/ellr.67.110.118.

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Given Folding Beijing’s great importance to Chinese science fictions after winning the 2016 Hugo Award for Best Novelette and Ken Liu’s active engagement in promoting modern Chinese literary works to go global, this paper endeavors to explain how the influences of ideology, poetics and patronage are displayed in Folding Beijing’s English translation from the perspective of Lefevere’s Rewriting Theory. Instead of focusing on the linguistic elements of the translation, the current study attempts to reveal the cultural, social, ideological, and poetical effects on the translator’s decision-making

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Chen, Fangming. "Grotesque and Fantasy as a method of transformation of real loci in Sluchevsky's early Lyrics." Litera, no. 10 (October 2024): 141–50. http://dx.doi.org/10.25136/2409-8698.2024.10.71888.

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The subject of the study is the analysis of the grotesque and fiction as artistic methods by which Konstantin Konstantinovich Sluchevsky transforms real loci in his early poetic works. Special attention is paid to the study of how Sluchevsky uses grotesque images and fantastic elements to create a unique poetic space that combines elements of reality and an imaginary world. The study analyzes key motifs such as life and death, eternity and the moment, as well as their intertwining in the spatial and temporal structures of poems. The research is aimed at revealing how the poet expresses his exi

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Stockwell, Peter, and Michaela Mahlberg. "Mind-modelling with corpus stylistics inDavid Copperfield." Language and Literature: International Journal of Stylistics 24, no. 2 (2015): 129–47. http://dx.doi.org/10.1177/0963947015576168.

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We suggest an innovative approach to literary discourse by using corpus linguistic methods to address research questions from cognitive poetics. In this article, we focus on the way that readers engage in mind-modelling in the process of characterisation. The article sets out our cognitive poetic model of characterisation that emphasises the continuity between literary characterisation and real-life human relationships. The model also aims to deal with the modelling of the author’s mind in line with the modelling of the minds of fictional characters. Crucially, our approach to mind-modelling i

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Roberts, Hugh. "Descartes’s fictions: reading philosophy with poetics." Seventeenth Century 35, no. 6 (2020): 830–32. http://dx.doi.org/10.1080/0268117x.2020.1790136.

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Elrashid Ali, Mohammed Adam. "Cycle “Travel from Russia” of A. Bitov as an artistic whole (structure and poetics)." RUDN Journal of Studies in Literature and Journalism 24, no. 1 (2019): 65–72. http://dx.doi.org/10.22363/2312-9220-2019-24-1-65-72.

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The article attempts to consider the book by A. Bitov “Travel from Russia” as a fictional purpose and the “journey” feature as a genre of fiction. At the same time, the features of similarities and differences, the “creative evolution” in the writer’s stories, which reflect the author’s reflection on the spaces of the former Soviet Empire and its social connections, are considered. Constant study of the cultures of other nations helps the writer to create an overall artistic picture. As a result, the journey becomes for A. Bitov the process of existence (ontological principle).

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