Academic literature on the topic 'Fiction genres'
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Journal articles on the topic "Fiction genres"
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Raghunath, Riyukta. "Possible worlds theory, accessibility relations, and counterfactual historical fiction." Journal of Literary Semantics 51, no. 1 (April 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 relations from logic to literary studies, distinguishes between four text types depending on the extent to which their fictional worlds can be seen as possible, probable, or impossible in the actual world. Developing Maître’s work, Ryan, Marie-Laure. 1991a. Possible worlds and accessibility relations: A semantic typology of fiction. Poetics Today 12. 553–576, c.f. Ryan, Marie-Laure. 1991b. Possible worlds, artificial intelligence, and narrative theory. Bloomington: Indiana University Press) creates a comprehensive taxonomy of accessibility relations that may be perceived between fictional worlds and the actual world. This includes assuming compatibility with the actual world in terms of physical laws, general truths, people, places, and entities. Using her taxonomy, she then offers a typology of 13 genres to show how fictional worlds created by different genres differ from each other. As it stands, Ryan’s typology does not contain the genre of counterfactual historical fiction, but similar genres such as science fiction and historical confabulation are included. In this article, specific examples from counterfactual historical fiction are analysed to show why it is problematic to place these texts within the genres of historical confabulation or science fiction. Furthermore, as I show, Ryan’s typological model also does not account for some of the characteristic features of the genre of counterfactual historical fiction and as such the model cannot account for all texts within the genre. To resolve this issue, I offer modifications to Ryan’s model so it may be used more effectively to define and distinguish the genre of counterfactual historical fiction.
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Bacanu, Horea. "Globalisation of Cultural Circuits. The Case of International Awards for Fiction." European Review Of Applied Sociology 8, no. 11 (December 1, 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 dynamics which have been nominated at the most prestigious international awards for fiction demonstrates an increased emergence of several zones where wide international circulation texts were seldom, fifty years ago. In this paper, we suggest a reinterpretation and a comprehension of the political context from the contemporary fiction, by regrouping in one category, the three classical genres (historic novel, social novel, political novel) and also the universal fiction which implies characters and relations of power. Thus, we create a category which is known as „political fiction”. The increased individualization of this literary macro-genre called „political fiction” is also a creative answer to the high speed of circulation and at the general international amplitude with which contemporary socio-political novels are distributed.
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Shamshad, Samina. "Urdu Travelogues and Fiction." DARYAFT 13, no. 1 (August 29, 2021): 103–16. http://dx.doi.org/10.52015/daryaft.2021.v13-i1.150.
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As it is believed that all the genres are somehow connected because they all belong to the same entity; man’s imagination which is the birthplace of all the artful & thoughtful ideas ever emerged in human history. This research paper encompasses the whole tradition of travelogues in Urdu literature and figures the elements of fiction in the very genre. The researcher suggests that the travelogue is the mother of all genres and the same core belief is what lays base on the thought-expedition while writing the paper. This is quite evident that travelogue-writer focuses on the facts and the actual details of every journey and utilize them while working on his draft and the same is the very creative strategy for writing fiction, that the fiction writers also get to the actual situations from the society, analyze objectively and then utilize them masterfully for the fictional sequence of the happenings in the story i.e. plot. This research paper helps the readers to envision the creative going on processes regarding fiction writing & travelogue writing both, understand them to an extensive extent and find the similarities which seemingly reflect the other like organic twins. In this regard, it is considered that the genres of travelogue & novel, both explained with meaningful examples and no ambiguity remains.
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Shamshad, Samina. "Urdu Travelogues and Fiction." DARYAFT 13, no. 01 (September 18, 2022): 103–16. http://dx.doi.org/10.52015/daryaft.v13i1.150.
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As it is believed that all the genres are somehow connected because they all belong to the same entity; man’s imagination which is the birthplace of all the artful & thoughtful ideas ever emerged in human history. This research paper encompasses the whole tradition of travelogues in Urdu literature and figures the elements of fiction in the very genre. The researcher suggests that the travelogue is the mother of all genres and the same core belief is what lays base on the thought-expedition while writing the paper. This is quite evident that travelogue-writer focuses on the facts and the actual details of every journey and utilize them while working on his draft and the same is the very creative strategy for writing fiction, that the fiction writers also get to the actual situations from the society, analyze objectively and then utilize them masterfully for the fictional sequence of the happenings in the story i.e. plot. This research paper helps the readers to envision the creative going on processes regarding fiction writing & travelogue writing both, understand them to an extensive extent and find the similarities which seemingly reflect the other like organic twins. In this regard, it is considered that the genres of travelogue & novel, both explained with meaningful examples and no ambiguity remains.
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Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-10-27.
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In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.
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Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/2500-4247-2021-6-2-10-27.
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In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.
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Mukhina, Yulia N. "Sensory peculiarities of genres." International Journal “Speech Genres” 17, no. 3 (35) (August 24, 2022): 168–75. http://dx.doi.org/10.18500/2311-0740-2022-17-3-35-168-175.
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The article presents the interim results of the observation over sensory features of certain fiction and non-fiction genres (poem, academic article, lecture, oral conference presentation, guide book). The study of sensory features of the above-mentioned genres contributes, on the one hand, to the solution of a number of problems within sensory linguistics, such as the description of language resources, functions and genreforming features of sensory vocabulary and its role in the comprehension of reality. On the other hand, the article complements the description of traditional genre-forming features. The analysis of sensory aspects of genres is carried out in two directions. The first direction implies collecting and systematisation of a particular language resources through reference to samples of fiction genres (e. g. poem and guide book), while the second one takes into account genre specificity, the sensory framing of which is linked with the categories of emotionalism, suggestion and evaluation (as exemplified by the samples of non-fiction genres of academic discourse, guide book and, partially, poem). In different types of discourse sensory cognition is realised in different ways. Lexically it takes the form of single words and phrases which semantically appeal to the sensory experience as well as the form of a sensory (perceptual) metaphor based on physical cognition and interfering with the emotional, cognitive and intellectual spheres. The range of modes of perception varies from a rich collection characteristic of fiction genres and appears to be in keeping with the traditional five-member model to modes corresponding to visual, hearing, tactile and body perceptions in non-fiction genres. The latter make it possible to trace links between inferential and sensory modes of perception.
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Turner, Rose, and Fatima M. Felisberti. "Relationships between fiction media, genre, and empathic abilities." Scientific Study of Literature 8, no. 2 (December 31, 2018): 261–92. http://dx.doi.org/10.1075/ssol.19003.tur.
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Abstract Fiction enables readers to simulate the social experiences of characters and may facilitate prosociality. Research has indicated that fiction print exposure positively relates to empathy and may promote altruistic behaviors. Whether associations hold across different media formats and thematic genres remains unclear. This study took a multidimensional approach to both fiction engagement and empathic abilities. Specifically, it aimed to replicate previous findings that lifetime fiction exposure positively predicts empathy, and to extend this literature through an exploration of the relationships between media and genre formats, empathy and altruism. Participants (N = 404) completed a multidimensional task measure of fiction media exposure and answered questions about fiction engagement, empathic and altruistic tendencies. Results showed divergent associations between fiction format, genre, and empathic abilities, and fiction media exposure positively predicted the tendencies to become transported into narratives and to help others. Engagement with fiction formats and thematic genres may differentially support adults’ prosocial development.
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Auken, Sune. "Genre as Fictional Action : On the Use of Rhetorical Genres in Fiction." Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 2, no. 3 (March 22, 2017): 19–28. http://dx.doi.org/10.7146/ntik.v2i3.25965.
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Artiklen er en interdisciplinær studie imellem den litterære og den retoriske genreforskning med udgangspunkt i den retoriske genreforsknings velfortjente dominans. Artiklen foreslår et samarbejde og angiver ét muligt startpunkt for samarbejdet, idet den bruger Carolyn Millers berømte begreb om genre som social handling som redskab til at analysere litterære figurers sociale handlinger gennem genre internt i fiktioner.
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Bernardo Pereira, Ismael. "A CONVERGENCE OF GENRES: GOTHIC AND SCIENCE FICTION IN FRANKENSTEIN." REVISTA DE LETRAS - JUÇARA 2, no. 1 (July 31, 2018): 153–67. http://dx.doi.org/10.18817/rlj.v2i1.1531.
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This article aims to analyze the novel Frankenstein, by Mary W. Shelley, from a perspective of literary genres. The work is believed to manifest both traits of the Gothic genre––due to its structure and common themes to the period it was published––and of what would in future be called the Science fiction genre. Those elements are here observed, in the novel as well as in the context of its creation. In this sense, there is a convergence of genres taking place, albeit one of them is in its nascent form: Shelley's novel antecipate a scientific interest that would be specified in later fiction, being derived from her legacy. Tzvetan Todorov's perspective is considered, inasmuch as he defends the presence of multiple genres inside a work of fiction, as well as the creation of new literary genres from other, pre-existent, ones. It is concluded that the novel manifests enough elements to comprise both the genres here discussed, with its common and different traits.
Dissertations / Theses on the topic "Fiction genres"
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McKelvey, Bridgette. "Fact or fiction? : photography merging genres in children's picturebooks." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/19232/1/Bridgette_McKelvey_Thesis.pdf.
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This paper explores photography in children’s picturebooks and its ability to extend image-making and reading by creating a hybrid genre that merges real and non-real worlds. In analysing the use of photography in such a hybrid genre, the work of Lauren Child (2006, 2001a, 2001b, 2000), Polly Borland (2006), Shaun Tan (2007, 2000, 1998) and Dave McKean (2004a, 2004b, 1995) is deconstructed. These artists utilise photography in contemporary picturebooks that are fictional. In addition, David Doubilet’s images (1990, 1989, 1984, 1980) are discussed, which fuse underwater photojournalism with art, for factual outputs.
This research uncovers a gap in picturebook literature and creates a new hybrid by merging genres to produce a work that is both factual and fictional. The research methodology in this study includes a brief overview of photography and notions of truth, contemporary picturebook trend theory, use of a student focus group, industry collaborations and workshops, and environmental education pedagogy. This thesis outlines summaries of research outcomes, not the least of which is the capacity for photography to enrich narrative accounts by providing multilayered information, character perspectives and/ or a metafictive experience. These research outcomes are then applied to the process of creating such a hybrid children’s picturebook.
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McKelvey, Bridgette. "Fact or fiction? : photography merging genres in children's picturebooks." Queensland University of Technology, 2008. http://eprints.qut.edu.au/19232/.
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This paper explores photography in children’s picturebooks and its ability to extend image-making and reading by creating a hybrid genre that merges real and non-real worlds. In analysing the use of photography in such a hybrid genre, the work of Lauren Child (2006, 2001a, 2001b, 2000), Polly Borland (2006), Shaun Tan (2007, 2000, 1998) and Dave McKean (2004a, 2004b, 1995) is deconstructed. These artists utilise photography in contemporary picturebooks that are fictional. In addition, David Doubilet’s images (1990, 1989, 1984, 1980) are discussed, which fuse underwater photojournalism with art, for factual outputs.
This research uncovers a gap in picturebook literature and creates a new hybrid by merging genres to produce a work that is both factual and fictional. The research methodology in this study includes a brief overview of photography and notions of truth, contemporary picturebook trend theory, use of a student focus group, industry collaborations and workshops, and environmental education pedagogy. This thesis outlines summaries of research outcomes, not the least of which is the capacity for photography to enrich narrative accounts by providing multilayered information, character perspectives and/ or a metafictive experience. These research outcomes are then applied to the process of creating such a hybrid children’s picturebook.
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Glazzard, Andrew. "Character types from populist genres in Joseph Conrad's urban fiction." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590818.
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This thesis investigates the relationship between literary and popular/populist fiction by examining Conrad's use of five character types common in popular fiction in the late nineteenth and early twentieth centuries: the detective, the infonner/spy, the spymaster, the anarchist/terrorist, and the swindler. Conrad's fiction has previously been situated in relation to 'exotic' genres such as adventure fiction ; what is original about my thesis is its use of a very wide range of texts from 'urban' genres such as detective and espionage fiction to reconstruct what Conrad's contemporary readers would have expected from novels featuring the character types listed above. This enables a more thorough examination of Conrad's engagement with urban genres than has previously been attempted, using popular texts not previously examined in relation to Conrad. The thesis argues that Conrad appropriated character types from populist genres for three reasons: as a commercial strategy to make his fiction marketable, as a way of responding to topical or contentious social and political issues, and as a means of creative experimentation. The thesis argues that Conrad's fictions are simultaneously ' literary' and 'popular', and that Conrad achieved distinctive aesthetic effects by applying particular literary techniques - what he called "treatment" - to popular subjects such as crime and espionage. This rewriting of genre fiction enabled Conrad to balance the demands of the literary marketplace with artistic and ethical aspirations, and to produce a wide range of narratives that varied significantly in aesthetic effect.
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Phelps, Catherine Margaret. "[Dis]solving genres : arguing the case for Welsh crime fiction." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/60053/.
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Walter Benjamin’s suggestion that great literary works not only add to canonical literature but also ‘dissolve’ genres may not seem apt in an examination of crime fiction, a genre noted for its rigidity and structured form. Though much of this mass-marketed, populist fiction cannot be perceived as great literature, nonetheless, some do work to dissolve genres, to re-shape them to different ends. This is especially true of Welsh crime fiction written in English. This thesis posits that there is a wealth of undiscovered Welsh crime fiction written in English and that those neglected works are necessary to the study of both crime fiction and Welsh writing in English. Central to this argument is my assertion that Welsh crime fiction (as it will henceforth be referred as) is a separate genre that contains its own specific tropes and paradigms, markers that are indicative of a certain Welsh cultural identity. As this study also acts as a survey of a previously unexamined area, of necessity, the works under question are the product of a extensive period: from the late-nineteenth century to the present day. While the chapters are arranged thematically, I have also tried to keep a sense of a chronological order with a sense of authors writing against or responding too previous generations of crime writers. In this manner, a tradition can be seen to be forming, one which re-imagines Welsh identity over this protracted period. As this literature springs from a nation that has frequently been defined as ‘other’, the Introduction starts with an examination of the so-called Blue Books and how they came to define the Welsh character for those outside Wales. Following this, Chapter I discusses how English crime writers absorbed these discourses and played out their ensuing anxieties in their work. Chapter II then explores an emergent Welsh crime fiction, one which both mimics and subverts anglocentric paradigms. This subversion is also played out in socialist crime fiction, the focus of Chapter III. Interestingly, these re-workings and re-imaginings of anglocentric norms are dealt with in different ways by male and female authors so Chapters IV and V will deal with male and female appropriations of genre respectively. This thesis concludes by asserting that Welsh identity is influential in forming a new genre, one that takes a rigid and hierarchical structure and adapts it to its own ends.
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Polak, Alan David. "The cultural representation of the Holocaust in fiction and other genres." Thesis, University of Sheffield, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412785.
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Perreur, Nathalie. "Information et fiction : le mélange des genres à la télévision américaine." Paris 2, 2010. http://www.theses.fr/2010PA020059.
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Cette recherche doctorale a pour objet le mélange des genres à la télévision aux États-Unis, envisagé à travers le traitement du crime dans l’information télévisée et la fiction sérialisée policière et judiciaire des années 1980 à 2000. L’information télévisée a connu, à partir du début des années 1980, des transformations structurelles profondes : devenue une valeur marchande à part entière, l’information devient davantage inféodée à l’audimat. Ces bouleversements l’ont amenée à assumer une fonction de divertissement, en privilégiant des thématiques susceptibles de capter l’attention du public, et en ayant recours à un traitement sensationnaliste et racoleur des sujets traités. L’un des corollaires de la course à l’audience est la mise en avant insistante du crime dans l’information télévisée, et ce alors même que la criminalité mesurée ne cesse de diminuer. Ce faisant, l’information télévisée néglige son rôle principal de commentateur éclairé pour mettre en avant un usage plus récréatif de l’information. Un sujet comme le crime, traité de manière sensationnaliste, lacunaire et perméable aux pressions politiques, pâtit principalement de cette chute qualitative de l’information. A l’inverse, l’émergence parallèle d’une « néo-fiction » de qualité au cours des années 1980 contribue à favoriser le glissement du divertissement vers le sérieux et le réflexif. Les séries policières et judiciaires peuvent alors servir de palliatif aux dérives ou aux raccourcis pris par l’information en matière de crime. En proposant une voix alternative souvent critique, incitant à la réflexion, cette fiction se défend d’envisager le crime de manière univoque : procédant à l’exposé réaliste des faits criminels et de leurs causes et implications sociales, elle développe une réflexion sur l’ambivalence de la notion de bien et de mal, sur la complexité des ressorts du crime et de ses acteurs, et contribue, en plus de le divertir, à informer le téléspectateur sur la réalité sociale du crime. A travers une étude croisée de ces deux genres et de leurs modes de production, ce travail conclut à confluence des deux genres sur la représentation du crime et de la justice.
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Bozzetto, Roger. "Deux genres des littératures de l'imaginaire : la science-fiction, le fantastique." Aix-Marseille 1, 1988. http://www.theses.fr/1988AIX10036.
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Le domaine des litteratures de l'imaginaire a ete restructure, en fonction des bouleversements qui ont eu lieu dans le domaine de la representation du monde, qui prend en compte les avancees scientifiques. L'emergence de genres neufs, le fantastique et la sciencefiction vient troubler l'opposition ancienne du merveilleux gratuit et du mimetique referentiel. Avec le genre de la science-fiction, qui se forme en integrant les apports du voyage imaginaire et de l'utopie, nous aboutissons a une fiction speculative, mimetique d'un virtuel. Avec le genre du fantastique, les rapports, donnes comme evidents entre le pensable et le representable, sont mis en question. Ces genres se situent comme deux tentatives heterogenes de maitriser l'alterite : la science-fiction, metaphoriquement, la donnant a voir sur le mode du "si" ; le fantastique tendant a la presenter metonymiquement comme innommable et pourtant-la, engendrant par la un decentrement de la raison. Ces deux genres neufs sont presentes dans leur emergence - en rela- tion avec des textes fondateurs et des ecrivains seminaux ; dans leur evolution - selon les epoques et les cultures ; dans le deve- loppement de leur thematique ; dans leur rapport aux mythologies, et dans l'histoire de leur receptionThe scope of the literature of the imaginary has been restructured according to the upheaval which took place regarding a representation of the world taking into account scientific progress. The emergence of new genres, the fantastic and science fiction, perturbed the hitherto valid opposition between what was gratuitously marvellous and the referential mimetic. The science fiction genre, which was formed by integrating the contributions of imaginary travels and the utopia, resulted in a speculative fiction, imitating a virtual. With the fantastic genre, the relation between the conceivable and the representable, hitherti considered as obvious, is open to question. These genre can be considered as two heterogeneous attempts to master alterity : science fiction, metaphorically giving a perception on the mode of "if" ; the fantastic, tending to present it metonymically as unnameable and yet existent - thus engendring an off-centring of reason. These two new genres are presented in their emergence - in relation to the earliest texts (textes fondateurs) and seminal authors ; in their evolution - according to the periods and cultures ; in their thematic development ; in their relations to mythologies, and in the history of their reception
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Tuleu, Vincent. "Approche dialogique des genres littéraires : suivie d'une anthologie dialogique." Paris 3, 2006. http://www.theses.fr/2006PA030048.
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La théorie littéraire aborde la notion de genre dans une tradition qui se décline entre quatre pôles : les formes, les thèmes, les registres et l’énonciation. L’étude des genres révèle une volonté permanente d’ériger la suprématie d’un genre pour trouver un fondement à la littérarité. Envisager une approche dialogique consiste à postuler qu’une stratégie relationnelle est à l’œuvre dans le texte et que les genres littéraires sont susceptibles de déterminer la nature dialogique de cette relation. Remettre en question le schéma jakobsonien permettra de quitter une conception unilatérale de la transmission, au bénéfice du principe dialogique de toute communication. Une description du processus référentiel à l’œuvre dans le texte littéraire devient alors possible, grâce à la sémantique des mondes possibles. La définition de trois stratégies dialogiques majeures permettra d’envisager le fonctionnement communicationnel de quelques genres littérairesLiterary theory tackles the notion of genre from within a traditional space bordered by four poles: form, theme, register, and utterance. Studies of genre have sprung from a constant desire to ground the supremacy of one particular genre as a means for finding a basis for literariness. A dialogical approach, however, is based on the hypothesis that a relational strategy is at work within the text and that literary genres are able to zero in on the dialogical nature of this relationship. If we question Jakobson’s schema of communication, we are thereby enabled to leave behind a unilateral conception of informational transmission in favour of the dialogical principle underlying all communication. With the help of possible world semantics, it then becomes possible to embark upon a description of the referential processes at play within the literary text. By defining three major dialogical strategies, we are then in a position to discuss the communicational functioning of certain literary genres
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Stewart, Susan Louise Trites Roberta Seelinger. "Genre, ideology, and children's literature." Normal, Ill. Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3172884.
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Thesis (Ph. D.)--Illinois State University, 2004.Title from title page screen, viewed November 22, 2005. Dissertation Committee: Roberta Seelinger Trites (chair), Karen Coats, C. Anita Tarr. Includes bibliographical references (leaves 242-256) and abstract. Also available in print.
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Christie, Thomas A. "Notional identities : ideology, genre and national identity in popular Scottish fiction, 1975-2006." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/7149.
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One of the most striking features of contemporary Scottish fiction has been its shift from the predominantly realist novels of the 1960s and 1970s to an engagement with very different modes of writing, from the mixture of realism and visionary future satire in Alasdair Gray’s Lanark (1981) to the Rabelaisian absurdity and excess of Irvine Welsh’s Filth (1998). This development has received considerable critical attention, energising debates concerning how such writing relates to or challenges familiar tropes of identity and national culture. At the same time, however, there has been a very striking and commercially successful rise in the production of popular genre literature in Scotland, in categories which have included speculative fiction and crime fiction. Although Scottish literary fiction of recent decades has been studied in great depth, Scottish popular genre literature has received considerably less critical scrutiny in comparison. Therefore, the aim of my research is to examine popular Scottish writing of the stated period in order to reflect upon whether a significant relationship can be discerned between genre fiction and the mainstream of Scottish literary fiction, and to consider the characteristics of such a connection between these different modes of writing. To achieve this objective, the dissertation will investigate whether the features of any such shared literary concerns are inclined to vary between the mainstream of literary fiction in Scotland and two different, distinct forms of popular genre writing. My research will take up the challenge of engaging with the popular genres of speculative fiction and crime fiction during the years 1975 to 2006. I intend to discuss the extent to which the national political and cultural climate of the period under discussion informed the narrative form and social commentary of such works, and to investigate the manner in which, and the extent to which, a specific and identifiably Scottish response to these ideological matters can be identified in popular prose fiction during this period. This will be done by discussing and comparing eight novels in total; four for each chosen popular genre. From the field of speculative fiction, I will examine texts by the authors Iain M. Banks, Ken MacLeod, Margaret Elphinstone and Matthew Fitt. The discussion will then turn to crime fiction, with an analysis of novels by Ian Rankin, Christopher Brookmyre, Denise Mina and Louise Welsh. As well as evaluating the work of each author and its relevance to other texts in the field, consideration will be given to the significance of each novel under discussion to wider considerations of ideology, genre and national identity which were ongoing both at the time of their publication and in subsequent years. The dissertation’s conclusion will then consider the nature of the relationship between the popular genres which have been examined and the mainstream of Scottish literary fiction within the period indicated above.
Books on the topic "Fiction genres"
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Huang, Betsy. Contesting Genres in Contemporary Asian American Fiction. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230117327.
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Tichelaar, Tyler R. Creating a local historical book: Fiction and non-fiction genres. Ann Arbor, MI: Modern History Press, 2012.
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O'Rourke, Rebecca. Unpopular readers: The case for genre fiction. Bournes Green, Gloucestershire: Comedia, 1993.
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Miller, Heidi Ruby, and Michael A. Arnzen. Many genres, one craft: Lessons in writing popular fiction. Terra Alta, WV: Headline Books, 2011.
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Lee, Manos Nikki, and Rochelson Meri-Jane, eds. Transforming genres: New approaches to British fiction of the 1890s. New York: St. Martin's Press, 1994.
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Lee, Manos Nikki, and Rochelson Meri-Jane, eds. Transforming genres: New approaches to British fiction of the 1890s. Basingstoke: Macmillan, 1994.
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Jean, Bessière, Philippe Gilles, and Université de Picardie. Centre d'études du roman et du romanesque., eds. Problématique des genres, problèmes du roman. Paris: H. Champion, 1999.
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Brooke, Keith. Strange divisions and alien territories: The sub-genres of science fiction. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.
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Gonzalez, Madelena. Generic instability and identity in the contemporary novel. Newcastle: Cambridge Scholars, 2010.
Find full textBook chapters on the topic "Fiction genres"
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Kördel, Jeanette. "Lateinamerikanische Science Fiction aus ökofeministischer Perspektive." In Ökologische Genres, 247–64. Göttingen: Vandenhoeck & Ruprecht, 2017. http://dx.doi.org/10.13109/9783666317217.247.
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Makinen, Merja. "Introduction: Unleashing the Genres." In Feminist Popular Fiction, 1–6. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230511781_1.
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Crane, Ralph, and Lisa Fletcher. "Cave Genres/Genre Caves: Reading the Subterranean Thriller." In Popular Fiction and Spatiality, 9–24. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-56902-8_2.
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Schwarz, Daniel R. "The Genres of Runyon’s Fiction." In Broadway Boogie Woogie, 167–211. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403973504_6.
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Schwarz, Daniel R. "The Genres of Runyon’s Fiction." In Broadway Boogie Woogie, 212–48. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403973504_7.
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Eaton, Mark. "Pathways to Terror: Teaching 9/11 Fiction." In Teaching 21st Century Genres, 129–45. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-55391-1_7.
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Schwarz, Daniel R. "The Genres of Runyon’s Later Fiction." In Broadway Boogie Woogie, 249–84. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403973504_8.
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Chen, Pingyuan. "Permeation of Traditional Genres into Fiction." In The Change of Narrative Modes in Chinese Fiction (1898–1927), 159–211. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-6202-7_6.
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Tearle, Oliver. "Other Mothers and Fathers: Teaching Contemporary Dystopian Fiction." In Teaching 21st Century Genres, 109–27. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-55391-1_6.
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King, Nicole. "Teaching Crime Fiction and the African American Literary Canon." In Teaching 21st Century Genres, 47–65. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-55391-1_3.
Full textConference papers on the topic "Fiction genres"
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Stello Bonhomme (Nice), sans prénom. "La fiction jouée, les émotions en action." In Les genres littéraires, les genres cinématographiques et leurs émotions. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4116.
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Vidal, Marianne. "Les Traversées de Paris, scènes de genres." In Territoires du récit bref. De l'image dans la fiction à l'imaginaire en science-fiction. Fabula, 2018. http://dx.doi.org/10.58282/colloques.5243.
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"ARTISTIC SPECIFICS OF SCIENCE FICTION GENRES." In CULTURE, CREATIVITY AND INNOVATION FOR SUSTAINABLE DEVELOPMENT. UFA UNIVERSITY OF SCIENCE AND TECHNOLOGY FACULTY OF PHILOSOPHY AND SOCIOLOGY, 2023. http://dx.doi.org/10.46320/2073-4506-2023-3/1-1-149-155.
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Kulieva, Solmaz. "Эволюция любви и ее жанровый репертуар как предмет речи (на основе интерпретации произведений русской художественной литературы 19 века)." In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.15.
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The article presents an overview of the evolution of love as a communicative phenomenon, semantics of such concepts as love, love, passion; it is concluded that the stages of love communication have a special genre content and a typical set of situations. The analysis of genres and situations of human communication in its development is based on the interpretation of works of fiction. The article also substantiates the relevance of studying this phenomenon with students of Philology at University speech studies.
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Nicoglo, Diana. "Reflection of the events of the “Balkan” period in the Gagauz fiction." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.32.
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The most detailed description of the “Balkan” period is found in the novel by D. Tanasoglo “Uzun Kervan”. In other genres (poetry), the poeticized image of the Balkans as the historical homeland of the Gagauz is presented to a greater extent. The main events of the “Balkan” period in the history of the Gagauzians, reflected in fiction, are: the adoption of Christianity by the Oghuz / Uzes – the ancestors of the Gagauzians, relations with the local population of the Balkans, the struggle against the Ottoman Turks, and the creation of a fictional Gagauz state called Uzi Eyalet. The authors also draw attention to the way in which changes occur in the traditional everyday culture of ancestors of the Gagauz as a result of changing economic-cultural type, and religion. In the Gagauz environment of creative people, there is a unity in the perception of the historical past associated with the presence of the ancestors of the Gagauz people in the Balkans. As a rule (with a few exceptions), the past broadcast by Gagauz writers is largely mythologized: and the writers themselves play a significant role in the process of constructing ethnicity.
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Schiele, Alexandre. "THE NORMAL AND THE EXCEPTIONAL: A COMPARISON OF PU SONGLING’S AND MO YAN’S SURREAL WORLDS." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.10.
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From a comparison of the surreal worlds of Pu Songling and Mo Yan in their respective auctorial context, this paper argues that although Pu Songling’s short stories integrate surreal elements, contrary to the accepted typology of genres, they fall into realistic and not speculative fiction because the worldview of Imperial China in which he lived not only accepted the supernatural as real, but as foundational to the traditional order. By comparison, Mo Yan’s supernatural stories partly fall within supernatural literature, because post-1949 China espoused a scientific worldview which banishes the supernatural. On a second level, however, both Pu Songling’s and Mo Yan’s surreal fictions are political satires of their times. Yet, even on this point they diverge. While Pu Songling articulates the social and political criticism of his present to surreal elements, Mo Yan casts the surreal as a stand-in for the exceptional situations of his recent past which are the object of his criticisms.
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Vasilateanu, Andrei, Sebastian Wyrazic, and Bujor ionel Pavaloiu. "A SCIENCE FICTION SERIOUS GAME FOR LEARNING PROGRAMMING LANGUAGES." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-082.
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The paper presents a serious game, implemented as a software application, aimed towards beginner programmers with the purpose of teaching programming languages fundamentals. The application is a top-down 2D game combining elements from the shooter and strategy (particularly tower defense) genres, with high-level visual programming elements, giving it an educational component. The user creates the scripts in a visual manner, creating the flow of scripting elements then programming each element. Serious games are games which are designed and developed without having entertainment as their main purpose. Instead, their primary purpose is to educate, train, or inform their audience. The meaning of the term has evolved in the last few years and currently it is usually assumed that serious games are video games, rather than physical, non-digital games. Digital game-based learning is a subset of serious games having as a main purpose to educate the player through the use of video games. Video games manage to keep the players interested, even if they find themselves in challenging situations, and this is on account of the intrinsic motivation they achieve to maintain on the players. What makes learning an intrinsically motivating process is similar to what makes a video game intrinsically motivating, this being challenge, curiosity, fantasy and control. Contextualization, personalization, and choice improve the intrinsic motivation of a learner, thus increasing their degree of engagement in the learning process and ameliorating their learning performance. These three properties are often present in most video games. This compatibility between video games and learning makes integrating the one to the other an easier accomplishment. While some other serious games aimed at programming exist, such as RoboCode, CodeCombat, Kernel Panic, CoLoBoT, CeeBot, CodeSpells, there is still much room for innovation, and our application explores new features and modes of play, focusing more on the program structure and logic than on the syntax.
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Dvortsova, N. "NEUROLITERATURE AS A PHENOMENON OF MODERN LITERARY PROCESS." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3767.rus_lit_20-21/394-397.
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The article studies a phenomenon of neuroliterature [literature written by artificial neural net-works (ANN)] as a direction for the development of digital literature in the context of the problems of digital humanities. The following controversial issues related to the understanding of neuroliterature are analyzed: the role of ANN technologies, phenomena of the neuro-author, copyright, genres (neuro-novel, neuro-story, neuro-lyrics, neuro-fan fiction, etc.), possibilities and boundaries of AI in the field of human creativity. The author suggests understanding of neuroliterature as a technological and linguistic experiment, explains the logic of its development, and identifies a typology of its trends in 2010-2020.
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Lyashevskaya, O. N., T. O. Shavrina, I. V. Trofimov, and N. A. Vlasova. "GRAMEVAL 2020 SHARED TASK: RUSSIAN FULL MORPHOLOGY AND UNIVERSAL DEPENDENCIES PARSING." In International Conference on Computational Linguistics and Intellectual Technologies "Dialogue". Russian State University for the Humanities, 2020. http://dx.doi.org/10.28995/2075-7182-2020-19-553-569.
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The paper presents the results of GramEval 2020, a shared task on Russian morphological and syntactic processing. The objective is to process Russian texts starting from provided tokens to parts of speech (pos), grammatical features, lemmas, and labeled dependency trees. To encourage the multi-domain processing, five genres of Modern Russian are selected as test data: news, social media and electronic communication, wiki-texts, fiction, poetry; Middle Russian texts are used as the sixth test set. The data annotation follows the Universal Dependencies scheme. Unlike in many similar tasks, the collection of existing resources, the annotation of which is not perfectly harmonized, is provided for training, so the variability in annotations is a further source of difficulties. The main metric is the average accuracy of pos, features, and lemma tagging, and LAS. In this report, the organizers of GramEval 2020 overview the task, training and test data, evaluation methodology, submission routine, and participating systems. The approaches proposed by the participating systems and their results are reported and analyzed.
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Kuzmina, Luiza, and Elena Remchukova. "RUSSIAN CLASSICAL LITERATURE TEXT AS A PRECEDENT PHENOMENON OF THE MODERN MEDIA SPACE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/18.
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The article is devoted to the functioning features of precedent texts in modern media discourse. Texts by F.M. Dostoevsky, namely, fiction, journalism and epistolary heritage, served as the research material. The relevance of the study is explained by the intertextual nature of the modern media space. The article shows that along with the use of Dostoevsky's precedent texts as signs of high culture, the modern media space also actively manifests the features of the postmodern cultural paradigm. The specifics of the latter include metatextuality, irony, various kinds of transformation, e.g., in headlines, which indicates their game foregrounding. Special attention is paid, firstly, to various types of intertextuality and ways of precedent phenomena foregrounding; secondly, to their use in various media areas (advertising, urban naming) and genres (interviews, internet blogs, etc.). The problem of recoding precedent phenomena is considered against the background of the use of signs of high culture as a form of reflection of modern mass consciousness in modern media communication, which is of research interest from an axiological point of view.
Reports on the topic "Fiction genres"
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STROYKOV, S., and I. NIKITINA. THE CURRENT STATE OF THE PROBLEM OF HYPERTEXT IN LINGUISTIC LITERATURE. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2077-1770-2022-14-2-3-50-73.
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In this paper it’s the first time the authors have reviewed linguistic literature (2008-2022) devoted to the problem of literary and electronic hypertext. The purpose of the paper is to review linguistic literature and identify the current state of the problem of literary and electronic hypertext. Materials and methods. On the basis of this purpose we reviewed 42 scientific papers published in 2008-2022 and representing the results of linguistic research of literary and electronic hypertext. For our study we used an analytical and descriptive method, which is traditional for linguistics and allows us to solve the tasks set in our paper. Results. A review of linguistic papers has shown that hypertext is a relevant subject of linguistic research. Scientists propose various definitions of this concept; consider it as a “special information and communication environment”. Many studies are devoted to literary (fiction and non-fiction) hypertext, however, a much larger number of papers are devoted to various aspects of electronic hypertext, including electronic fiction hypertext and electronic hypertext of some genres (news genres, online advertising, social network and online diary community as well as websites). We consider that it is the electronic environment where hypertext is implemented in all its functions. Practical implications. The results of the study can be used as a theoretical basis for further theoretical and practical study of various aspects of literary and electronic hypertext.
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TARAKANOVA, V., A. ROMANENKO, and T. TROITSKAYA. FACTORS AND RISKS OF ENVIRONMENTAL SAFETY OF THE CITIES OF THE MOSCOW REGION. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2077-1770-2022-14-2-2-19-29.
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In this paper it’s the first time the authors have reviewed linguistic literature (2008-2022) devoted to the problem of literary and electronic hypertext. The purpose of the paper is to review linguistic literature and identify the current state of the problem of literary and electronic hypertext. Materials and methods. On the basis of this purpose we reviewed 42 scientific papers published in 2008-2022 and representing the results of linguistic research of literary and electronic hypertext. For our study we used an analytical and descriptive method, which is traditional for linguistics and allows us to solve the tasks set in our paper. Results. A review of linguistic papers has shown that hypertext is a relevant subject of linguistic research. Scientists propose various definitions of this concept; consider it as a “special information and communication environment”. Many studies are devoted to literary (fiction and non-fiction) hypertext, however, a much larger number of papers are devoted to various aspects of electronic hypertext, including electronic fiction hypertext and electronic hypertext of some genres (news genres, online advertising, social network and online diary community as well as websites). We consider that it is the electronic environment where hypertext is implemented in all its functions. Practical implications. The results of the study can be used as a theoretical basis for further theoretical and practical study of various aspects of literary and electronic hypertext.
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Tabinska, Iryna, and Yaroslav Tabinskyi. Феномен «смислу поміж фактами» у друкованому виданні Reporters: взаємодія тексту та фотоілюстрації. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11728.
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The article states that with the development of new journalism, the author’s ability to characterize a phenomenon and identify a trend acquires special value. Representatives of Ukrainian new journalism, which is a relatively new genre, are already gradually implementing these tasks. They compose entire books from their reports, offering the reader a condensed version of versatile observations about a certain country, situation, or phenomenon. In contrast to ordinary reportage, fiction is a synthetic genre, in which it is not reported, but told. The authors of the article research Reporters which is the first magazine of new journalism in Ukraine. Their main task is to explain the phenomenon of “meaning between facts”. According to the authors, this phenomenon is simple and unique at the same time, because through people’s stories you can find depths that relate to historical, cultural and geopolitical life. The article analyzes the interaction of text and images, shows how to find meaningful messages in actual data using specific examples. The study singled out accents that relate to the interaction of text and images. Quite often, photography reproduces reality and helps the reader to paint reality in his imagination. Textual forms delve into the plot through human history and detail. In four printed issues of the magazine, the authors of the study analyzed the stories that are particularly relevant today. First of all, this concerns Russian aggression and the insubordination of Ukrainians. Key words: new journalism, non-fiction, text, images, dialog, photojournalism.
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.
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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.