To see the other types of publications on this topic, follow the link: Fiction genres.
Journal articles on the topic 'Fiction genres'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Fiction genres.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
Shamshad, Samina. "Urdu Travelogues and Fiction." DARYAFT 13, no. 01 (September 18, 2022): 103–16. http://dx.doi.org/10.52015/daryaft.v13i1.150.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Nichols, Ryan, Justin Lynn, and Benjamin Grant Purzycki. "Toward a science of science fiction." Scientific Study of Literature 4, no. 1 (September 22, 2014): 25–45. http://dx.doi.org/10.1075/ssol.4.1.02nic.
Full textAbstract:
What is a genre? What distinguishes a genre like science fiction from other genres? We convert texts to data and answer these questions by demonstrating a new method of quantitative literary analysis. We state and test directional hypotheses about contents of texts across the science fiction, mystery, and fantasy genres using psychometrically validated word categories from the Linguistic Inquiry and Word Count. We also recruit the work of traditional genre theorists in order to test humanists’ interpretations of genre. Since Darko Suvin’s theory is among the few testable definitions of science fiction given by literary scholars, we operationalize and test it. Our project works toward developing a model of science fiction, and introduces a new method for the interdisciplinary study of literature in which interpretations of literary scholars can be put to the test.
12
Nasriddinov, Dilshod. "Fantasy genre and its scientific interpretation in theoretical views." Зарубежная лингвистика и лингводидактика 1, no. 2 (March 6, 2023): 56–62. http://dx.doi.org/10.47689/2181-3701-vol1-iss2-pp56-62.
Full textAbstract:
The aim of this study is to provide an academic analysis of the fantasy genre emerging in literature as a new literary term. Each country introduces new terms and literary genres into its own literature, recognizes its essence, and then tries to reconcile it with its own culture. Fantasy as a literary genre cannot be compared with its status in world literature today. This study identifies fantasy as the most important fictional genre in literature and analyzes its importance with several scientific approaches. It also examines the characteristics of the ongoing fiction and fantasy genres. Then, determine their relationship based on scientific evidence.
13
Martinkovič, Matej. "Genre-Specific Irrealia in Translation: Can Irrealia Help Define Speculative Fiction Sub-Genres?" English Studies at NBU 8, no. 1 (June 30, 2022): 73–92. http://dx.doi.org/10.33919/esnbu.22.1.5.
Full textAbstract:
Speculative fiction texts and their translation, particularly from English, have been gradually rising in prominence. However, not only do speculative fiction and its sub-genres remain only vaguely defined in general despite numerous attempts by both writers and theoreticians, but their specific features are often even less explored from the perspective of translation studies. This article aims to enrich translation studies understanding of irrealia as signature features of speculative fiction texts. It builds on existing conceptions of both irrealia and realia in order to propose the concept of genre-specific irrealia. Hence, it discusses how irrealia relate to individual sub-genres of speculative fiction and how such distinctions can help the recipient or translator realise the specificity of these elements. The paper has a particular focus on science fiction, although it also discusses fantasy and supernatural horror specific irrealia. The article then illustrates the concept of genre-specific irrealia and discusses its implications for translation on examples drawn from the novel Fahrenheit 451 by Ray Bradbury and its Slovak translation by the translator Jozef Klinga.
14
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.
Full textAbstract:
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 generic fusion of the documentary and the fiction film as genre. The practice of including documentary sequences into the fiction films – in a tradition of the Riga poetic documentary school in the case of this study – (re)presents historical dynamics in film poetics. The appearance of several genre s paces in one spacetime continuum of a film (re)constructs the social space of film’s production momentum. The documentary sequences in the fiction film function both as an added and illustrative value to the main fictional visual narrative, and gradually become a meaning-making element in the wholeness of this cinematic text. Initially in the short film Divi (“Two”, 1965), directed by Mihails Bogins, filmed by Rihards Pīks, and later by Henrihs Pilipsons the documentary sequences were employed to (re)create the modern urban space. Later, as the practice of documentary inclusion became common in the middle of 1960s, the documentary sequences appeared in the musical film Elpojiet dziļi (“Breathe Deeply”, 1967, directed by Rolands Kalniņš, cinematographed by Miks Zvirbulis) to construct multiplicity of spaces, uniting creative and factual realities in the narrated space of the film. The film Elpojiet dziļi demonstrates that the merger of genres, styles and spaces is creative to the extent of spilling off the screen and into the non-cinematic reality. The film is a story of a fictional boy band. It inspired formation of the band Menuets to re-enact the songs written for and performed in the film. The con nectivity of the documentary and the fiction sequences in this film achieve a level of connection where it is no longer possible to speak of subjugation of one genre to the other. It can be described as a construction of a new connected and permeable cinematic space. A further instance of the connectivity of documentary and fiction generic spaces in a film is the film Ābols upē (“Apple in the River”, 1974, directed by Aivars Freimanis, cinematographed by Dāvis Sīmanis (sen)). This film represents a stream of multiple genres and a flow of various citations, inspirations and ideas featuring the cultural space of late Soviet republic of Latvia. In this film the connectivity of the documentary and the fictional episodes becomes rhetorical means of cinematic expression.
15
Birdi, Briony. "Genre fiction readers: a quantitative exploration of provided construct ratings." Journal of Documentation 70, no. 6 (October 7, 2014): 1054–75. http://dx.doi.org/10.1108/jd-02-2014-0039.
Full textAbstract:
Purpose – The purpose of this paper is to adapt a repertory grid technique to investigate fiction readers’ attitudes and beliefs, with a specific focus on minority ethnic fiction. Design/methodology/approach – The study required participants (n=36) to rate on a seven-point Likert scale a series of 16 provided constructs, using ten main elements, namely, the reader of ten fiction genres. Statistical tests investigated participant agreement across construct ratings, where on average fiction readers are rated on a construct continuum, and the extent to which public library work experience affected participants’ perceptions. Findings – Findings were revealed regarding the perceived characteristics of the readers of ten fiction genres, including minority ethnic fiction. The readers of Asian and Black British fiction were similarly rated, but certain exceptions were also noted which had not been reported in previous research. Although intraclass correlations indicated that ratings were consistent for the more established fiction genres, there was little agreement regarding minority fiction. Research limitations/implications – The research was potentially limited by the ethnic homogeneity of the sample population and the gender imbalance of same, and (in some cases) a lack of knowledge of minority fiction genres. It was felt that the repertory grid was an effective technique via which to build a rich profile of the fiction reader. Practical implications – This research could inform the development of fiction collections, and its detailed examination of fiction reader profiles could be adapted in three specific ways, as described in the paper. Originality/value – Little previous research has been conducted to differentiate between readers of different fiction genres, and less still for those of minority ethnic fiction genres.
16
Petzold, Dieter. "Fantasy Fiction and Related Genres." MFS Modern Fiction Studies 32, no. 1 (1986): 11–20. http://dx.doi.org/10.1353/mfs.0.1205.
Full text
17
Ray, Alice. "Approche contrastive anglais-français de la création lexicale science-fictionnelle." Studia Romanica Posnaniensia 49, no. 4 (January 9, 2023): 125–43. http://dx.doi.org/10.14746/strop.2022.494.008.
Full textAbstract:
Imaginary genres have always played with language and lexicon in order to build their worlds. The science fiction genre, in particular, creates a lexicon on the borderline between literary creation and scientific and technical terminology so the stories can be framed elsewhere or in the future. The translation of these invented words can be a real challenge for translators because of their very nature as hybrids, but also because of the science fictional megatext. The translation treatment from English into French of these neologisms, known as “fiction terms”, shows different strategies of lexical (re)creation. Following a terminological approach, this paper presents a contrastive analysis of lexical creation strategies and morpho- syntactic structures between the two languages on a list of science fictional terms from the audiovisual field and extracted from a corpus of science fiction novels.
18
Malykh, Viacheslav Sergeyevich. "HYBRID SPECULATIVE FICTION AS A GENRE PHENOMENON IN MODERN LITERATURE OF THE U.S. AND RUSSIA." Russian Journal of Multilingualism and Education 14 (December 28, 2022): 79–85. http://dx.doi.org/10.35634/2500-0748-2022-14-79-85.
Full textAbstract:
The article is devoted to theoretical exploration of modern hybrid speculative fiction. This term comprises a huge body of creative works which are written at the intersection of genres related to speculative prose. On the one hand, hybrid speculative fiction is rooted in post-modern epoch, on the other hand, it returns to the principles of hybrid genre genesis, which flourished at the beginning of the 20th century. The tendency to genre eclecticism is a common feature of a great number of modern creative works and seems to be an efficient way out of conceptual crisis emerged in speculative fiction at the close of the 20th century, that is why the future development of speculative fiction is expected to be closely connected with the expansion of hybrid genre forms. The overall goal of the article is to scientifically comprehend hybrid genres in modern speculative fiction of the United States and Russia. The investigation of hybrid speculative fiction as a genre and cultural phenomenon leads to setting three goals. Firstly, it is necessary to determine genre taxonomy of such genres of traditional speculative fiction as science fiction, fantasy, and horror. Secondly, it is necessary to investigate genre-forming models, which underlie modern hybrid works. Thirdly, it is important to understand common features of the works of hybrid speculative fiction. The study of the genre interaction in modern speculative fiction is based on the descriptive and functional methods. The comparison of Russian and American works involves the use of comparative, typological and cultural-historical methods. Using the genre blocks common for both literary criticism, readers’ expectations and publishing practice, it is possible to identify such genre-forming models of hybrid speculative fiction, as: science fiction+fantasy; science fiction+horror; fantasy+historical novel; fantasy+postmodernist novel. It is also possible to sum up such common features of the works of hybrid speculative fiction, as: irrational world outlook; distortion of the very structural basis of traditional science fiction; shift of sociocultural model of world outlook; polyphonic principle of narration and potentially an endless unravelling of the plot without a pronounced climax; postclassical narrative model; the complexity of storyline. To conclude, modern hybrid speculative fiction can be treated as a separate literary and sociocultural phenomenon in the literature of the U.S. and Russia. It destroys inner canons of traditional science fiction, it is deeply influenced by post-modern cultural paradigm, and could be described as a significant cultural movement, which is aligned with demands and values of modern society.
19
Kalytiak, V. V. "GENRES' ECLECTICISM IN THE NOVEL BY VIKTORIA HRANETSKA "THE BODY©"." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 453–63. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-453-463.
Full textAbstract:
The article is dedicated to the analysis of the genres' eclecticism in the novel by Viktoria Hranetska "The body©". The purpose of an article is to find out the specifics of the genre on the base of the novel, the studying of the plot and compositional elements according to the postmodern discourse, the finding out the correlation between the different directions of the fantastic genre in the structure of the novel.
Research methods In the context of studying the literary work, we used the basic principles of mythological, comparative-historical, psychological and typological methods.
Results. The article deals with the genre and plot-compositional features of the novel "The body©", found out its leading motives, ways of representing them in the text and also postmodern features. We were able to identify the genres in which the text was created, and how they manifest themselves on the plot-compositional level.
Scientific novelty. The author explores the genesis of science fiction and its kinds on the material of the novel and also gives the characterization of the genres of science fiction, fantasy and horror. The author studies deeply the leading motifs of the horror literature – the motives the mettempsychosis with all its modifications on the example of the works of fiction of Ukrainian and world literatures for the first time. The article thoroughly analyzes the novel "The body©" as a postmodernist work of fiction wich have all features of postmodernism, in particular eclectic genres.
Practical significance. The main principles of research can be used for a deeper understanding of the characteristic features of the fantastic sub-genres, the ability to distinguish them from the general canvas of science fiction.
20
Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious." Jurnal POETIKA 5, no. 1 (July 31, 2017): 51. http://dx.doi.org/10.22146/poetika.25994.
Full textAbstract:
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 about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
21
Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious." Poetika 5, no. 1 (July 31, 2017): 51. http://dx.doi.org/10.22146/poetika.v5i1.25994.
Full textAbstract:
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 about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
22
Lagutina, Ksenia Vladimirovna, Nadezhda Stanislavovna Lagutina, and Elena Igorevna Boychuk. "Text Classification by Genre Based on Rhythm Features." Modeling and Analysis of Information Systems 28, no. 3 (October 14, 2021): 280–91. http://dx.doi.org/10.18255/1818-1015-2021-3-280-291.
Full textAbstract:
The article is devoted to the analysis of the rhythm of texts of different genres: fiction novels, advertisements, scientific articles, reviews, tweets, and political articles. The authors identified lexico-grammatical figures in the texts: anaphora, epiphora, diacope, aposiopesis, etc., that are markers of the text rhythm. On their basis, statistical features were calculated that describe quantitatively and structurally these rhythm features.The resulting text model was visualized for statistical analysis using boxplots and heat maps that showed differences in the rhythm of texts of different genres. The boxplots showed that almost all genres differ from each other in terms of the overall density of rhythm features. Heatmaps showed different rhythm patterns across genres. Further, the rhythm features were successfully used to classify texts into six genres. The classification was carried out in two ways: a binary classification for each genre in order to separate a particular genre from the rest genres, and a multi-class classification of the text corpus into six genres at once. Two text corpora in English and Russian were used for the experiments. Each corpus contains 100 fiction novels, scientific articles, advertisements and tweets, 50 reviews and political articles, i.e. a total of 500 texts. The high quality of the classification with neural networks showed that rhythm features are a good marker for most genres, especially fiction. The experiments were carried out using the ProseRhythmDetector software tool for Russian and English languages. Text corpora contains 300 texts for each language.
23
Sandberg, Eric. "Contemporary Crime Fiction, Cultural Prestige, and the Literary Field." Crime Fiction Studies 1, no. 1 (March 2020): 5–22. http://dx.doi.org/10.3366/cfs.2020.0004.
Full textAbstract:
Crime fiction laboured for many years under a persistent foundational anxiety over its cultural status. However, the cultural landscape has changed considerably in recent years, and many critics have identified a transformation in crime fiction's positioning as central to this transformation. This essay examines this claim by first looking at several ways in which crime fiction works well with a number of recent attempts to described key tendencies in contemporary literary production including its global view, its interest in the past, and its interstitial nature. It then locates crime fiction within the process known in Russian formalist terms as ‘canonization of the junior branch’ by which lower-status genres influence or indeed replace higher-status genres. Finally, in an attempt to trace the extent of this infiltration, the essay examines book reviews, festivals, and literary prizes for evidence that crime fiction has indeed achieved improved status both within a range of national cultures and internationally.
24
Yusrina, Riris. "An Analysis of Popular Fiction Movie: Feminism in Movie Miss Peregrine’s Home for Peculiar Children (2016)." Rubikon : Journal of Transnational American Studies 9, no. 2 (November 1, 2022): 142. http://dx.doi.org/10.22146/rubikon.v6i2.73536.
Full textAbstract:
Film is one of American popular culture that attracts many people around the world. America has many movie genres, one of which is a fictional film genre. Fiction works do have very unique characters, from the storyline to the characters in the fictional film. In addition, in the modern era, feminism has been applied in everyday life, starting from education, politics, etc. This article analyzed the feminism of the character of Miss Peregrine in the American fiction film titled Miss Peregrine's Home for Peculiar Children (2016) by using semiotic theory. The results show that several scenes in the film represent feminism through Miss Peregrine's character, those are as a hero and as a leader. In addition, there is ecofeminism in the film.
25
Altaf, Sana, and Aqib Javid Parry. "Nalo Hopkinson’s Midnight Robber: Blending technology and fantasy in a dystopian narrative." Technoetic Arts 22, no. 1 (April 1, 2024): 133–44. http://dx.doi.org/10.1386/tear_00126_1.
Full textAbstract:
In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate the dystopian genre by making it both formally and politically oppositional. This article aims to explore Midnight Robber (2000), a feminist dystopian novel by Nalo Hopkinson, a Jamaican–Canadian writer, to illustrate how the author manipulates the generic boundaries of science fiction, fantasy and mythology. By amalgamating Afro-Caribbean religious and cultural beliefs, mythical creatures and traditional knowledge systems with a technologically advanced future world, Hopkinson challenges the essentially White, Eurocentric model of dystopian fiction. The article will also examine how, as an Afrofuturist writer, Hopkinson attempts to challenge and subvert the patriarchal discourse of dystopian fiction, traditionally dominated by White male writers, through a strong Black female character, Tan-Tan, who seeks to resist the patriarchal structures governing her, and finally succeeds in emerging as a female leader figure. For this purpose, Barbara Creed’s insights into the monstrous-feminine are explored, introducing novelty into the discourse of feminist dystopia.
26
Langkjær, Birger. "Making fictions sound real - On film sound, perceptual realism and genre." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2115.
Full textAbstract:
This article examines the role that sound plays in making fictions perceptually real to film audiences, whether these fictions are realist or non-realist in content and narrative form. I will argue that some aspects of film sound practices and the kind of experiences they trigger are related to basic rules of human perception, whereas others are more properly explained in relation to how aesthetic devices, including sound, are used to characterise the fiction and thereby make it perceptually real to its audience. Finally, I will argue that not all genres can be defined by a simple taxonomy of sounds. Apart from an account of the kinds of sounds that typically appear in a specific genre, a genre analysis of sound may also benefit from a functionalist approach that focuses on how sounds can make both realist and non-realist aspects of genres sound real to audiences.
27
ACAR, Barış Berhem. "Weird and Eerie: Yeşil Elmalar as an Inter-Genre-Al Novel." Akademik Dil ve Edebiyat Dergisi 6, no. 2 (August 30, 2022): 0. http://dx.doi.org/10.34083/akaded.1145332.
Full textAbstract:
Genre theories determine that texts no longer belong to a single genre but can be included into various genres. As the borders of genres become more indistinct, interaction between genres are observed to increase. The presence of common discursive codes of genres helps authors be freed of the limits of a single genre, which enables the same texts to be read within the scope of various genres. In addition, genre differentiations with traditional strict rules are replaced with discursive genres that can change with new invented ones according to each text. The determination of usage values of genres or literary works makes the genre to which they belong increasingly more significant. Within this context, reading literary works as dynamic structures including discursive features of different genres rather than belonging to a single genre enables these works to be understood better. It also contributes to test the validity of the extent to which genre theories has reached so far. The present article reads the novel Yeşil Elmalar, which is regarded as an unadmired detective fiction, as a novel reflecting the characteristics of both crime/detective and mystery fiction. The aforementioned novel is examined under the light of characteristics taken from both detective and mystery literature, and its repetitive codes especially as weird and eerie are stressed over the examples taken from the text.
28
Dixon, Peter, Marisa Bortolussi, and Blaine Mullins. "Judging a book by its cover." Scientific Study of Literature 5, no. 1 (November 19, 2015): 23–48. http://dx.doi.org/10.1075/ssol.5.1.02dix.
Full textAbstract:
In this experiment, we investigated whether book covers can signal sub-genre information to knowledgeable readers. Self-identified science-fiction fans and mystery fans sorted 80 randomly selected book covers from each of those genres into groups of their own devising. The sorts were used to identify similarity among books, and that similarity structure was used to measure similarity among subjects. Cluster analysis was then used to find groups of subjects who sorted similarly. Linear models were demonstrated that group membership was related to the knowledge subjects reported about the genres. This pattern of results supports the view that book covers constitute an implicit signaling system between publishers and experienced readers of a fictional genre.
29
Thériault, Mélissa. "Documentaire et jeux de fiction. Le cas du cinéma québécois1." Globe 17, no. 1 (February 12, 2015): 131–52. http://dx.doi.org/10.7202/1028636ar.
Full textAbstract:
Ce texte propose d’étudier, du point de vue de la philosophie contemporaine, les rapports qu’entretiennent fiction et non-fiction à l’aide de quelques exemples choisis de la cinématographie québécoise des cinquante dernières années. L’examen de ce va-et-vient entre les genres (c’est-à-dire du jeu de brouillage volontairement opéré sur la frontière), qui est une tendance persistante au sein du cinéma québécois, permettra d’identifier et de discuter les problèmes théoriques posés par toute tentative de démarcation. Cela permettra également d’observer ce qui distingue et rapproche la fiction du documentaire dans l’expression d’une réalité sociale singulière, rapport constamment (re)négocié à mesure que les genres se développent et remettent en question leurs frontières habituelles, au gré des tendances artistiques, des modes et des expérimentations. Il s’agira d’abord d’esquisser quelques remarques sur les concepts de fiction et de documentaire à l’aide des récentes propositions des philosophes Gregory Currie et Noel Carroll. Nous fournirons ensuite quelques exemples issus du corpus qui nous intéresse, ce qui nous permettra d’exposer les motifs qui sous-tendent cette tendance marquée aux « jeux de fictions ». Ce regard contemporain sur l’histoire du cinéma québécois permettra enfin d’esquisser quelques remarques générales sur l’ontologie du septième art.
30
Bogucki, Michael. "George Moore's Genres." Victoriographies 6, no. 3 (November 2016): 200–218. http://dx.doi.org/10.3366/vic.2016.0238.
Full textAbstract:
This essay examines George Moore's autobiographical writing, prose fiction, and criticism for new ways of understanding shared tensions between narrative and theatre conventions in the 1880s and 1890s. Defiantly experimenting with speculative and fictionalised reminiscence, inter-arts comparisons, and consideration of an artist's care for their own reputation, Moore offers a rich field for explorations of the longevity and obsolescence of textual forms. Moore's reminiscences of British and French Impressionist painters focus more intently on the emergence of their reputations than their actual technical innovations, extending a habit developed in his novels of the 1880s of treating artistic production as small cells of a much wider network of affiliated entertainment industries. Likewise, his alternately gossipy and prescient art and theatre criticism maps surprising relations between the reception of Japanese prints, naturalism in England, changing theatrical conventions, and the influence of print journalism in ways that defy the usual periodising histories of Victorian and Edwardian fiction.
31
Kelman, Ilan. "Island Genres, Genre Islands: conceptualisation and representation in popular fiction." Social & Cultural Geography 20, no. 1 (September 26, 2018): 135–36. http://dx.doi.org/10.1080/14649365.2018.1524448.
Full text
32
E.V., Beloglazova, and Kabakchi V.V. "LINGUISTIC MECHANISMS OF CONSTRUCTING CHARACTER’S EXOLINGUACULTURAL IDENTITY IN FICTION AND NON-FICTION." Humanities And Social Studies In The Far East 17, no. 1 (2020): 100–106. http://dx.doi.org/10.31079/1992-2868-2020-17-1-100-106.
Full textAbstract:
The present paper is aimed at the means of constructing a character’s exolinguacultural identity. It demonstrates that regardless of the style and genre specificity both fictional and non-fictional texts employ a similar strategy to this end. The research is based on the theoretical foundation of interlinguoculturology, i.e. the study of the language of secondary cultural orientation. Relatively wide illustrative material from texts of various genres and cultural orientations is provided to illustrate the universal strategy underlying the construction of exolinguacultural identity resting upon cultural loans.
33
Hauthal, Janine. "Rewriting ‘white’ genres in search of Afro-European identities." English Text Construction 10, no. 1 (June 15, 2017): 37–58. http://dx.doi.org/10.1075/etc.10.1.03hau.
Full textAbstract:
Presuming that both travel and crime fiction can be described as traditionally ‘white’ genres, this article investigates how contemporary Black British authors appropriate these genres. Focusing on Mike Phillips’s A Shadow of Myself and Bernardine Evaristo’s Soul Tourists, the article examines how the two novels redeem and suspend the traditional racial and national coding of travel writing and crime fiction by rehabilitating black mixed-race characters. In both novels, moreover, the rethinking of traditional popular genres coincides with, and is partly enabled by, a transnational shift in focus from Britain to Europe. A closer look at the novels’ respective endings, finally, reveals how each conceptualises the relationship between Britain and Europe differently, and how this difference can be explained by the impact of genre.
34
Ishchenko, Olena. "GENRE FEATURES OF MODERN NON-FICTION LITERATURE (ON THE EXAMPLE OF THE BOOK "DREAM OF ANTARCTIC" BY MARKIYAN PROKHASKO)." Dialog: media studios, no. 29 (March 15, 2024): 73–79. http://dx.doi.org/10.18524/2308-3255.2023.29.300636.
Full textAbstract:
The end of the 20th – the beginning of the 21st century is characterized by the fact that during this period, interest in non-fiction literature – a special literary genre of documentary prose, which is based on real events, without fiction or conjecture – begins to grow actively. Facts are presented through the imaginative perception of the world by the author of the work. Therefore, in our opinion, this genre can still be called “documentary journalism of life”. Non-fiction has gained particular popularity over the past few years. This is connected, first of all, with the events that are taking place, namely: with the full-scale invasion of the Russian Federation on the territory of Ukraine. Collections of books about the war, the Maidan, and the Revolution of Dignity are published, as well as books that have become bestsellers in the world of psychology, travel journalism, and literature. The article examines the issue of genre features of the book “Dream of Antarctica”, which is an example of modern non-fiction literature. It is clarified why the diffusion of genres is a part of the analyzed book, and how the author combines features of other genres in one work.
35
Han, Jiaoran. "An Exploration of the Genre of Korean Space Science Fiction Movies — Taking the Movie Space Sweepers as an Example." Studies in Art and Architecture 3, no. 2 (June 2024): 87–94. http://dx.doi.org/10.56397/saa.2024.06.18.
Full textAbstract:
Although Korean science fiction films started late and developed slowly, the Korean film industry is developed and has never stagnated in the exploration of film genres. The movie Space Sweepers is South Korea’s first exploration and attempt at the science fiction sub-genre of space science fiction. Since its launch on the streaming media platform Netflix in February 2021, it has topped the global movie popularity list for five consecutive days and won 29 countries. It ranks first in broadcasts in the region, and it has also made space science fiction a genre trend in South Korea. This article will take the movie Space Sweepers as an example to sort out South Korea’s development path for the space science fiction film genre, and analyze the reasons for Space Sweepers’ global success.
36
Sukalenko, Tetiana. "Verbalization of evaluation in prose and dramatic genres." 89, no. 89 (December 13, 2021): 59–65. http://dx.doi.org/10.26565/2227-1864-2021-89-10.
Full textAbstract:
The article deals with the study of the peculiarities of linguistic expression of the category of assessment, which as a universal language category operating at different language levels, plays an important role in the choice of native speakers and, consequently, culture, language means of information and is equally important for mental processes of perception, comprehension and acceptance or non-acceptance of this information. The publications in the scientific literature on various aspects of the study of the category of evaluation in terms of language have been reviewed. The analysis of the peculiarities of verbalization of the category of evaluation is carried out on the material of fictional and dramatic discourse, which is a productive language environment for studying the category of evaluation, because through verbalized national-cultural ideas and stereotypes are reflected the conceptual and linguistic pictures of the world. First of all, this category is manifested in the language and characteristics of the characters. Special attention is paid to the characters of a (chynovnyk, pan, a pani, a panna and a cossack, verbalized in the fictional and dramatic discourse of the XIX century. Evaluative characteristics, which are the elements of language modeling of fictional images, served as a basis for distinguishing the following types of evaluation: positive and negative evaluation in the structure of the text narrative, neutral evaluation, hidden positive evaluation, author's evaluation, evaluation by other characters. A positive evaluation in the language of fiction is shown by the linguistic means of creating the character of a cossack. Negative assessment was found in the linguistic means of creating the image of the pan (landlord), the images of the pani and panna are ambivalent. Evaluation is present both in the language of the characters and in the author's characteristics or comments. The object of evaluation in the fictional and dramatic genres can be both internal and external characteristics of the characters, and external characteristics are often marked by positive evaluation, while internal features have either negative or ambivalent evaluation characteristics. It was found that the ways of realization of positive or negative evaluation in the language of fiction are quite diverse. They depend on the literary and fictional methods, the creative manner of the writer and reflect his worldview.
37
Bystrova, Tat’yana A. "INTRODUCTION TO BIOFICTION. HISTORY AND BIOGRAPHY BY THE MODERN ITALIAN WRITERS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 282–90. http://dx.doi.org/10.28995/2686-7249-2023-3-282-290.
Full textAbstract:
The article highlights the specific features of the hybrid genre of biographical writing (also known as «fictional biography»), which has been theorized since the 1990s in France. The biographical novel is a fictional work about a real-life person with elements of authorial fiction. On the textual level, the subject of “hybridization” in biofiction can be both the content plan (speculation of events built around the documentary basis) and the form plan (use of indirect speech, stream of consciousness, insertion of other people’s text, etc.). At the pragmatic level, there is a breakdown of the traditional relationship between reader and text, as information recognized by the reader as fiction is presented as a biographical fact. The article also maps out a circle of questions for researchers and literary critics to address, in particular, the issue of genre boundaries and the development of terminology, the issue of the relationship between a character of biofiction and his historical prototype, the issue of relationship between an author and his work, the issue of the influence of new cultural and media factors on genres of biographical writing.
38
Frenkel, Ronit. "Pleasure as genre: popular fiction, South African chick-lit and Nthikeng Mohlele's Pleasure." Feminist Theory 20, no. 2 (February 21, 2019): 171–84. http://dx.doi.org/10.1177/1464700119831537.
Full textAbstract:
The success of popular women's fiction requires a mode of analysis that is able to reveal the patterns across this category in order to better understand the appeal of these books. Popular fiction, like chick-lit, can be contradictorily framed as simultaneously constituting one, as well as many genres, if a genre is the codification of discursive properties. It may consist of romances, thrillers, romantic suspense and so forth in terms of its discursive properties, but popular women's fiction will also have a pattern of similarity that cuts across these forms – that similarity, I will suggest, lies in the idea of pleasure as a genre of affect that ties various popular fictions together, thereby acting as a type of imperial genre. Pleasure is so ubiquitous and so diverse across the multiple forms that constitute popular women's fiction that I argue it has become a genre in itself. This is, however, not a genre that limits itself to one particular stylistic form, but rather, as a dynamic social construct, it has become a genre of affect that invokes feelings of pleasure. Nthikeng Mohlele's most recent novel, Pleasure, exemplifies the applicability and plasticity of the concept of pleasure, allowing me to examine this work as a type of fictionalised theory which I then apply to South African chick-lit texts: the Trinity series by Fiona Snyckers and Happiness Is a Four-Letter Word by Cynthia Jele. Mohiele's expansive theorisation of pleasure is inherently local in that it is depicted at the level of experience and imagination; yet it is simultaneously macro and global in the connections made to deeply political circuits of identity-based oppressions and structural inequalities. Mohlele reveals the mobility of pleasure as a genre that offers an opportunity to think through the circuits that connect popular fiction through the lens of African literature.
39
Gamer, Michael. "Genres for the Prosecution: Pornography and the Gothic." PMLA/Publications of the Modern Language Association of America 114, no. 5 (October 1999): 1043–54. http://dx.doi.org/10.2307/463463.
Full textAbstract:
Recent accounts of genre have asserted that all texts participate in multiple genres and that genre works as a kind of contract between writers and readers. In the legal history of eighteenth-century British prosecutions for obscene libel and the reception history of gothic fiction at the turn of the nineteenth century, however, the model of genre as contract breaks down. At the end of the eighteenth century, several texts we now call gothic faced threatened prosecution under existing obscene libel laws. The reception histories of the fiction of Matthew Lewis, Charlotte Dacre, and Charles Robert Maturin demonstrate that public denouncements and threatened prosecution forced gothic texts, even as they theoretically participated in at least one genre, to belong to a legal category (obscenity) for which their writers never intended them.
40
Beley, M. "Genre Features of Pierre Boulle's Dystopian Science Fiction Novel "Planet of the Apes": A Communicative Aspect." Scientific Research and Development. Modern Communication Studies 12, no. 6 (December 29, 2023): 20–27. http://dx.doi.org/10.12737/2587-9103-2023-12-6-20-27.
Full textAbstract:
The enduring popularity of 20th century science fiction authors among readers of all age categories has been noted in numerous works of literary scholars. An extremely important aspect is the fact that the author and the reader must have a common language in order for communication to be effective. The relevance of the study is due to the growing interest in the problem of interpreting the genre of science fiction works. The aim of this study is to try to trace the synthesis of genre forms from the point of view of communicativism and the theories of C. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre Boulle. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre BoulleIn the course of the study, the methods of contextual literary analysis, cognitive-discourse analysis, as well as stylistic and genre analysis were applied. As a result of the study, the conclusions were obtained that the novel "Planet of the Apes" by P. Boulle combines elements of the genre of science fiction novel, philosophical parable, utopia and dystopia. The novel is a satirical work, touching upon the themes of scientific progress, communication, evolution and human society, which are topical at present. The author, when creating a work, follows literary conventions or deliberately goes against them, creating something innovative. The genre of science fiction has been and remains a synthetic genre, incorporating elements of various genres, which intricately intertwined, enter into communication with the reader, helping him to create fictional worlds. Scientific novelty of the research consists in the fact that for the first time in Russia the study of genre originality of P. Boulle's work in the aspect of communication with the reader is undertaken. The article may be useful for literary scholars, postgraduates, students and all those interested in the problems of genre synthesis in modern science fiction.
41
Sepielak, Katarzyna, and Anna Matamala. "Synchrony in the voice-over of Polish fiction genres." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 2 (December 31, 2014): 145–63. http://dx.doi.org/10.1075/babel.60.2.02sep.
Full textAbstract:
The increasing popularity of audiovisual translation in recent years has contributed to a better understanding of the audiovisual world. Nevertheless, some modalities such as voice-over have not received thorough attention. In Poland, where voice-over is the prevailing audiovisual, one voice talent reads out the entire dialogue list in a monotonous way. The translated version is subject to time and space restrictions, and both the original and the translated soundtracks are audible at the same time, making it interesting to analyze a key aspect of voice-over: the process of synchronization. Departing from a categorization which originated within the field of dubbing, and which was later extended and applied to the voice-over of non-fictional products by Franco, Matamala and Orero, this article aims to assess whether voice-over isochrony, literal synchrony, kinetic synchrony and action synchrony are maintained in the voice-over of fiction genres in Poland, and if so, what strategies are used to achieve this. The corpus is made up of four 15-minutes samples from movies belonging to four different genres: a comedy (Whatever Works, directed by Woody Allen 2009), a drama (Marvin’s Room, directed by Jerry Zaks 1996), an action movie (Spy Game, directed by Tony Scott 2001), and a musical (Nine, directed by Rob Marshall 2009). The study highlights the specificities of synchrony in fictional movies and opens the door for future research into this previously underestimated audiovisual transfer mode.
42
Mahanta, Raginee. "His-Stories: Uncovering the Stronghold of the Shadows in Hilary Mantel’s Wolf Hall." Noesis Literary 1, no. 1 (2024): 45–60. http://dx.doi.org/10.69627/nol2024vol1iss1-04.
Full textAbstract:
The Tudor Dynasty has been the locus of many critical and fictional narratives even in the present age. The need for looking deep into the past to uncover truths previously left within the shadows of the pages of history makes fiction one of the most sought after genres to recreate and renarrate from new vantage points, the stories in newer lights. Postmodern fiction is one such genre wherein authors like Hilary Mantel, Philippa Gregory, Alison Weir, Tracy Borman and others employ their figments of imagination to narrate the past and make it acceptable for the readers of the present. In case of Hilary Mantel, her Cromwell trilogy leans onto the genre of meta-fiction, wherein elements of both history and fiction are merged in order to challenge the traditional stronghold that history as a concept occupied. The first book from her trilogy, Wolf Hall (2009) is a narrative retelling of the start of the reformation from the point of view of Thomas Cromwell, a minister who has risen to power through his abilities and cunning. Thomas Cromwell becomes the centre in the novel, with emphasis on his experiences within Henry VIII’s court and giving away a side of the story which is not biased or rather royalist in its tendencies. The aim of the paper is to discuss the ample possibilities that the merging of fiction and history hold in uncovering myriad points of view in understanding the developments of the past/history. The “little narratives” dismantling the established grand narratives recorded in history will be the primary line on which the paper will align. The notion of history being a genre that has elements of fiction within its many pages is again highlighted by how manipulation becomes a trope in many instances within historical records. Keywords: history, fiction, tudors, shadows, narratives
43
Xu, Jiajin, and Jialei Li. "A syntactic complexity analysis of translational English across genres." Across Languages and Cultures 22, no. 2 (November 16, 2021): 214–32. http://dx.doi.org/10.1556/084.2021.00015.
Full textAbstract:
Abstract This study compares the syntactic complexity between translational and non-translational English across four genres (i.e. fiction, news, general prose, and academic prose) and examines the connections between various forms and degrees of syntactic complexity measures and explicitation. Fourteen syntactic complexity indices were examined based on a one-million-word translational English corpus (COTE) and a one-million-word non-translational English corpus (i.e. FLOB), respectively. This study shows that syntactic explicitation in translations varies with the formality of discourse. The most significant complexity difference between translational vis-à-vis non-translational English is found in fiction, which is regarded as the major contributor to translational English syntactic complexity. No significant difference in syntactic complexity was observed between the two types of academic English texts. Translational English news and general prose stand between fiction and academic texts. Translational fiction and news are characterised by more phrasal complexity features such as coordinate and complex nominal phrases, and a key indicator of translational English general prose complexity is subordination. The findings of this study will help students of translation to make informed decisions on the arrangement of sentence structures when given texts of different genres.
44
Suprun-Zhyvodrova, Anastasiia. "Genre and stylistic features of Ukrainian fiction cinematography of the period of independence." Folk art and ethnology, no. 1 (March 30, 2024): 75–87. http://dx.doi.org/10.15407/nte2024.01.075.
Full textAbstract:
The article is devoted the definition of genre and stylistic features of fiction films produced in Ukraine from 1991 to 2022. Using the analysis of theoretical works on film studies, genre theory, semiology and film history, it is proposed to define the concept of “genre” as a set of repetitive syntactic and semantic structures, the main connections of the genre with the socio-cultural and historical context are outlined. In particular, after analyzing 949 audiovisual projects from the «Base of National Films of Ukraine», which have been created during the period of Independence, it was found that the largest number of produced audiovisual works belongs to the fiction type of cinema. The presence of syntactic and semantic structures of 46 genres has been identified according to the genre and thematic direction of fiction cinematography. It is proved that the most popular genre in production is drama – 25 % of the total number of feature films. This percentage is a significant advantage over the presence of other genres. Analysis of data from the box office of cinema distribution in Ukraine for 2020 has revealed discrepancies between the number of produced films of a certain genre and thematic direction and the preferences of Ukrainian viewers. In this way, the assumption that the predominance of certain genres in the production of Ukrainian audiovisual art reflects the cultural needs of Ukrainians has been refuted. Such a comparison also disproved the claim that the absence of certain genres in the Ukrainian media space testifies to the foreignness of the narrative structure of such films to the cultural characteristics of Ukrainians, because the top five audience preferences include, for example, the horror genre, which is minimally present in Ukrainian production. The results of the study have theoretical and practical significance for film production in Ukraine, and also form a research field for further study of the development of each individual genre present in Ukrainian audiovisual art of the period of Independence.
45
Huber, Loreta, and Evelina Jonaitytė. "Oral Narrative Genres as Communicative Dialogic Resources and their Correlation to African Short Fiction." Respectus Philologicus, no. 37(42) (April 20, 2020): 137–46. http://dx.doi.org/10.15388/respectus.2020.37.42.45.
Full textAbstract:
Oral and written storytelling traditions in Africa developed at the same time and influenced each other in many ways. In the twentieth century, the relation between the deeply rooted oral tradition and literary traditions intensified.We aim to reveal literary analysis tools that help to trace ways how oral narrative genres found reflection in African short fiction under analysis. A case study is based on two short stories by women writers, The Rain Came by Grace Ogot and The Lovers by Bessie Head. Images and symbols both, in oral and written traditions in Africa, as well as the way they evolved and extended in a literary genre of short fiction are considered within the framework of hermeneutics, reader reception theory and feminist literary criticism.The results obtained in the study prove that oral narrative genres interact with literary genres, though most importantly, women’s writing as a literary category and images embodied in the short stories play a decisive role and deviation from the images embodied in African oral tradition.
46
Khorob, S. S. "OPINION JOURNALISM: THE GENRE OF LITERATURE OR JOURNALISM?" PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 364–70. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-364-370.
Full textAbstract:
The article raises the problem of genre and type definition of opinion journalism, its belonging to fiction and journalism. It proves that this creation, coming out of laws of creative work, characterizes activities of both writers and journalists to an equal extent, being on the border in works of belles-lettres and mass media. In addition, the analysis of manifestations of opinion journalism gives grounds to affirm that opinion journalism is not a separate type of literature and not a separate genre of journalism. It is rather the system of genres among major forms that are inherent in literary-fictional and journalistic creative work.
47
Hieu, To Minh, Vi Thi Thu Hien, and Nguyen Thanh Hien. "DEVELOPING THE COMPETENCE OF READING COMPREHENSION OF SCIENCE FICTION STORY FOR 7TH GRADE STUDENTS IN VIETNAM." International Journal of Education Humanities and Social Science 07, no. 03 (2024): 338–43. http://dx.doi.org/10.54922/ijehss.2024.0719.
Full textAbstract:
The 2018 general education program in Vietnam has been implemented with the concretization of three sets of textbooks: The Kite, Connecting Knowledge to Life, and Creative Horizon. In the 7th grade Philology textbook, in addition to familiar literary genres, science fiction is a new genre included in the curriculum. This is a new genre that has created excitement for both teachers and students. However, this genre also causes many difficulties for teachers in developing lesson plans and organizing the teaching of science fiction stories. The 7th grade textbook has only been deployed for two years in Vietnam, so there are not many reference materials, leading to teachers being confused in teaching and developing competence, especially the ability to read and understand science fiction stories for students. Therefore, in this article, we propose some measures to develop the competence to read science fiction stories for 7th grade students in Vietnam.
48
Hockx, Michel. "China’s Booming Fiction Industry." Current History 121, no. 836 (September 1, 2022): 246–48. http://dx.doi.org/10.1525/curh.2022.121.836.246.
Full textAbstract:
China’s literary scene has taken off online: millions of novels are being published, catering to strong demand for an array of genres. A new book is a guide to the breadth of this booming market, going beyond the usual foreign focus on dissident literature.
49
Descher, Stefan. "Satirical Novels of the Late Enlightenment and the Practice of Fiction. A Methodological Proposal for Investigations Into the History of Fiction." Journal of Literary Theory 14, no. 2 (September 25, 2020): 147–72. http://dx.doi.org/10.1515/jlt-2020-2003.
Full textAbstract:
AbstractThe paper examines German satirical novels of the late Enlightenment period, published roughly between 1760 and 1790, under the following question: Is there any evidence that the historical practice of fiction (concerning this time and these texts) deviates from the modern practice of fiction as described by institutional accounts of fictionality? First, it is explained what, in this essay, is meant by the ›modern practice of fiction‹. Four ›core rules‹ are identified that, according to institutional accounts of fictionality, characterize the practice of reading works of fiction. These core rules are: You should not conclude that what is expressed by fictional utterances is actually true! You should not conclude that the author believes that what is expressed by his fictional utterances is actually true! You should imagine what is expressed by fictional utterances (make-believe, pretence)! You should (or at least can) make your imaginations the object of higher-level attitudes (for example you can evaluate, emotionally respond to, interpret them etc.)! Then, using the example of German satirical novels of the late Enlightenment, seven features of fictional texts are discussed that may provide clues about the historical practice of fiction and that could give an indication of whether the core rules actually do apply. These features are: assurances of truthfulness by the author or fictional authors/editors; direct thematization of the fictional/factual-text-distinction; fictional reading scenarios; comments by fictional narrators and/or characters on the practice of reading; statements of the actual author in the fictional text; ›that cannot be true‹-passages (intentional mistakes, anachronisms, various ways of breaking the reader’s expectations, etc.); various kinds of reference to the actual world (for example satirical allusions to actual persons or states of affairs). It will be argued that, for the corpus of texts under consideration, there is no convincing evidence that the historical practices of reading works of fiction deviates in any significant way from the core rules of the modern practice of fiction. However, the main aim of this paper is not to provide an exhaustive historical case study. First, the investigation is limited to the exemplary discussion of some (although significant) texts and text passages, so the results can only be considered preliminary. Second, while the satirical novel of the late Enlightenment indeed is a particularly interesting and revealing genre for the study of the historical practice of fiction (arguments are given in section 3), the main purpose of this essay is to make a methodological proposal. A general procedure is provided for finding out whether the historical practice of fiction differs from our modern practice – a procedure that can be applied to texts of other times and genres as well.
50
Brown, Alexandra. "404 Utopia Not Found: Cyberpunk Avatars in Samanta Schweblin's Kentukis." PMLA/Publications of the Modern Language Association of America 138, no. 2 (March 2023): 258–73. http://dx.doi.org/10.1632/s0030812923000123.
Full textAbstract:
AbstractScience fiction criticism has long attended the relationship between form and utopian thought. However, increased study of Latin American narratives has allowed for a return to foundational science fiction theories with renewed perspective. While critics have recognized the tendency of Latin American science fiction to slip between genres, a trend termed the “slipstream phenomenon,” there has been little analysis of its impact on utopian imagination. As a result, we miss one of the region's most unique contributions to broader science fiction traditions. In response, this article locates Samanta Schweblin's Kentukis (2018) within the legacies of cyberpunk and argues that the novel uses slipstream to establish and dismantle a series of classic utopian horizons by shifting its genre identity. In doing so, this work identifies a turn in recent Latin American science fiction that metacritically questions the ability of science fiction form itself to imagine a utopian horizon beyond global capitalism.