Relevant bibliographies by topics / Fictional Narratives

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Fictional Narratives'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Fictional Narratives"

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Bareis, J. Alexander. "The Implied Fictional Narrator." Journal of Literary Theory 14, no. 1 (March 1, 2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.

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AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular during the heyday of classical literary narratology. For scholars like Genette (1988) and Cohn (1999), the category of the fictional narrator was at the centre of theoretical debates about the demarcation of fiction and non-fiction. Arguably, theorising about the fictional narrator necessitates theorising about fiction in general. From this, it follows that any account on which the fictional narrator is built ideally would be a theory of fiction compatible with all types of fictional narrative media – not just narrative fiction like novels and short stories.In this vein, this paper applies a transmedial approach to the question of fictional narrators in different media based on the transmedial theory of fiction in terms of make-believe by Kendall Walton (1990). Although the article shares roughly the same theoretical point of departure as Köppe and Stühring, that is, an analytical-philosophical theory of fiction as make-believe, it offers a diametrically different solution. Building on the distinction between direct and indirect fictional truths as developed by Kendall Walton in his seminal theory of fiction as make-believe (1990), this paper proposes the fictional presence of a narrator in all fictional narratives. Importantly, ›presence‹ in terms of being part of a work of fiction needs to be understood as exactly that: fictional presence, meaning that the question of what counts as a fictional truth is of great importance. Here, the distinction between direct and indirect fictional truths is crucial since not every fictional narrative – not even every literary fictional narrative – makes it directly fictionally true that it is narrated. To exemplify: not every novel begins with words like »Call me Ishmael«, i. e., stating direct fictional truths about its narrator. Indirect, implied fictional truths can also be part of the generation of the fictional truth of a fictional narrator. Therefore, the paper argues that every fictional narrative makes it (at least indirectly) fictionally true that it is narrated.More specifically, the argument is made that any theory of fictional narrative that accepts fictional narrators in some cases (as e. g. suggested by proponents of the so-called optional narrator theory, such as Currie [2010]), has to accept fictional narrators in all cases of fictional narratives. The only other option is to remove the category of fictional narrators altogether. Since the category of the fictional narrator has proved to be extremely useful in the history of narratology, such removal would be unfortunate, however. Instead, a solution is suggested that emphasizes the active role of recipients in the generation of fictional truths, and in particular in the generation of implied fictional truths.Once the narratological category of the fictional narrator is understood in terms of fictional truth, the methodological consequences can be fully grasped: without the generation of fictional truths in a game of make-believe, there are no fictional narratives – and no fictional narrators. The fictionality of narratives depends entirely on the fact that they are used as props in a game of make-believe. If they are not used in this manner, they are nothing but black dots on paper, the oxidation of silver through light, or any other technical description of artefacts containing representations. Fictional narrators are always based on fictional truths, they are the result of a game of make-believe, and hence the only evidence for a fictional narrator is always merely fictional. If it is impossible to imagine that the fictional work is narrated, then the work is not a narrative.In the first part of the paper, common arguments for and against the fictional narrator are discussed, such as the analytical, realist, transmedial, and the so-called evidence argument; in addition, unreliable narration in fictional film will be an important part in the defence of the ubiquitous fictional narrator in fictional narrative. If the category of unreliable narration relies on the interplay of both author, narration, and reader, the question of unreliable narration within narrative fiction that is not traditionally verbal, such as fiction films, becomes highly problematic. Based on Walton’s theory of make-believe, part two of the paper presents a number of reasons why at least implied fictional narrators are necessary for the definition of fictional narrative in different media and discusses the methodological consequences of this theoretical choice.
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Matravers, Derek. "Non-Fictions and Narrative Truths." Croatian journal of philosophy 22, no. 65 (September 15, 2022): 145–60. http://dx.doi.org/10.52685/cjp.22.65.1.

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This paper starts from the fact that the study of narrative in contemporary Anglo-American philosophy is almost exclusively the study of fictional narrative. It returns to an earlier debate in which Hayden White argued that “historiography is a form of fiction-making.” Although White’s claims are hyperbolical, the paper argues that he was correct to stress the importance of the claim that fiction and non-fiction use “the same techniques and strategies.” A distinction is drawn between properties of narratives that are simply properties of narratives and properties of narratives that play a role in forming readers’ beliefs about the world. Using this distinction, it is shown that it is an important feature of non-fictions that they are narratives; it is salutary to recognise non-fictions as being more like fictions than they are like the events they represent.
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Allen, Marybeth S., Marilyn K. Kertoy, John C. Sherblom, and John M. Pettit. "Children's narrative productions: A comparison of personal event and fictional stories." Applied Psycholinguistics 15, no. 2 (April 1994): 149–76. http://dx.doi.org/10.1017/s0142716400005300.

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ABSTRACTPersonal event narratives and fictional stories are narrative genres which emerge early and undergo further development throughout the preschool and early elementary school years. This study compares personal event and fictional narratives across two language-ability groups using episodic analysis. Thirty-six normal children (aged 4 to 8 years) were divided into high and low language-ability groups using Developmental Sentence Scoring (DSS). Three fictional stories and three personal event narratives were gathered from each subject and were scored for length in communication units, total types of structures found within the narrative, and structure of the whole narrative. Narrative genre differences significantly influenced narrative structure for both language-ability groups and narrative length for the high language-ability group. Personal events were told with more reactive sequences and complete episodes than fictional stories, while fictional stories were told with more action sequences and multiple-episode structures. Compared to the episodic story structure of fictional stories, where a prototypical ‘good” story is a multiple-episode structure, a reactive sequence and/or a single complete episode structure may be an alternate, involving mature narrative forms for relating personal events. These findings suggest that narrative structures for personal event narratives and fictional stories may follow different developmental paths. Finally, differences in productive language abilities contributed to the distinctions in narrative structure between fictional stories and personal event narratives. As compared to children in the low group, children in the high group told narratives with greater numbers of complete and multiple episodes, and their fictional stories were longer than their personal event narratives.
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SHIRO, MARTHA. "Genre and evaluation in narrative development." Journal of Child Language 30, no. 1 (February 2003): 165–95. http://dx.doi.org/10.1017/s0305000902005500.

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In this study I examine Venezuelan children's developing abilities to use evaluative language in fictional and personal narratives. The questions addressed are: (1) How does the use of evaluative language vary in fictional and personal narratives? (2) Is there a relationship between the use of evaluative language in these two narrative genres and children's age and socio-economic status (SES)? The sample consists of 444 narratives produced by 113 Venezuelan school-age children participating in 4 narrative tasks, in which personal and fictional stories were elicited. Findings suggest that age and socio-economic status have a greater impact on the use of evaluation in fictional stories than in personal narratives. Low SES and younger children are at a greater disadvantage when performing fictional narratives than when performing personal narratives. These results strongly imply that children's narrative competence cannot be assessed in a single story-telling task, given the importance that task-related factors seem to have on narrative abilities.
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Grishakova, Marina, Remo Gramigna, and Siim Sorokin. "Imaginary scenarios: On the use and misuse of fiction." Frontiers of Narrative Studies 5, no. 1 (July 2, 2019): 112–29. http://dx.doi.org/10.1515/fns-2019-0008.

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AbstractThis paper argues that the examination of representational (formal) and semantic (referential) features of fictional and factual narratives would be incomplete without discussing specific pragmatic (communicative, performative, heuristic, and cognitive) functions of fiction – how and why “fictions” are used in literature and arts, but also in scientific, philosophical, and everyday discourses. On the one hand, the pragmatic approach blurs the fictional/ factual divide and identifies similarities in the use of fiction across disciplinary borders. On the other, as we argue, to avoid panfictionalism inherent in Vaihinger’s philosophy of “as if” the pragmatic act of boundary-crossing should be accompanied by mapping out new “cross-territorial” forms and distinctions. The paper revises and recasts the “cross-territorial” concept of scenario as a narrative structure and a type of fictional modeling and explores its semantic and pragmatic features.
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ODARTEY–WELLINGTON, DOROTHY. "Fictional and Street Narratives." Matatu 47, no. 1 (August 22, 2016): 153–74. http://dx.doi.org/10.1163/18757421-90000400.

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Contemporary African fiction is a source of dystopian urban images juxtaposed with the kinds of ‘good cities’ to which the wielders of political or economic power subscribe. This article examines the dominant representations of the ‘good city’ and how they are contested or subverted from various narrative perspectives. It focuses on inscriptions of the city in fictional narratives and on inscriptions such as street signs and place names found in cities in order to explore the tensions and the contradictions in images of urban experience in Africa.
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Panto, Francesco, Tamaki Saito, Nobuaki Morita, and Yasukazu Ogai. "The Correlation between Enjoying Fictional Narratives and Empathy in Japanese Hikikomori." F1000Research 10 (August 9, 2021): 776. http://dx.doi.org/10.12688/f1000research.55398.1.

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Background: Hikikomori is a Japanese social withdrawal phenomenon which, in recent years, is spreading in western developed countries as well. Spending a lot of time secluded indoors, watching and playing with fictional narratives may be relatively common for Hikikomori people and may represent a protective factor for their psychological well-being. Method: We evaluated the role of enjoying fictional narratives on empathy, relaxation, depression, and anxiety in people with Hikikomori experience, in relation to their daily consumption of fictional narratives and their emotional transportation toward fictional narratives. Hikikomori from one psychiatric clinic and three different support facilities were enrolled in this study. Multidimensional empathy scale, CES-D, STAI questionnaire, and relaxation inventory self-report scale were used as outcome measures. Results: We found a significant correlation between empathy and emotional transportation toward fictional narratives and between relaxation during watching and reading fictional narratives and consumption frequency of fictional narratives. We failed, however, to find any significant correlation with depression and anxiety. Conclusions: These findings suggest a possible correlation between fiction and empathy/relaxation response; however, any causal relationship is not proven, consequently we deem that further investigations with a larger sample size are required for a better understanding.
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Panto, Francesco, Tamaki Saito, Nobuaki Morita, and Yasukazu Ogai. "The Correlation between Enjoying Fictional Narratives and Empathy in Japanese Hikikomori." F1000Research 10 (January 21, 2022): 776. http://dx.doi.org/10.12688/f1000research.55398.2.

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Background: Hikikomori is a Japanese social withdrawal phenomenon which, in recent years, is spreading in western developed countries as well. Spending a lot of time secluded indoors, watching and playing with fictional narratives may be relatively common for Hikikomori people and may represent a protective factor for their psychological well-being. Method: We evaluated the role of enjoying fictional narratives on empathy, relaxation, depression, and anxiety in people with Hikikomori experience, in relation to their daily consumption of fictional narratives and their emotional transportation toward fictional narratives. Hikikomori from one psychiatric clinic and three different support facilities were enrolled in this study. Multidimensional empathy scale, CES-D, STAI questionnaire, and relaxation inventory self-report scale were used as outcome measures. Results: We found a significant correlation between empathy and emotional transportation toward fictional narratives and between relaxation during watching and reading fictional narratives and consumption frequency of fictional narratives. We failed, however, to find any significant correlation with depression and anxiety. Conclusions: These findings suggest a possible correlation between fiction and empathy/relaxation response; however, any causal relationship is not proven, consequently we deem that further investigations with a larger sample size are required for a better understanding.
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Folde, Christian. "Non-Fictional Narrators in Fictional Narratives." British Journal of Aesthetics 57, no. 4 (October 2017): 389–405. http://dx.doi.org/10.1093/aesthj/ayx026.

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Rollins, Pamela. "Personal Narratives in Individuals with High-Functioning ASD: A Lens Into Social Skills." Perspectives on Language Learning and Education 21, no. 1 (January 2014): 13–20. http://dx.doi.org/10.1044/lle21.1.13.

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Narrative assessment is a valid means for evaluating social pragmatic skills in high-functioning individuals with autism spectrum disorder (ASD). Speech-language pathologists (SLPs) typically analyze fictional narratives because of their strong association with school success. A review of literature suggests that high-functioning individuals with ASD have more difficulties telling personal narratives than fictional narrative. Because problems telling personal narratives may negatively impact social relationships, we suggest evaluating personal narratives to aide intervention planning. We review the elicitation and analysis procedure for personal narratives described in McCabe & Rollins (1994) and make suggestions for intervention.
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Dissertations / Theses on the topic "Fictional Narratives"

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Mullen, Anne W. "Historical and fictional narratives in Sciascia." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297880.

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Holliday, Penelope Ann. "Alternative Brisbane masculinities : fictional representations within recent Brisbane narratives." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/16754/1/Penelope_Holliday_Thesis.pdf.

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This thesis considers and critically analyses literary representations of what I have called “alternative masculinities” within a selection of texts by male writers from the turn of the millennium. The novels chosen for this analysis are Last Drinks by Andrew McGahan (2000), World of Chickens (2001) by Nick Earls and Sushi Central by Alasdair Duncan (2003). The work of R.W. Connell, Doreen Massey and Bruce Bennett will inform a framework blending theories of masculinities, spatiality theories and critical regionalism, providing the tools to conduct a reading of the spaces fictional representations of alternative masculinities engage with. Applying Connell’s hierarchy of masculinities (1995) I examine the emerging textual constructions of alternative masculinities that correspond with the changing cityscape of Brisbane. Within the above texts I argue there is a strong emphasis on the connections between identity and place. This is expressed through references to Brisbane’s social and historical identity and the gendered alignment of Brisbane spaces with particular masculinities.
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Holliday, Penelope Ann. "Alternative Brisbane masculinities : fictional representations within recent Brisbane narratives." Queensland University of Technology, 2008. http://eprints.qut.edu.au/16754/.

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This thesis considers and critically analyses literary representations of what I have called “alternative masculinities” within a selection of texts by male writers from the turn of the millennium. The novels chosen for this analysis are Last Drinks by Andrew McGahan (2000), World of Chickens (2001) by Nick Earls and Sushi Central by Alasdair Duncan (2003). The work of R.W. Connell, Doreen Massey and Bruce Bennett will inform a framework blending theories of masculinities, spatiality theories and critical regionalism, providing the tools to conduct a reading of the spaces fictional representations of alternative masculinities engage with. Applying Connell’s hierarchy of masculinities (1995) I examine the emerging textual constructions of alternative masculinities that correspond with the changing cityscape of Brisbane. Within the above texts I argue there is a strong emphasis on the connections between identity and place. This is expressed through references to Brisbane’s social and historical identity and the gendered alignment of Brisbane spaces with particular masculinities.
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Linder, Kathryn E. "Narratives of Violence, Myths of Youth: American Youth Identity in Fictional Narratives of School Shootings." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298851564.

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Weed, Amanda J. "Don't Be a Zombie: Bringing Persuasion to Life through Fictional Narratives." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1385993180.

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Ho, Ka-ying Kathy. "Children's use of evaluative devices in telling fictional and personal narratives." Click to view the E-thesis via HKU Scholars Hub, 2007. http://lookup.lib.hku.hk/lookup/bib/B42004901.

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Thesis (B.Sc)--University of Hong Kong, 2007.
"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2007." Includes bibliographical references (p. 28-30). Also available in print.
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Davis, Ian. "Teaching Men: Masculinity, Narrative and Pedagogy." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367340.

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The Teaching Men project investigates masculinity, narrative and teaching by considering one central question; (How) are male teachers influenced by fictional narratives in the construction of masculinities within education? The exploration of this question is executed using three distinct yet corresponding research activities. Firstly by developing a methodological system of narrative analysis that is able to account for the influence of a fictional text alongside a reading of interview data. Secondly by focusing on a specific cohort of male teachers in order to measure the influence of a fictional text, illustrating possibilities of how masculinity can be enacted within education. Finally by assessing how the narrative nature of critical reflective practice enables the integration of fictional texts, and the literary tropes they contain, both widening and restricting perceptions of teachers and teaching. The work of the project demonstrates how fictional narratives and their encompassing ideologies can become a powerful force in the shaping of our professional identities, in this case as male teachers. The Teaching Men project has two parallel research streams. The first stream focuses on a collection of 22 fictional narratives drawn from the teacher text genre. Each text describes the world of teachers and teaching from differing perspectives, in differing forms including, literary texts; dramatic works such as plays or musicals; feature films; and television and radio series. The teacher text genre is both popular and prolific; therefore three key criteria have been established to determine inclusion within the project.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
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Beauchamp, Alexandra L. "The Fantasy Self: Relationships between Self-Guides and Experience-Taking in Fictional Narratives." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1471875575.

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Kelly, Rita Olivia. "Constructed meanings and contesting voices : the Opium War in archival, historical and fictional Anglophone narratives." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206694.

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This thesis explores the ways in which the Opium War has been represented in both non-fictional and fictional Anglophone narratives. It looks at the construction of various 19th century discourses surrounding this historical event and the different meanings it has been endowed with through such discourses. It then examines the ways in which some of those meanings have been challenged in more recent accounts. The purpose of this thesis is to show how and why certain ideas are constructed and propagated, and how these in turn can be questioned, challenged and reinterpreted, giving us a wider perspective, and thus better understanding, of the said event. The study is divided into two parts: non-fiction and fiction. The non-fiction section includes two chapters on the discourses of the Opium War, one on translation and one on historical texts while the second section focuses on two contemporary fictional narratives of the Opium War. Chapters one and two are based on a selection of 19th century archival documents and constitute a discussion of the discourses that have been formed around the Opium War in five specific fields: political, economic, religious, medical and legal. An analysis of these discourses will show them to be part of a larger sinophobic discourse that constructed China as Britain’s cultural inferior around the time of the conflict. To view the Opium War in terms of cultural encounter requires a discussion of translation. Chapter three investigates the role and importance of translation and translators in creating and/ or sustaining the meanings created by these various discourses. Chapter four is an analysis of two more recent historical narratives: one a history of opium, the other a history of the Opium War. These texts contribute to an expanded understanding of the 19th century conflict as they offer different and more contemporary meanings with regard to the war that partly challenge earlier ones. Because of that, they also mark a transition towards my discussion of fictional narratives where the focus is on introducing new speaking positions that contest those ideas, images and ‘truths’ propagated by narratives such as those that are part of the Opium War discourses. Chapter five investigates how Timothy Mo’s An Insular Possession goes against an important aspect of such discourses, that of hierarchy, by emphasizing cultural incommensurability and cross-cultural miscommunication between the British and the Chinese while refusing to stratify the two into cultural and civilizational hierarchies. Chapter six examines the ways in which Amitav Ghosh invents a new narrative of the Opium War in the first two parts of an intended trilogy: Sea of Poppies and River of Smoke. This last chapter looks at how, by focusing on the silenced Indian aspect of the Opium War and the unexplored Sino-Indian side of the conflict, Ghosh transforms the war from an exclusively Sino-British to a more global event.
published_or_final_version
English
Doctoral
Doctor of Philosophy
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Pak, Christopher. "Ecopolitical transformations and the development of environmental philosophical awareness in science fictional narratives of terraforming." Thesis, University of Liverpool, 2012. http://livrepository.liverpool.ac.uk/9193/.

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This thesis examines the motif of terraforming from Wells’ War of the Worlds (1898) to James Cameron’s film Avatar (2009) in order to assess the dialogical development of ecological themes and its imbrication with politics in science fictional narratives of terraforming. It tracks the growth of the theme in four distinct phases that are contextualised by a short history of terraforming in the introductory first chapter. Chapter two examines the appearance of proto-terraforming and proto-Gaian themes in British scientific romance and American pulp sf prior to Jack Williamson’s coining of the term “terraform” in 1942. Environmental philosophical concepts of nature’s otherness, Lee’s Asymmetry, Autonomy and No-Teleology Theses and notions of identification with nature are examined in this connection to illustrate the character of these texts’ engagement with environmental philosophy and ecopolitics. Chapter three examines the development of the terraforming theme in primarily American 1950s terraforming stories and explores how the use of elements of the American Pastoral are deployed within the discourse of sf to consider the various ways in which the political import of terraforming is imagined. Chapter four explores the impact of the environmental movement of the 1960s in terraforming stories of the 1960s-1970s. Beginning with a consideration of the use of Gaian images in characterisations of alien ecologies, this chapter then progresses to consider a parallel strand of terraforming stories that transform the themes of the 1950s texts in the light of the impact of the 1960s environmental movement. Chapter five concludes this analysis by considering two major trilogies of terraforming written in the 1980s-1990s, Pamela Sargent’s Venus and Kim Stanley Robinson’s Mars trilogies. These works inherit the discourse of terraforming established by earlier works and re-configure them in ways that address contemporary environmental and geopolitical concerns.
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Books on the topic "Fictional Narratives"

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Smagorinsky, Peter. Teaching students to write fictional narratives. Portsmouth, NH: Heinemann, 2012.

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Moutsou, Christina. Fictional Clinical Narratives in Relational Psychoanalysis. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780429456299.

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1962-, Papastergiadis Nikos, Zhu Jianfei 1962-, and Sudjic Deyan, eds. Non-fictional narratives: Denton, Corker, Marshall. Basel: Birkhäuser, 2008.

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Visualisation in popular fiction, 1860-1960: Graphic narratives, fictional images. London: Routledge, 1995.

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Roth, Philip A. Novels & other narratives, 1986-1991. New York: Library of America, 2008.

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Roth, Philip A. Novels & other narratives, 1986-1991. New York: Library of America, 2008.

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Amadi, Ike O. Mutant forms in comic art: How human emotions transgress fictional narratives of power. London: LCP, 2000.

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Joshi, Kireet. Bhagavadgītā and contemporary crisis: An introductory study in the form of fictional narratives. Delhi: Nag Publishers, 1996.

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Naipaul, V. S. Finding the centre: Two narratives. Harmondsworth: Penguin, 1985.

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Rimmon-Kenan, Shlomith. Narrative Fiction. London: Taylor & Francis Inc, 2004.

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Book chapters on the topic "Fictional Narratives"

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Brisk, María Estela. "Fictional Narratives." In Engaging Students in Academic Literacies, 135–73. 2nd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003329275-5.

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Nodelman, Perry. "Fictional Collage as Alternating Narratives." In Alternating Narratives in Fiction for Young Readers, 67–87. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50817-7_4.

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Bilandzic, Helena, and Anja Kalch. "Fictional Narratives for Environmental Sustainability Communication." In The Sustainability Communication Reader, 123–42. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-31883-3_8.

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James, Alison. "The Fictional in Autofiction." In Palgrave Studies in Life Writing, 41–60. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_3.

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AbstractAutofiction and theories of fiction seem to be at odds. Whereas the notion of autofiction capitalizes on a postmodern consensus regarding the fictional status of self-narration, recent theoretical approaches to fiction and fictionality have reaffirmed the distinction between fictional and nonfictional narratives. It is possible to move beyond this impasse, however, by drawing on narratological and rhetorical theories of fictionality to describe the precise forms and degrees of fictionality and fictionalization discernable in works received as autofiction. Different configurations of the fact/fiction relationship can produce various autofictional effects, and theory can help us locate sites of fictionalization and factualization within literary works. Conversely, the ambiguity and hybridity of autofictional texts serve as a useful empirical testing ground for theories of fiction and fictionality.
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Davies, David. "Learning Through Fictional Narratives in Art and Science." In Beyond Mimesis and Convention, 51–69. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-3851-7_4.

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Di Leo, Jeffrey R. "Boylan’s Fictional Narratives and the Reshaping of Philosophy." In Reshaping Philosophy: Michael Boylan’s Narrative Fiction, 19–33. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99265-1_2.

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Zingerle, Andreas, and Linda Kronman. "Faceless Patrons – An Augmented Installation Exploring 419-Fictional Narratives." In Interactive Storytelling, 245–48. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02756-2_30.

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Henson, Donald. "Imagined realities in academic and fictional accounts of the British Mesolithic." In Researching the Archaeological Past through Imagined Narratives, 88–108. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge studies in archaeology: Routledge, 2019. http://dx.doi.org/10.4324/9780203730904-5.

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Dancygier, Barbara. "The text and the story: Levels of blending in fictional narratives." In Mental Spaces in Discourse and Interaction, 51–78. Amsterdam: John Benjamins Publishing Company, 2008. http://dx.doi.org/10.1075/pbns.170.03dan.

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Aleksandrova, Tatiana. "26. Reference to Entities in Fictional Narratives of Russian/French Quasi-Bilinguals." In Comparative Perspectives on Language Acquisition, edited by Marzena Watorek, Sandra Benazzo, and Maya Hickmann, 520–34. Bristol, Blue Ridge Summit: Multilingual Matters, 2012. http://dx.doi.org/10.21832/9781847696045-028.

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Conference papers on the topic "Fictional Narratives"

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Manuel Figueiredo, Carlos, and Sofia Machado Santos. "Virtual models of architectural spaces: methods for exploration, representation and interaction through narratives and visual grammars." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001935.

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In this paper we aim to present a conceptual framework for virtual creation, exploration, and representation of architectural space. This framework will allow us to establish a method that will drive the viewer along a path, intended by the researcher, to experience, interact and get feedback of spaces in study, through linear or interactive narratives.Space virtual computational representation tools have evolved over the last decades and are now providing advanced new tools from gaming, AI and VR real-time complex fictional environments creation, depiction and interaction. From interior spaces to planetary systems, replicated or fictional, sets for all kinds of computer simulation models with immersive possibilities can be created and explored.In a linear visual narrative of a 3D animation the viewer is carried, without choice, by the flow of visual narrative storytelling, through several spaces, events, conclusions, expectations, premonitions, anticipations, empathy and characters and environments, fictional readings in dreamlike narratives, where reality and fantasy can be blended. In an interactive tale storytelling and script, the linearity would become in theoretically infinite lines of possible events and plots, with diverse endings, in which a narrative story line diverges in multiple plots.Having a set of formal parameterized elements within a grammatical lexicon that constitute and methodological approach to an architectural object in a study, it is intended to look at methods to experience, interact and get feedback of spaces in study, through visual multiple narratives, linear or interactive, being immersed or not. All these narrative approaches imply a script and visual grammars, storyline, and plot, where the player looks or travels through a fictional space, in a lived and experiential way.For conception and planning as for studying or research in the architectural field, this is an area of expertise to explore, as these new graphic computing tools can pursue new approaches, using several methods available to apply in each research, to provide analysis breakthroughs.
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Aramouny, Carla, and Sandra Rishani. "Apparatuses & Constructed Narratives: The Imaginary Life Of Cappadocia." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.27.

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This paper presents the work done during a Vertical Design studio, held at the Department of Architecture and Design in Beirut, and discusses the studio design methods that evoke experimental model making and narrative programming. The work presented develops on themes of locality, landscapes as systems of reference for design, physical constructs as inherent design machines, and fictional narratives as programming devices. Through the use of complex drawings and dynamic models, the studio intervened on the region of Cappadocia in Turkey, with its complex land formations, proposing new visions for a unique site where architecture and landscape coalesce.
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Zingerle, Andreas, and Linda Kronman. ""Faceless Patrons" -- An Augmented Installation Exploring 419-Fictional Narratives." In 2013 International Conference on Cyberworlds (CW). IEEE, 2013. http://dx.doi.org/10.1109/cw.2013.44.

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Barros, Cristina, Marta Vicente, and Elena Lloret. "Tackling the Challenge of Computational Identification of Characters in Fictional Narratives." In 2019 IEEE International Conference on Cognitive Computing (ICCC). IEEE, 2019. http://dx.doi.org/10.1109/iccc.2019.00031.

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Ings, Welby. "Talking with Two Hearts: Navigating Indigenous Narratives as Research." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.177.

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Floyd Rudman (2003) notes that by enlarge, contemporary theory posits biculturalism as a positive and adaptive phenomenon. However, as early as 1936, commentators like Redfield et al. proposed that “psychic conflict” can result from attempts to reconcile different social paradigms inside bicultural adaptation (p. 152). Child (1943/1970) also argued that biculturalism cannot resolve cultural frustrations and accordingly, they can be more distressing than a commitment to one culture or the other. The tensions these early theorists noted I found significant when writing and directing my recent feature film PUNCH (Ings, 2022). When creating this work I drew on both my Māori and Pākehā (European) ancestry, and my experience as a gay man who was raised in a heteronormative world. In creating the film’s characters I navigated tensions, working within and between cultural spaces as I wove experience into a fictional examination of what it is to be an outsider in a world that you call home. In this pursuit, I often found myself transgressing borders in my effort to give voice to an in-betweenness that was impure and at times disruptive. While being appreciative of cultural values and practices, I sought ways of expressing identities that are liminal. However, in designing the in-between, like many bicultural creatives I faced accusations of diminished purity. Significantly, I found myself encountering a form of cultural monitoring and pressure to reshape what I knew to be embodied truth because it failed to sit comfortably with the presuppositions of culturally anxious funding bodies, producers and distributors. Their opinions as to what authentically characterised cultural spaces (to which they did not belong), proved challenging. This was because ultimately I knew that audiences for the film would contain people from the in-between, from the liminal, the underrepresented and the marginalised … who would be seeking an expression of lived experiences that rarely appear in cinema. Using scenes from the film PUNCH, this presentation unpacks ways in which cultural networking, verification and responsibility were navigated to reinforce an attitudinal position of ‘positive cultural dissonance’ (Faumuina, 2015). By adopting this stance, I no longer saw biculturality as a diminishment or watering down of integrity, instead it was appreciated as a space of fertile tension and creative synergy. Using positive cultural dissonance as my turangawaewae (place to stand), I negotiated a research project that pursued the resilient beauty of in-betweenness in a story of bicultural, gender non-binary, small town conflict and resolution.
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Malá, Markéta. "English and Czech children’s literature: A contrastive corpus-driven phraseological approach." In Eighth Brno Conference on Linguistics Studies in English. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9767-2020-8.

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The paper explores the recurrent linguistic patterns in English and Czech children’s narrative fiction and their textual functions. It combines contrastive phraseological research with corpus-driven methods, taking frequency lists and n-grams as its starting points. The analysis focuses on the domains of time, space and body language. The results reveal register-specific recurrent linguistic patterns which play a role in the constitution of the fictional world of children’s literature, specifying its temporal and spatial characteristics, and relating to the communication among the protagonists. The method used also points out typological differences between the patterns employed in the two languages, and the limitations of the n-gram based approach.
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Nikolić, Andrijana A. "MOTIVI FANTASTIKE U ROMANU „NA PUTU ZA DARDEL“ SLOBODANA ZORANA OBRADOVIĆA I U PRIPOVJEDNOJ PROZI „ZAPISI IZ HODNIKA VREMENA“ ALEKSANDRA OBRADOVIĆA." In KNjIŽEVNOST ZA DECU U NAUCI I NASTAVI. University of Kragujevac, Faculty of Education in Jagodina, 2022. http://dx.doi.org/10.46793/kdnn21.113n.

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Slobodan and Aleksandar Obradović (father and son) from Bijelo Polje are authors whose fiction abounds in fantastic motifs ‒ characters’ actions, their ability to travel through time zones, their mythological features and the mission they are devoted to accomplish. Capable inventors, fliers, beings who transcendentally move from place to place require critical judgment ‒ whether contemporary children’s literature is truly in accordance with their age and whether and to what extent a child can identify with or distance from the characters. By combining symbols and fiction, both writers encourage readers to decipher the symbols and teach them the lesson of the story. The writers express their thoughts about important life issues through fictional characters, using narrative polyphony, skillfully avoiding identification with any character. Crossing the line between literary and non-literary is typical for both writers. In addition, parents’ role in child upbringing and their influence on the development of child’s imagination should be considered.
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Ribeiro Rabello, Rafaelle. "Between absence and presence: Augmented Reality as a self-fiction poetic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.

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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.
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Carey, Hillary, Alexandra To, Jessica Hammer, and Geoff Kaufman. "Fictional, Interactive Narrative as a Foundation to Talk about Racism." In DIS '20: Designing Interactive Systems Conference 2020. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3393914.3395885.

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Miller, Ben, Jennifer Olive, Shakthidhar Gopavaram, and Ayush Shrestha. "Cross-Document Non-Fiction Narrative Alignment." In Proceedings of the First Workshop on Computing News Storylines. Stroudsburg, PA, USA: Association for Computational Linguistics, 2015. http://dx.doi.org/10.18653/v1/w15-4509.

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Reports on the topic "Fictional Narratives"

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Estrada, Jorge. Ruthless Desires of Living Together in Roberto Bolaño’s 2666: Conviviality between Potestas and Potentia. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, March 2022. http://dx.doi.org/10.46877/estrada.2022.42.

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A desire to live together is perhaps a key idea in Roberto Bolaño’s narratives. His characters are constantly negotiating their involvement in diverse societies amid the historical catastrophes of the twentieth century, so this desire becomes highly differentiated. It undergoes perspectival shifts and creates “mirror games”, which express scepticism towards universalising forms and trigger reflections on history and modernity. In this working paper, I examine how, in 2666, the cosmopolitan desire of a self-legislating and self-authorizing individual is disassembled and superseded by a convivial framework and a relational subject that is crossed by diverse determining forces. This transition is correlated to Bolaño’s diagnosis of late capitalism, in which a matrix of domination that worked with the logic of potestas is replaced by the channelling of potentia, i.e. an apparatus for capturing a flow of lives whose features only come to light in forensic discourse and project the fictional city of Santa Teresa.
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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.
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