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Books on the topic 'Fictional Narratives'

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

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1

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

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2

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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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Narrative Fiction. London: Taylor & Francis Inc, 2002.

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12

1940-, Anderson Nancy G., ed. Family fiction: Unpublished narratives. Birmingham, Ala: Summa Publications, 1989.

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13

Narrative fiction: Contemporary poetics. 2nd ed. London: Routledge, 2002.

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14

Rimmon-Kenan, Shlomith. Narrative fiction: Contemporary poetics. London: Routledge, 1989.

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15

Rimmon-Kenan, Shlomith. Narrative fiction: Contemporary poetics. London: Routledge, 1994.

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16

Toker, Leona. Eloquent reticence: Withholding information in fictional narrative. Lexington, Ky: University Press of Kentucky, 1993.

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17

History and fiction in Galdós's narratives. Oxford [England]: Clarendon Press, 1993.

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18

Cook, Michael. Narratives of Enclosure in Detective Fiction. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230313736.

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19

Predelli, Stefano. Fictional Discourse. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854128.001.0001.

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This book defends a Radical Fictionalist Semantics for fictional discourse. Focusing on proper names as prototypical devices of reference, it argues that fictional names are only fictionally proper names, and that, as a result, fictional sentences do not encode propositions. According to Radical Fictionalism, the contentful outcomes achieved by fiction are derived from the outcomes of so-called impartation, that is, from the effects achieved by the use of language. As a result, Radical Fictionalism pays special attention to fictional telling and to related themes in narrative fiction. In particular, the book proposes a Radical Fictionalist approach to the distinction between homodiegetic and heterodiegetic fiction, and to the divide between storyworlds and narrative peripheries. These ideas are then applied to the discussion of classic themes in the philosophy of fiction, including narrative time, literary translation, storyworld importation, fictional languages, inconsistent fictions, nested narratives, and narrative closure. Particular attention is also given to the commitments of Radical Fictionalism when it comes to discourse about fiction, as in prefixed sentences of the form ‘according to fiction F, … ’. In its final two chapters, the book extends Radical Fictionalism to critical discourse. In Chapter 7 it introduces the ideas of critical and biased retelling, and in Chapter 8 it pauses on the relationships between Radical Fictionalism and talk about literary characters.
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20

Moutsou, Christina. Fictional Clinical Narratives in Relational Psychoanalysis. Routledge, 2018.

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21

Sillars, Stuart. Visualisation in Popular Fiction 1860-1960: Graphic Narratives, Fictional Images. Taylor & Francis Group, 2013.

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22

Sillars, Stuart. Visualisation in Popular Fiction 1860-1960: Graphic Narratives, Fictional Images. Taylor & Francis Group, 2005.

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23

Sillars, Stuart. Visualisation in Popular Fiction 1860-1960: Graphic Narratives, Fictional Images. Taylor & Francis Group, 2005.

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24

Sillars, Stuart. Visualisation in Popular Fiction 1860-1960: Graphic Narratives, Fictional Images. Taylor & Francis Group, 2005.

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25

Contemporary Italian Diversity in Critical and Fictional Narratives. Fairleigh Dickinson University Press, 2021.

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26

Horváth, Márta, and Gábor Simon, eds. Negative Emotions in the Reception of Fictional Narratives. Brill | mentis, 2022. http://dx.doi.org/10.30965/9783969752661.

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27

Edith Bruck in the Mirror: Fictional Transitions and Cinematic Narratives. Purdue University Press, 2014.

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28

Balma, Philip. Edith Bruck in the Mirror: Fictional Transitions and Cinematic Narratives. Purdue University Press, 2014.

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29

Longo, Mariano. Emotions Through Literature: Fictional Narratives, Society and the Emotional Self. Taylor & Francis Group, 2019.

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30

Longo, Mariano. Emotions Through Literature: Fictional Narratives, Society and the Emotional Self. Taylor & Francis Group, 2019.

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31

Balma, Philip. Edith Bruck in the Mirror: Fictional Transitions and Cinematic Narratives. Purdue University Press, 2014.

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32

Longo, Mariano. Emotions Through Literature: Fictional Narratives, Society and the Emotional Self. Taylor & Francis Group, 2019.

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33

Longo, Mariano. Emotions Through Literature: Fictional Narratives, Society and the Emotional Self. Taylor & Francis Group, 2019.

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34

Emotions Through Literature: Fictional Narratives and the Management of the Self. Taylor & Francis Group, 2019.

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35

Herman, David. Life Narratives beyond the Human. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190850401.003.0006.

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Chapter 5 turns from issues of medium specificity to the question of how genre bears on narrative engagements with animal experiences in more-than-human worlds. Laying groundwork for chapter 6’s investigation of the way norms for mental-state attributions cut across the fiction-nonfiction divide, the chapter examines forms of generic hybridity, as well as broader questions about generic status, in post-Darwinian life writing centering on nonhuman subjects. In doing so, the chapter explores not only life narratives written about animals, i.e., animal biographies, but also life narratives attributed to animals, i.e., animal autobiographies. The first part of the chapter considers how modernist explorations in the theory and practice of life writing opened up new pathways for interpreting and engaging with animal lives. The second part discusses problems and possibilities raised by classic as well as contemporary animal autobiographies, disputing the assumption that all animal autobiographies are, by their nature, fictional.
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36

Blom, Helwi, Anna Katharina Richter, Krystyna Wierzbicka-Trwoga, and Rita Schlusemann. Top Ten Fictional Narratives in Early Modern Europe: Translation, Dissemination and Mediality. de Gruyter GmbH, Walter, 2023.

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37

Blom, Helwi, Anna Katharina Richter, Krystyna Wierzbicka-Trwoga, and Rita Schlusemann. Top Ten Fictional Narratives in Early Modern Europe: Translation, Dissemination and Mediality. de Gruyter GmbH, Walter, 2023.

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38

Blom, Helwi, Anna Katharina Richter, Krystyna Wierzbicka-Trwoga, and Rita Schlusemann. Top Ten Fictional Narratives in Early Modern Europe: Translation, Dissemination and Mediality. de Gruyter GmbH, Walter, 2023.

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39

Moutsou, Christina. Fictional Clinical Narratives in Relational Psychoanalysis: Stories from Adolescence to the Consulting Room. Taylor & Francis Group, 2018.

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40

Moutsou, Christina. Fictional Clinical Narratives in Relational Psychoanalysis: Stories from Adolescence to the Consulting Room. Taylor & Francis Group, 2018.

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41

Buckwalter, Wesley, and Katherine Tullmann. The Genuine Attitude View of Fictional Belief. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198805403.003.0011.

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The distinct-attitude view of fictional narratives is a standard position in contemporary aesthetics. This is the view that cognitive attitudes formed in response to fictions are a distinct kind of mental state from beliefs formed in response to non-fictional scenarios, such as pretend or imaginary states. This chapter argues that the balance of functional, behavioral, and neuroscientific evidence best supports the genuine-attitude view of belief. According to the genuine-attitude view, cognitive responses to fictions are genuine beliefs that are not a distinct kind of mental state from the beliefs that we form in response to non-fictional scenarios. The chapter considers the implications of the genuine-attitude view for debates at the intersection of epistemology, cognitive science, and philosophy of mind.
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42

Gore, Vidal. Lincoln (Narratives of a Golden Age). Abacus, 1994.

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43

Bourdaghs, Michael K. A Fictional Commons. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021926.

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Modernity arrived in Japan, as elsewhere, through new forms of ownership. In A Fictional Commons, Michael K. Bourdaghs explores how the literary and theoretical works of Natsume Sōseki (1867–1916), widely celebrated as Japan's greatest modern novelist, exploited the contradictions and ambiguities that haunted this new system. Many of his works feature narratives about inheritance, thievery, and the struggle to obtain or preserve material wealth while also imagining alternative ways of owning and sharing. For Sōseki, literature was a means for thinking through—and beyond—private property. Bourdaghs puts Sōseki into dialogue with thinkers from his own era (including William James and Mizuno Rentarō, author of Japan’s first copyright law) and discusses how his work anticipates such theorists as Karatani Kōjin and Franco Moretti. As Bourdaghs shows, Sōseki both appropriated and rejected concepts of ownership and subjectivity in ways that theorized literature as a critical response to the emergence of global capitalism.
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44

Richetti, John. Non-Fictional Discourses and the Novel. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0021.

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This chapter looks at how readers of eighteenth-century British fiction seem to have possessed less carefully policed divisions between fact and fiction. It speculates that their credulity was more flexible than that of current critics and readers. Into the 1750s and beyond, many narratives that were obviously fictional featured titles or subtitles that gestured toward the kind of factuality to be found in such ‘news’: fiction that was somehow truthful or claimed a kind of non-literal truth. The chapter notes that, from antiquity onwards historians were ignorant of many things. And of course the classical tradition of historical writing allowed or indeed encouraged invented speeches and concocted descriptions.
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45

McGregor, Rafe. A Criminology Of Narrative Fiction. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529208054.001.0001.

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This book answers the question of the usefulness of criminological fiction. Criminological fiction is fiction that can provide an explanation of the causes of crime or social harm and could, in consequence, contribute to the development of crime or social harm reduction policies. The book argues that criminological fiction can provide at least the following three types of criminological knowledge: (1) phenomenological, i.e. representing what certain experiences are like; (2) counterfactual, i.e. representing possible but non-existent situations; and (3) mimetic, i.e. representing everyday reality in detail and with accuracy. The book employs the phenomenological, counterfactual, and mimetic values of fiction to establish a theory of the criminological value of narrative fiction. It begins with a critical analysis of current work in narrative criminology and current criminological work on fiction. It then demonstrates the phenomenological, counterfactual, and mimetic values of narrative fiction using case studies from fictional novels, graphic novels, television series, and feature films. The argument concludes with an explanation of the relationship between the aetiological and pedagogic values of narrative fiction, focusing on cinematic fictions in virtue of the vast audiences they reach courtesy of their place in global popular culture.
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46

Wilson, George M. Narrative. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0022.

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Narratology is the general theory of narratives and the structures they exemplify. The classical structuralist narratology of Todorov, C. Bremond, A. Greimas, and early Roland Barthes was concerned primarily with narrative as narrative product. In selecting that emphasis and in other methodological matters, these authors were influenced by their proto-structuralist predecessors, Russian formalists such as V. Shklovsky and V. Propp. Theorists in the linked traditions highlighted the fact that stories, both fictional and non-fictional, can be represented in very different narrative discourses. Indeed, the same story can be rendered in discourses that have been constructed within different media, such as literature, film, or theatre. A key analytical task of structuralist narratology has been to delineate the features of stories that are invariant across the fiction/non-fiction division and across the variety of their more specific realizations in different discourses and media.
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47

Gore, Vidal. Washington DC (Narratives of a Golden Age). Abacus, 1994.

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48

Rampage Violence Narratives: What Fictional Accounts of Rampage Violence Say about the Future of America's Youth. Lexington Books/Fortress Academic, 2014.

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49

Linder, Kathryn E. Rampage Violence Narratives: What Fictional Accounts of School Shootings Say about the Future of America's Youth. Lexington Books/Fortress Academic, 2017.

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50

Linder, Kathryn E. Rampage Violence Narratives: What Fictional Accounts of School Shootings Say about the Future of America's Youth. Lexington Books/Fortress Academic, 2014.

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