Journal articles: 'Later fiction'

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Keown, Edwina, and Lis Christensen. "Elizabeth Bowen: The Later Fiction." Canadian Journal of Irish Studies 30, no. 1 (2004): 81. http://dx.doi.org/10.2307/25515513.

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Eckstein, Barbara, and Bruce King. "The Later Fiction of Nadine Gordimer." World Literature Today 68, no. 2 (1994): 416. http://dx.doi.org/10.2307/40150313.

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Summerley, Rory. "Approaches to Game Fiction Derived from Musicals and Pornography." Arts 7, no. 3 (2018): 44. http://dx.doi.org/10.3390/arts7030044.

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This paper discusses the construction of consistent fictions in games using relevant theory drawn from discussions of musicals and pornography in opposition to media that are traditionally associated with fiction and used to discuss games (film, theatre, literature etc.). Game developer John Carmack’s famous quip that stories in games are like stories in pornography—optional—is the impetus for a discussion of the role and function of fiction in games. This paper aims to kick-start an informed approach to constructing and understanding consistent fictions in games. Case studies from games, musicals, and pornography are cross-examined to identify what is common to each practice with regards to their fictions (or lack thereof) and how they might inform the analysis of games going forward. To this end the terms ‘integrated’, ‘separated’, and ‘dissolved’ are borrowed from Dyer’s work on musicals, which was later employed by Linda Williams to discusses pornographic fictions. A framework is laid out by which games (and other media) can be understood as a mix of different types of information and how the arrangement of this information in a given work might classify it under Dyer’s terms and help us understand the ways in which a game fiction is considered consistent or not.

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Hume, Kathryn. "Black Urban Utopia in Wideman’s Later Fiction." Race & Class 45, no. 3 (2004): 19–34. http://dx.doi.org/10.1177/030639680404500302.

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Ge, Liangyan. "Sending Flowers into the Mirror: Jinghua yuan as Metafiction." Journal of Chinese Literature and Culture 6, no. 2 (2019): 412–31. http://dx.doi.org/10.1215/23290048-8041990.

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Abstract This study offers a reading of the early nineteenth-century Chinese novel Jinghua yuan 鏡花緣 (Flowers in the Mirror) by Li Ruzhen 李汝珍 (1763–1830?) as a fiction about fiction making. Contextualizing the novel in a society where the civil service examinations are among the most important cultural institutions, this article considers the protagonist Tang Ao's 唐敖 voyage to bizarre, fantastical islands, narrated in the early chapters of the novel, as an account of his conversion from examination scholarship to fiction creation. From these islands, his symbolic realm of fictionality, he sends flower spirits-turned-girls to China for the female examinations, here interpreted as an enterprise to fictionalize the examination system. Thus the narrative of the girls' participation in the exams and ensuing celebrations in later chapters becomes a fiction within the fiction. Discussing the dynamic between the examinations and fiction writing elevated in the metafictional structure of the novel, this study considers Tang Ao a fictional representative of many scholars in late imperial China, whose experience with the examinations was not merely a cause of intense frustration but also an inexhaustible source of literary inspiration.

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Salnikova, Ekaterina V. "Thinking About the Prehistory of Documentary Essence of Contemporary Visual Culture." Observatory of Culture, no. 2 (April 28, 2015): 34–41. http://dx.doi.org/10.25281/2072-3156-2015-0-2-34-41.

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Reflects on the motives of contemporary popularity of hybrid screen forms, including elements of documentary and fiction as well. The prehistory of documentary is discussed. The author proposes a concept of syncretism of documental and fictional in the ancient culture, especially in myth and performing arts. The later art forms are also addressed especially those referring to reliable historical facts or containing play simulation of documentality.

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Bradby, David, Beckett, James Acheson, and Kateryna Arthur. "Beckett's Later Fiction and Drama: Texts for Company." Modern Language Review 84, no. 1 (1989): 188. http://dx.doi.org/10.2307/3732014.

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Field, Douglas, and Lynn Orilla Scott. "James Baldwin's Later Fiction: Witness to the Journey." African American Review 38, no. 1 (2004): 166. http://dx.doi.org/10.2307/1512247.

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Miller, D. Quentin, and Lynn Orilla Scott. "James Baldwin's Later Fiction: Witness to the Journey." African American Review 36, no. 4 (2002): 689. http://dx.doi.org/10.2307/1512431.

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Morrison, Jago. "Narration and Unease in Ian McEwan's Later Fiction." Critique: Studies in Contemporary Fiction 42, no. 3 (2001): 253–68. http://dx.doi.org/10.1080/00111610109601143.

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Haley, Madigan. "On Gathering: Or, The Birth of Global Fiction from the Spirit of Tragedy." Novel 53, no. 1 (2020): 76–95. http://dx.doi.org/10.1215/00295132-8139339.

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Abstract This article examines how certain works of global fiction have conceived of their ethical and political agency through the form and act of gathering. Discussions of the global novel's relationship to collective life have often adapted the ideas of Benedict Anderson in order to suggest that contemporary fiction extends “imagined community” from the nation to the globe. Yet political theorists such as Wendy Brown have shown how global economic integration under neoliberalism comes at the price of national social disintegration. In search of a collective imaginary outside the terms of global integration and nationalist resurgence, this article looks to the 1930s (rather than 1990s) as an origin point for global fiction, finding in “British” works attuned to the disintegration of the liberal world-system a model of fiction's agency relevant for neoliberal times. Works by Mulk Raj Anand, Virginia Woolf, and, later, Zadie Smith respond to social and political disintegration by insisting upon fiction's capacity to gather together a disparate audience; and they suggest how gatherings afford an unbounded, eventual, and non-sovereign arrangement of collective life within the ruins of global modernity.

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Fernández, Richard Jorge. "Guilt, Greed and Remorse: Manifestations of the Anglo-Irish Other in J. S. Le Fanu’s “Madame Crowl’s Ghost” and “Green Tea”." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 2 (2020): 233–51. http://dx.doi.org/10.28914/atlantis-2020-42.2.12.

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Monsters and the idea of monstrosity are central tenets of Gothic fiction. Such figures as vampires and werewolves have been extensively used to represent the menacing Other in an overtly physical way, identifying the colonial Other as the main threat to civilised British society. However, this physically threatening monster evolved, in later manifestations of the genre, into a more psychological, mind-threatening being and, thus, werewolves were left behind in exchange for psychological fear. In Ireland, however, this change implied a further step. Traditional ethnographic divisions have tended towards the dichotomy Anglo-Irish coloniser versus Catholic colonised, and early examples of Irish Gothic fiction displayed the latter as the monstrous Other. However, the nineteenth century witnessed a move forward in the development of the genre in Ireland. This article shows how the change from physical to psychological threat implies a transformation or, rather, a displacement—the monstrous Other ceases to be Catholic to instead become an Anglo-Irish manifestation. To do so, this study considers the later short fictions of Joseph Sheridan Le Fanu and analyses how theDublin-born writer conveys his postcolonial concerns over his own class by depicting them simultaneously as the causers of and sufferers from their own colonial misdeeds.

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Leps, Marie-Christine. "Terror-Time in Network-Centric Battlespace: DeLillo’s Later Fiction." Canadian Review of American Studies 45, no. 3 (2015): 400–429. http://dx.doi.org/10.3138/cras.2015.s13.

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Ongiri, Amy Abugo. "James Baldwin's Later Fiction: Witness to the Journey (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 763–65. http://dx.doi.org/10.1353/mfs.2004.0080.

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15

Henderson, Kathleen Burk. "Hera Consciousness: Narrating Strategies in Caroline Gordon's Later Fiction." Logos: A Journal of Catholic Thought and Culture 1, no. 4 (1998): 104–44. http://dx.doi.org/10.1353/log.1998.0003.

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Proudfit, Molly. "Sorting Fact from Fiction." American Biology Teacher 82, no. 8 (2020): 542–44. http://dx.doi.org/10.1525/abt.2020.82.8.542.

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The purpose of the proposed lesson is to help students develop media literacy skills, which are necessary across the curriculum and in students’ everyday lives. Students will do so by evaluating a provided conspiracy theory and, later, a pseudoscience claim (alternatively, students may supply either material). In order to thoroughly evaluate the claim, students will generate and answer media literacy questions, with instructor or peer support as needed. Once students have practiced using the media literacy questions to evaluate the conspiracy theory, they will progress to more challenging material, such as a pseudoscience claim about a fad diet. Finally, the instructor may choose to extend the lesson to allow students time to apply their media literacy skills to a curricular pseudoscience claim, perhaps regarding climate change or the efficacy of vaccines. To complete the lesson, students will reflect on the content of the claims, why the misinformation matters, and the process of evaluating the material to draw appropriate conclusions.

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Park, Sunyoung. "Between Science and Politics: Science Fiction as a Critical Discourse in South Korea, 1960s–1990s." Journal of Korean Studies 23, no. 2 (2018): 347–67. http://dx.doi.org/10.1215/21581665-6973354.

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AbstractA positivist vision of science fiction as a discourse closely bound to science and technology has been influential in South Korea ever since the first flourishing of the genre in the 1960s. Using that normative vision as a reference, the present essay investigates the ways in which select science-fictional texts have actually represented the technoscientific enterprise in South Korea in the period spanning the 1960s through the 1990s. As the analysis suggests, the heyday of positivist-oriented science fiction in the country was largely limited to the 1960s, which was a time when Koreans looked keenly upon science for its utopian promise of development and modernization for the nation. As later years brought dictatorship and forced industrialization, however, a marked shift toward dystopia and social protest became evident in cultural texts that critically depicted technoscience and modernization as tools of oppression rather than as progress and liberation. The historical existence of this more critical vein of science fiction, it is argued, attests to the genre’s hitherto underappreciated potential for fruitful engagement with the political and social challenges of modernization both globally and within South Korea’s technologically saturated society.

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SAVVAS, THEOPHILUS. "The Other Religion of Isaac Bashevis Singer." Journal of American Studies 52, no. 3 (2017): 660–81. http://dx.doi.org/10.1017/s0021875817000445.

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This essay analyses the later fiction of Nobel Prize-winning writer Isaac Bashevis Singer through the prism of his vegetarianism. Singer figured his adoption of a vegetarian diet in 1962 as a kind of conversion, pronouncing it a “religion” that was central to his being. Here I outline Singer's vegetarian philosophy, and argue that it was the underlying ethical precept in the fiction written after the conversion. I demonstrate the way in which that ethic informs the presentation of both Judaism and women in Singer's later writings. The piece concludes with the suggestion that this vegetarian ethic was the mainspring of the critique of humanism found in Singer's final novels.

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Cărbunariu, Gianina, and Bonnie Marranca. "The Reality of Fiction." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.

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In the last decade, the playwright and director Gianina Cărbunariu has become one of the prominent young voices in contemporary European theatre. Mihaela, the Tiger of Our Town, which premiered at the Royal Dramatic Theatre in Stockholm, will be performed at the 2016 Avignon festival by Sweden's Jupither Josephsson Company. Other plays include Stop the Tempo, For Sale, Typographic Letters, Solitarity, Metro is Everywhere, and mady-baby.edu (later titled Kebab). The plays have been translated into more than fifteen languages, and they have been performed in Romanian cities and in theatres across Europe, in Berlin, Munich, Paris, Madrid, Brussels, Vienna, Athens, Warsaw, Budapest, Dublin, and elsewhere in Moscow, Istanbul, Santiago de Chile, New York, and Montreal. Cărbunariu has had residencies at the Lark Theatre in New York and London's Royal Court. Her plays and productions have received numerous awards in Romania and in Canada. She is a founding member of the dramAcum independent theatre group in Bucharest. This interview was taped in New York City on December 19, 2015.

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20

Howells, Coral Ann. "Atwood’s Reinventions: So Many Atwoods." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 1 (2020): 15–28. http://dx.doi.org/10.4312/elope.17.1.15-28.

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In The Malahat Review (1977), Canadian critic Robert Fulford described Margaret Atwood as “endlessly Protean,” predicting “There are many more Atwoods to come.” Now at eighty, over forty years later, Atwood is an international literary celebrity with more than fifty books to her credit and translated into more than forty languages. This essay focuses on the later Atwood and her apparent reinvention since 2000, where we have seen a marked shift away from realistic fiction towards popular fiction genres, especially dystopias and graphic novels. Atwood has also become increasingly engaged with digital technology as creative writer and cultural critic. As this reading of her post-2000 fiction through her extensive back catalogue across five decades will show, these developments represent a new synthesis of her perennial social, ethical and environmental concerns, refigured through new narrative possibilities as she reaches out to an ever-widening readership, astutely recognising “the need for literary culture to keep up with the times.”

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Moore, Tara. "STARVATION IN VICTORIAN CHRISTMAS FICTION." Victorian Literature and Culture 36, no. 2 (2008): 489–505. http://dx.doi.org/10.1017/s1060150308080303.

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It may seem that Christmas literature, with its glorified descriptions of overflowing tables and conviviality, has no place in a discussion of that other extreme, starvation. However, much of the nineteenth-century literature containing narratives of Christmas speaks directly to national fears of famine. Starvation entered the print matter of Christmas first as part of a social argument and later as a concern for the abiding national identity that had become intertwined with Christmas itself and, more symbolically, Christmas fare. Writers including Charles Dickens, Benjamin Farjeon, Augustus and Henry Mayhew, the creators of Punch, and Mary Elizabeth Braddon authored Christmas pieces that showcase literary reactions to the developing issues of hunger throughout their century. This essay offers an overview of the treatment of starvation in the Christmas literature of the nineteenth century.

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22

Stern, Frederick C. "Heller's Hell: Heller's Later Fiction, Jewishness, and the Liberal Imagination." MELUS 15, no. 4 (1988): 15. http://dx.doi.org/10.2307/466984.

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23

Nickel, Terri, and George E. Haggerty. "Unnatural Affections: Women and Fiction in the Later 18th Century." Tulsa Studies in Women's Literature 18, no. 1 (1999): 115. http://dx.doi.org/10.2307/464350.

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Kaufmann, Stefan HE. "Fact and fiction in tuberculosis vaccine research: 10 years later." Lancet Infectious Diseases 11, no. 8 (2011): 633–40. http://dx.doi.org/10.1016/s1473-3099(11)70146-3.

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Di Fuccia, Michael Vincent. "A Metaphysical Appreciation of C.S. Lewis and Owen Barfield’s ‘Great War’." Literature and Theology 34, no. 3 (2020): 347–62. http://dx.doi.org/10.1093/litthe/fraa002.

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Abstract The recent publication of the renowned ‘great war’ letters between Inklings C.S. Lewis and Owen Barfield has reinvigorated scholarly discussion regarding their respective views on the ‘truthfulness of the imagination’. However, in focusing primarily on their epistemological differences and rarely considering the high view Lewis affords the imagination in his fiction, analyses of the ‘great war’ tend to over-accentuate Lewis and Barfield’s differences. A metaphysical appreciation sheds fresh light on the ‘great war’, casting a more Barfield-friendly Lewis whose shared high view of the imagination is more in line with that of his fiction and later non-fiction.

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Boisen, Jørn. "Un autre genre d’antimémoires." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 45, no. 2 (2010): 234–46. http://dx.doi.org/10.1075/rro.45.2.04boi.

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One of the main characteristics of Romain Gary is the constant attempt to transgress the boundaries between life and fiction. His autobiographic texts are as a rule highly fictitious. On the other hand, in real life, he tried to live out a fiction written for him by his mother and, later on, by himself. The ambivalence of the relation between fiction and truth characterizes all of his books, but it is particularly interesting in his attempts at the autobiographical genre where it reveals a quite original understanding of human identity, and the dialectics of memory and forgetting,

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Spies, Marijke. "'Poeetsche fabrijcken' en andere allegorieën, eind 16de-begin 17de eeuw." Oud Holland - Quarterly for Dutch Art History 105, no. 4 (1991): 228–43. http://dx.doi.org/10.1163/187501791x00137.

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AbstractThe French poets of the 15th and 16th centuries (the 'rhétoriqueurs') attached importance to 'poetrie' in the sense of fiction- primarily mythological fiction. This view was adopted by rhetoricians in the South Netherlands (De Castelein), where early Renaissance poets subsequently invested mythological 'poetrie' with a neo-platonic theory of inspiration (De Heere). There was however some resistance to this kind of 'poetic' rendering in the North Netherlands, as well as to the allegorical interpretation directly linked with it (Coornhert). There was a twofold reason for this: the Reformatory rejection of allegorical bible interpretation, and the general humanist respect for the literal meaning of texts. Consequently, a different kind of poetry emerged which was more rhetorically argumentative than artistically fictional. Only later Van Mander was to introduce firmly the neo-platonic interpretation of myths, about which he entered into discussion with H. L. Spiegel, a friend of Coornhert's and a leading light in De Eglentier, the Amsterdam chamber of rhetoric.

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Ballesteros Roselló, Fernando J., and Eusebio V. Llácer Llorca. "Poe: corazón científico. Los antecedentes de la ciencia ficción." Mètode Revista de difusió de la investigació, no. 5 (April 16, 2015): 97. http://dx.doi.org/10.7203/metode.0.3480.

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When we talk about the origins of science fiction and literature, the names Herbert G. Wells or Jules Verne immediately come to mind, indeed these prolific late nineteenth-century authors inspired later generations. However, few take account of Edgar Allan Poe, an author from the beginning of that century who inspired the aforementioned authors. In fact, if Verne and Wells were the fathers of science fiction, then Poe was undoubtedly the grandfather.

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Vilches, Patricia. "Alberto Blest Gana: 100 Years Later." Open Cultural Studies 5, no. 1 (2021): 3–15. http://dx.doi.org/10.1515/culture-2021-0003.

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Abstract Blest Gana at 100 is a special edition for Open Cultural Studies. Alberto Blest Gana was a Chilean writer who wore many hats during his long life, dying in 1920 at the age of 90. One of the most prominent authors of nineteenth-century Chile and Latin America, he went to military school and later held political and diplomatic appointments, all of which caused him to travel and live abroad. In fact, nel mezzo del cammin of his life, Blest Gana transferred to Europe and eventually settled in Paris, never to return to his country of birth. His fiction and non-fiction conveyed a vast array of experiences and insights from his life in Chile and overseas. To commemorate the 100 years since his death, contributors to Blest Gana at 100 approach his oeuvre from innovative and fresh scholarly angles and thus generate new perspectives on the Chilean author’s most celebrated texts, such as Martín Rivas and El ideal de un calavera. They also examine the early days of his literary career; revisit critical scholarship on Blest Gana from the past; bring less explored texts, such as Mariluán and Los Trasplantados (the latter written and published in Paris) to the foreground; research the background to his work as a columnist and discover the extent to which it informed his literary career; and examine the urban social practices in Blest Gana’s award-winning novel La aritmética en el amor. From these analyses, we hope to foster an ongoing conversation of lively and invigorating Blest Gana scholarship.

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Gadpaille, Michelle. "Elementary Ratiocination: Anticipating Sherlock Holmes in a Slovene Setting." ELOPE: English Language Overseas Perspectives and Enquiries 11, no. 1 (2014): 67–82. http://dx.doi.org/10.4312/elope.11.1.67-82.

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The paper reevaluates an obscure, German-language crime novel from the nineteenth century and its better-known English translation: Carl Adolf Streckfuss’s Das einsame Haus: nach den Tagebüchern des Herrn Professor Döllnitz: Roman (1888), translated as The Lonely House (1907). Although written in German by an author from Berlin, the novel is set on the territory of Slovenia. The paper situates the novel geographically and historically, while considering its place in the developing genres of crime and later detective fiction. Moreover, the novel’s depiction of intraethnic tension in the Slovenian village where the crime occurs will be shown to reflect the ethnic tensions on the frontiers of Austro-Hungarian territory, and to align with later trends in English detective fiction towards the use of ethnic taxonomies in constructing and solving crime.

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Glover, David. "‘Why White?’: On Worms and Skin in Bram Stoker's Later Fiction." Gothic Studies 2, no. 3 (2000): 346–60. http://dx.doi.org/10.7227/gs.2.3.6.

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Pike, Elizabeth C. J. "The role of fiction in (mis)representing later life leisure activities." Leisure Studies 32, no. 1 (2012): 69–87. http://dx.doi.org/10.1080/02614367.2012.727458.

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Sun, Liying, and Michel Hockx. "Dangerous Fiction and Obscene Images." Prism 16, no. 1 (2019): 33–61. http://dx.doi.org/10.1215/25783491-7480325.

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Abstract The magazine Meiyu 眉語 (Eyebrow Talk), published from 1914 to 1916 and edited by Gao Jianhua 高劍華, was China's first literary magazine edited by a woman and targeted at a female audience. It was also the first modern magazine to pay extensive attention to nudity and to physical and romantic intimacy through at times carefully considered juxtapositions of texts and images. In addition, it was the first Chinese magazine to be banned on the basis of obscenity legislation introduced during the early Republic. The committee that banned Meiyu was led by Zhou Shuren 周樹人, who later became known as the author Lu Xun 魯迅, and his disparaging reminiscence about Meiyu caused the magazine to be all but forgotten for nearly a century. In this article, the authors use a wide variety of archival material to reconstruct the complex publishing history of the magazine, as well as the processes and cultural standards involved in its banning. This is followed by a close analysis of aspects of the contents of Meiyu, especially the interaction between texts and images in the representation of nudity, intimacy, and coupledom.

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Colăcel, Onoriu. "Edibles and Other Offerings to Readers: The Politics of Gender and Food in Narrative Fiction." Messages, Sages and Ages 3, no. 2 (2016): 70–74. http://dx.doi.org/10.1515/msas-2016-0017.

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Abstract From the perspective of an apparently absent author, the rhetorical commonplaces of womanhood and nourishment are mentioned in the novels of Margaret Atwood, The Edible Woman (1969), and of Jillian Medoff, Hunger Point (2002). Although traditionally relegated to contextualizing devices, the unfolding of events makes a riddle out of cooking and eating for the purpose of dramatic effect. Reporting on what might come across as domestic chores points to the topicality of food intake as well as to all the drama eating disorders entail. In the background of events, the ‘whodunit’ and the ‘kitchen sink drama’ come together into one unlikely story. The benefits of hindsight make it possible to argue that celebrated feminist novels of the past century, i.e. The Edible Woman, provided later 21st century fiction, i.e. Hunger Point, with something more than narrative emphasis on binary gender relations. I find that the gender-roles debate, as recorded in Atwood’s work, gained enough cultural momentum to prove the ready availability of the image of the nurturing female throughout the 20th century and beyond. As far as feminist fictions are concerned, over/under-feeding is always somewhere in the background, if not what drives the plot forward. Commonly, distress among fictional characters, mostly women, is linked to body weight and dieting in ways that threaten to relegate, possibly once and for good, the notions of women and food to the realm of melodrama, as it is the case with Hunger point.

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Foster, Shirley. "Flannery O'Connor's Short Stories: The Assault on the Reader." Journal of American Studies 20, no. 2 (1986): 259–72. http://dx.doi.org/10.1017/s002187580001505x.

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Writing in her autobiography about Southern fiction at the turn of the century, Ellen Glasgow argued that it needed more violence and toughness to counteract its tendency towards “insidious” sentimentality; as she defined it later, such literature could be redeemed only by “Blood and irony.” Nearly fifty years later, she might have been gratified to see how a fellow Southern woman writer had answered this need. Violence and irony are endemic in O'Connor's short stories, which depict brutality, physical abuse, murder, and betrayal perpetrated by characters who are often termed “grotesques” –physical freaks, idiots, and maniacs. But they owe their striking impact not only to the violence which they embody in terms of character and event, but also to the violence which they enact on the reader. They implement a shock technique, dependent not so much on the nature of the fictional material, whose horrorsare objectified by a skilfully controlled comic/ironic tone, as on exploitation of the reader's preconceptions.The disjunctions of the stories, which "work," in O'Connor's words, by portraying "an action that is totally unexpected,"are reproduced in the reader's subjection to an abrupt shattering of expectation, producing a profound sense of unease or bewilderment. Thus the most exceptional and original aspect of the violence in O'Connor's fiction is found in its manipulative relationship with the audience who,as one critic has expressed it, may feel "cheated,"4 not to say victimized,by the author's mocking tyranny.

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Kuzmičová, Anežka, Theresa Schilhab, and Michael Burke. "m-Reading: Fiction reading from mobile phones." Convergence: The International Journal of Research into New Media Technologies 26, no. 2 (2018): 333–49. http://dx.doi.org/10.1177/1354856518770987.

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Mobile phones are reportedly the most rapidly expanding e-reading device worldwide. However, the embodied, cognitive and affective implications of smartphone-supported fiction reading for leisure (m-reading) have yet to be investigated empirically. Revisiting the theoretical work of digitization scholar Anne Mangen, we argue that the digital reading experience is not only contingent on patterns of embodied reader–device interaction (Mangen, 2008 and later) but also embedded in the immediate environment and broader situational context. We call this the situation constraint. Its application to Mangen’s general framework enables us to identify four novel research areas, wherein m-reading should be investigated with regard to its unique affordances. The areas are reader–device affectivity, situated embodiment, attention training and long-term immersion.

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HUTCHINSON, DARREN. "I Bury the Dead: Poe, Heidegger, and Morbid Literature." PhaenEx 7, no. 1 (2012): 195. http://dx.doi.org/10.22329/p.v7i1.3370.

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This essay investigates the way in which dying and dead bodies resist poetic incorporation and the way in which such bodies can be fugitively attested to through fictive prose. It examines Heidegger's treatment of dead and dying bodies from Being and Time to his later work on poetry and language, and it offers as a counterpoint another mode of addressing these bodies found in the fiction of Poe. It also shows how even the poetry of Trakl, heralded by Heidegger as an exemplar of poetic address, can be fruitfully understood in prosaic terms, terms which more faithfully reveal both the content of his poetry itself as well as the true nature of the wounds of dying life.

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Lewandowsky, Stephan, Werner G. K. Stritzke, Klaus Oberauer, and Michael Morales. "Memory for Fact, Fiction, and Misinformation." Psychological Science 16, no. 3 (2005): 190–95. http://dx.doi.org/10.1111/j.0956-7976.2005.00802.x.

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Media coverage of the 2003 Iraq War frequently contained corrections and retractions of earlier information. For example, claims that Iraqi forces executed coalition prisoners of war after they surrendered were retracted the day after the claims were made. Similarly, tentative initial reports about the discovery of weapons of mass destruction were all later disconfirmed. We investigated the effects of these retractions and disconfirmations on people's memory for and beliefs about war-related events in two coalition countries (Australia and the United States) and one country that opposed the war (Germany). Participants were queried about (a) true events, (b) events initially presented as fact but subsequently retracted, and (c) fictional events. Participants in the United States did not show sensitivity to the correction of misinformation, whereas participants in Australia and Germany discounted corrected misinformation. Our results are consistent with previous findings in that the differences between samples reflect greater suspicion about the motives underlying the war among people in Australia and Germany than among people in the United States.

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Carbonell, Curtis D. "Answering Lovecraft: Clive Barker’s embodied fiction." Horror Studies 12, no. 1 (2021): 97–117. http://dx.doi.org/10.1386/host_00031_1.

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This article asks how Clive Barker responds to H. P. Lovecraft as a horror writer. It sees in Barker a particular example of how cosmic horror emerges, even as expected Gothic tropes become renewed with interesting variations. In particular, it foregrounds a resistance by Barker to Lovecraft’s insistence that the Weird be a place where writers hint at the monsters that cause ultimate dread rather than drawing them. Barker, though, refuses to balk at such a demand, channelling the same instinct that the later Lovecraft himself developed in categorizing with scientific-like granularity the often horrific particulars of the monstrous. This article poses the Cenobites as a fitting example of how Barker combines cosmic and Gothic tropes, both within the frames of the posthuman and draconic, even as they morphed within a shared universe rooted in a Christianized metanarrative. It focuses on The Scarlet Gospels as the most fitting text in which Barker demonstrates his ability to represent the unrepresentable, a dominant concept within fruitful theorizing by thinkers as diverse as Eugene Thacker, Graham Harman and Thomas Ligotti.

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Ponchon, Catherine. "De la fiction d’une absence à l’autofiction d’une présence : l’écriture de la mort de la mère dans l’œuvre de Jorge Semprun." Quêtes littéraires, no. 1 (December 30, 2011): 101–10. http://dx.doi.org/10.31743/ql.4650.

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“Night has enshrouded my childhood” write Jorge Semprun. Civil War and exile have erased any trace of the childhood he spent in Madrid. What was left to the writer were only flashes of memory and an old picture of his mother. Jorge Semprun was eight years of age when his mother died of septicemia. Through writing, thirty years later, he was able to evoke her death, but how was he to tell about her absence? Between fiction and reality, five of Jorge Semprun’s novels recreate his childhood. His mother will first of all be an absence or an implicit presence behind his relating the city of his childhood. Having set the scene, ghostly characters whose identities are undefined but whose discourses become more and more outlined will appear. The mother will become a nostalgic absence. Her features, her character will be sketched out. Jorge Semprun will move forward hiding behind the multiple identities of his characters and the freedom which fiction provides him. It will be up to the last character, a fictive double of the writer, to find the last traces of a mother who has turned into a haunting presence.

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Jackson, Andrew J. H. "Conceptualising place in historical fact and creative fiction: rural communities and regional landscapes in Bernard Samuel Gilbert’s ‘Old England’ (c. 1910–1920)." Rural History 31, no. 2 (2020): 195–209. http://dx.doi.org/10.1017/s0956793319000359.

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Abstract The theme of place guides much exploration in rural history and local history. Attempts have been made to create definitions and typologies of place, but these have had to contend with the diverse, complex and dynamic realities of historical pattern and process, local and regional. Nonetheless, historians and those in other disciplines have evolved different approaches to the concept. This study considers how these can inform the investigation of places existing in historical fact in particular periods in the past, and can do similarly for those places located contemporaneously in fictional constructions. Reference is made to various academic writings on place, including by the local historian, David Dymond. The analysis takes the work of the author of fiction, Bernard Samuel Gilbert. Gilbert, although relatively obscure now, incorporated a feature of special note into his later literary output, and one meriting greater attention. This was his personalised, reflective and explicitly articulated approach to forming and expressing place. Moreover, Gilbert’s ‘Old England’, with its imaginary district of 'Bly', can be recognised as corresponding to landscapes and communities existing more broadly in the years up to and through the First World War, and with creations by other authors of regional fiction.

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Barceló, Miquel. "Novel·les de ciència. La ciència i la tecnologia en la literatura." Mètode Revista de difusió de la investigació, no. 5 (April 16, 2015): 83. http://dx.doi.org/10.7203/metode.0.3731.

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Most literature frequently ignores the essential role that science and modern technology play in shaping current societies and how we live in them. Around 150 years ago, Jules Verne started to become aware of the need to actively include science and technology in modern narratives. He named it «the science novel». Later, the literary genre of science fiction seemed to reach the point which Jules Verne’s science novel had pioneered. In this regard, science fiction posits itself as a suitable narrative to learn about the future, as it describes worlds which are possible due to science and technology.

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Nestor, Deborah J. "Virtue Rarely Rewarded: Ideological Subversion and Narrative Form in Haywood's Later Fiction." Studies in English Literature, 1500-1900 34, no. 3 (1994): 579. http://dx.doi.org/10.2307/450883.

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GOONETILLEKE, D. C. R. A. "Paul Scott's Later Novels: The Unknown Indian." Modern Asian Studies 41, no. 4 (2007): 797–847. http://dx.doi.org/10.1017/s0026749x06002381.

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The Raj Quartet is a novel in which Scott has transmuted contemporary history into fiction—the many forces at work in India over a period of five years, from the ‘Quit India’ motion of the Congress Committee in 1942 to the eve of Independence and Partition. Deeper than Scott's interest in history and politics, however, is his aim to probe the nature of human destiny, conveying a philosophy of life that shows man's destiny and moral sense sometimes at variance. He also focuses an ordinary human point of view on the world around him, valuing integrity and decency. Staying On is not a political or historical novel, although its background has political implications. It focuses mainly on problems relating to personal destiny. Scott's later novels constitute a major achievement in colonial, indeed, all, literature.

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Штейнбук, Фелікс. "АРХЕТИПНЕ ПІДҐРУНТЯ І ПОЕТИКА ПОВТОРЕННЯ У ЗИМОВІЙ ПОВІСТІ ОЛЕСЯ УЛЬЯНЕНКА". Studia Ukrainica Posnaniensia 8, № 2 (2020): 141–49. http://dx.doi.org/10.14746/sup.2020.8.2.11.

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Unlike many previous ones which contained authors’ socially conditioned interpretations of Oles Ulianenko’s works, the article suggests an original, poetically determined, psychoanalytical reading of Zymova povist. As a result, the conclusion is that in this short but aesthetically powerful work of fiction of unclear genre, plot and theme, the Ukrainian author offers a concentrated, concise presentation of polysemous and expressive archetype images, which are obviously connected with social-historical, moral-ethical, and philosophical subject matter which found its in-depth representation in his later literary work. Above all, however, in this particular work of fiction, Ulianenko depicts how death is defeated by repeated victory.

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Oziewicz, Marek. "Bloodlands Fiction: Cultural Trauma Politics and the Memory of Soviet Atrocities inBreaking Stalin's Nose,A Winter's Day in 1939andBetween Shades of Gray." International Research in Children's Literature 9, no. 2 (2016): 146–61. http://dx.doi.org/10.3366/ircl.2016.0199.

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The field of trauma theory emerged in the 1990s out of the confluence of psychoanalysis, deconstruction and Holocaust studies. It soon consolidated into a trauma paradigm with hegemonic pretensions, which was ill-equipped to recognise traumatic experiences of non-Western and postcolonial groups or nations. It likewise tended to dismiss from trauma fiction any narratives that deviated from the aporetic model of normative trauma aesthetic. These limitations were exposed by the postcolonial turn in history and memory studies, which made it incumbent upon trauma theory to expand its focus to other literatures that bear witness to the so-far neglected, minoritarian trauma traditions. This essay introduces one such tradition, which is the recently emerged body of historical fiction about Soviet deportations, atrocities, genocide and other forms of persecution meant to subdue or eliminate entire ethnic or national groups in Eastern Europe between 1930 and the late 1950s. The genre of Bloodlands fiction, as I have called it elsewhere,1first exploded in national literatures of Eastern Europe in the mid-1990s, after fifty years of suppression of cultural memory under the Communist regimes. About a decade later works of Bloodlands fiction became available in English, often written by diaspora authors. Starting with a challenge to the conventional definition of trauma fiction, this essay argues for a wider model that accommodates genres including Bloodlands fiction. Readings of Breaking Stalin's Nose (2013) by Russian American Eugene Yelchin, A Winter's Day in 1939 (2013) by Polish New Zealander Melinda Szymanik and Between Shades of Gray (2011) by Lithuanian American Ruta Sepetys are used to illustrate some of the key features, textual strategies and cognitive effects of Bloodlands fiction as a genre of global trauma fiction.

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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 (2014): 145–63. http://dx.doi.org/10.1075/babel.60.2.02sep.

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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.

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Mirenayat, Sayyed Ali, Ida Baizura Bahar, Rosli Talif, and Manimangai Mani. "Beyond Human Boundaries: Variations of Human Transformation in Science Fiction." Theory and Practice in Language Studies 7, no. 4 (2017): 264. http://dx.doi.org/10.17507/tpls.0704.04.

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Science Fiction is a literary genre of technological changes in human and his life; and is full of imaginative and futuristic concepts and ideas. One of the most significant aspects of Science Fiction is human transformation. This paper will present, firstly, an overview on the history of Science Fiction and some of the most significant sci-fi stories, and will also explore the elements of human transformation in them. Later, it will explain the term of transhumanism as a movement which follows several transformation goals to reach immortality and superiority of human through advanced technology. Next, the views by a number of prominent transhumanists will be outlined and discussed. Finally, three main steps of transhumanism, namely transhuman, posthuman, and cyborg, will be described in details through notable scholars’ views in which transhuman will be defined as a transcended version of human, posthuman as a less or non-biological being, and cyborg as a machine human. In total, this is a conceptual paper on an emerging trend in literary theory development which aims to engage critically in an overview of the transformative process of human by technology in Science Fiction beyond its current status.

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Maguire, Muireann. "Aleksei N. Tolstoi and the Enigmatic Engineer: A Case of Vicarious Revisionism." Slavic Review 72, no. 2 (2013): 247–66. http://dx.doi.org/10.5612/slavicreview.72.2.0247.

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In this article, Muireann Maguire examines the cultural construction of the trope of the engineer-inventor in Russia during the 1920s and 1930s, focusing on the changing representation of this archetype in three science fiction novels by Aleksei Tolstoi: Aelita (1922-23), Soiuzpiati (The Gang of Five, 1925), and Giperboloid inzhenera Garina (Engineer Garin's Death Ray, 1925-26). Tolstoi's fiction portrays engineers as misguided and self-centred at best and as amoral, megalomaniacal, and irredeemably un-Soviet at worst. This increasingly negative portrayal of the engineers in these novels, and in their later redactions and cinema versions, helped to prepare the way for the alienation of engineer and technical specialist within Soviet society, providing cultural justification for Iosif Stalin's show trials and purges of both categories in the 1930s. Tolstoi's alienation of the engineer-inventor, the traditional hero of early Soviet nauchnaia fantastika (science fiction), prefigured the occlusion of science fiction as a mainstream literary genre. As a trained engineer, former aristocrat, and returned émigré whose own status in Soviet Russia was deeply compromised, Tolstoi's literary demonization of engineers effectively purchased his own acceptance within the Stalinist literary hierarchy.

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Agho, Jude Aigbe. "Resistance, Liberation, and Aesthetics in the Early Novels of Alex La Guma." Matatu 48, no. 1 (2016): 7–18. http://dx.doi.org/10.1163/18757421-04801002.

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Alex La Guma, the late South African Coloured novelist and short-story writer, died in exile in Cuba in 1985. Until his death, he was clearly the most ambitious novelist in South Africa of the apartheid era. Even while he was in exile, he kept in touch with the momentum of the anti-apartheid struggle, which culminated in the abrogation of apartheid and the attainment of independence with the ascendance of Nelson Mandela as South Africa’s first non-white president in 1994. Resistance and liberation are unmistakably the credos enshrined in La Guma’s fiction. But these thematic preoccupations did not distract him from his calling as a consummate writer who also needed to pay particular attention to the dictates of the art of fiction in his novels and short stories. Thus, in his fiction we find a true blend or matrix of resistance, liberation, and aesthetics. This essay sets out to unravel the trajectory of La Guma’s depiction of this matrix in some of his early novels which, by and large, could be said to have anticipated the revolutionary imperatives of his later fiction.

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Journal articles on the topic 'Later fiction'

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