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Journal articles on the topic 'Literary fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

POPA, Alexandru. "Fiktion´ und Fiktionen. Einige Beobachtungen zu terminologischen und sachlichen Unklarheiten in literaturtheoretischem und -wissenschaftlichem Kontext." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (2022): 27–38. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.2.

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The following article discusses some issues regarding the use of the terms ‘fiction’, ‘fictionality’, ‘fictive’ and ‘fictional’ with regard to fictions and fictional expressions or texts. The main concern of this text is to indicate the fact, that ‘fiction’ and fictions are used and treated with a certain amount of ambiguity. It is the case when literature and literary worlds are discussed both in a general context and in scholarly treatment of these issues. Relevant terminological distinctions exist. Still, their use to name their corresponding referents lacks a certain consequence.

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2

Mikkonen, Jukka. "Sutrop on literary fiction-making: defending Currie." Disputatio 3, no. 28 (2010): 309–15. http://dx.doi.org/10.2478/disp-2010-0004.

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Abstract In her study Fiction and Imagination: The Anthropological Function of Literature (2000), Margit Sutrop criticizes Gregory Currie’s theory of fiction-making, as presented in The Nature of Fiction(1990), for using an inappropriate conception of the author’s ‘fictive intention.’ As Sutrop sees it, Currie is mistaken in reducing the author’s fictive intention to that of achieving a certain response in the audience. In this paper, I shall discuss Sutrop’s theory of fiction-making and argue that although her view is insightful in distinguishing the illocutionary effect and the perlocutionar

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Wieland, Nellie. "Escaping Fiction." Croatian journal of philosophy 24, no. 70 (2024): 81–96. http://dx.doi.org/10.52685/cjp.24.70.6.

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In this paper I argue that a norm of literary fiction is to compel the reader to form beliefs about the world as it is. It may seem wrong to suggest that the reason I believe p is because I imagined p, yet literary fiction can make this the case. I argue for an account grounded in indexed doxastic susceptibilities mapped between a fictional context and the particular properties of a reader, more specifically the susceptibilities in her beliefs, attitudes, and psychological states. Works of fiction can be about different things at the same time, some of which are fictive and some of which are f

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Cools, Arthur. "Reading for Opacity and the Cognitive Value of Literary Fiction." Aesthetic Investigations 3, no. 1 (2019): 130–45. http://dx.doi.org/10.58519/aesthinv.v3i1.11958.

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 This article addresses the question of the cognitive value of literary fiction starting from Peter Lamarque’s opacity thesis. My intention is to articulate the cognitive value of literary fiction in accordance with the opacity thesis avoiding the pitfall of formalism to which the opacity thesis risks to be reduced. In a first part, I examine Lamarque’s opacity thesis and discuss the problems of the distinction between opacity and transparency in case of literary fiction. In a second part, I thematize the reader’s interest in reading literary fiction and I analyze it in terms of an inter

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Cools, Arthur. "Reading for Opacity and the Cognitive Value of Literary Fiction." Aesthetic Investigations 3, no. 1 (2019): 130–45. https://doi.org/10.5281/zenodo.4067771.

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This article addresses the question of the cognitive value of literary fiction starting from Peter Lamarque’s opacity thesis. My intention is to articulate the cognitive value of literary fiction in accordance with the opacity thesis avoiding the pitfall of formalism to which the opacity thesis risks to be reduced. In a first part, I examine Lamarque’s opacity thesis and discuss the problems of the distinction between opacity and transparency in case of literary fiction. In a second part, I thematize the reader’s interest in reading literary fiction and I analyze it in terms

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6

Bakker, Barbara, and Nejood Al-Rubaey. "Climate change and ecological literacy in Ghassān Shibārū’s climate fiction novel "2022"." Journal of Arabic and Islamic Studies 23, no. 1 (2023): 17–43. http://dx.doi.org/10.5617/jais.10371.

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Climate change has been attracting increasing attention as one of the most significant consequences of the anthropogenic global warming and fictional narratives have increasingly been involved in engaging human imagination on the topic of climate change. Climate fiction, or cli-fi, is the umbrella term that designates fiction with climate change as its main theme. Climate fiction has been primarily published in English so far and narratives specifically problematising anthropogenic climate change are still quite rare in the Arabic literary landscape. In this regard, the novel 2022 by the Leban

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7

Orlando, Eleonora. "Fictional Names and Literary Characters: A Defence of Abstractism." THEORIA. An International Journal for Theory, History and Foundations of Science 31, no. 2 (2016): 143. http://dx.doi.org/10.1387/theoria.15193.

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This paper is focused on the abstractist theory of fiction, namely, the semantic theory according to which fictional names refer to abstract entities. Two semantic problems that arise in relation to that position are analysed: the first is the problem of accounting for the intuitive truth of typically fictive uses of statements containing fictional names; the second is the one of explaining some problematic metafictive uses, in particular, the use of intuitively true negative existentials.

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8

Bawardi, Basiliyus. "First Steps in Writing Arabic Narrative Fiction: The Case of Hadīqat al-Akhbār." Die Welt des Islams 48, no. 2 (2008): 170–95. http://dx.doi.org/10.1163/157006008x335921.

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AbstractThis study tracks the significant literary activity of the Beirut newspaper Hadīqat al-Akhbār (1858-1911) in its first ten years. A textual examination of the newspaper reveals that Khalīl al-Khūrī (1836-1907), a central figure of the nahda and the owner of Hadīqat al-Akhbār, believed that an adoption of a new Western literary genre into the traditional Arabic literary tradition would provide the Arab culture with tools for reviving the Arabic language and create new styles of expression. The textual analysis of numerous narrative fictions that were published in the newspaper demonstra

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9

Zhang, Richard, and Duri Long. "Beyond Content: Leaning on the Poetics of Defamiliarization in Design Fictions." Proceedings of the ACM on Human-Computer Interaction 9, GROUP (2025): 1–19. https://doi.org/10.1145/3701184.

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Literary approaches to design fictions, though previously theorized to be diverse in form and content, often fall within narrow stylistic and content boundaries such as speculative abstracts, memos, and studies. By drawing on a rich history of science fiction criticism, we advocate for literary design fictions that diverge from what is commonplace in HCI and design research. We foreground our paper with a discussion of the poetics of science fiction, and their relationship to current design fiction practices. Specifically, we highlight how the poetics of a design fiction can work to familiariz

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10

Prasad, Amar Nath. "The Non-fictions of V.S. Naipaul: A Critical Exploration." Creative Saplings 1, no. 8 (2022): 1–11. http://dx.doi.org/10.56062/gtrs.2022.1.8.168.

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V. S. Naipaul is an eminent literary figure in the field of modern fiction, non-fiction, and travelogue writing in English literature. He earned a number of literary awards and accolades, including the covetous Nobel Prize and Booker Prize. His non-fiction e.g., An Area of Darkness, India: A Wounded Civilization, The Loss of El Dorado, India: A Million Mutinies Now and Beyond Belief are a realistic portrayal of the various types of religion, culture, customs, and people of India. As an author, the main purpose of V. S. Naipaul is to deliver the truth; because poets are the unacknowledged legis

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Jacobs, Arthur M., and Roel M. Willems. "The Fictive Brain: Neurocognitive Correlates of Engagement in Literature." Review of General Psychology 22, no. 2 (2018): 147–60. http://dx.doi.org/10.1037/gpr0000106.

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Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. The brain processes which play a role in the mental construction of fiction worlds and the related engagement with fictional characters, remain largely unknown. The authors discuss the neurocognitive poetics model ( Jacobs, 2015a ) of literary reading specifying the likely neuronal correlates of several key processes in literary reading, namely inference and situation model building, immersion, mental

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Kidd, David, Martino Ongis, and Emanuele Castano. "On literary fiction and its effects on theory of mind." Transdisciplinary Approaches to Literature and Empathy 6, no. 1 (2016): 42–58. http://dx.doi.org/10.1075/ssol.6.1.04kid.

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Storytelling is a hallmark human activity. We use stories to make sense of the world, to explain it to our children, to create communities, and to learn about others. This article focuses on fictional stories and their impact on complex sociocognitive abilities. Correlational and experimental evidence shows that exposure to fiction recruits and hones our ability to represent others’ mental states, or theory of mind (ToM). Experimental studies suggest this effect is specific to literary fiction. Using a unique set of texts, we replicate the finding that literary fiction improves ToM performance

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13

Gregor, Kerstin, and Steffen Neuß. "Why the Epistemic Value of Fictional Literature Does Not Depend Crucially on Its Fictionality." Grazer Philosophische Studien 96, no. 3 (2019): 463–75. http://dx.doi.org/10.1163/18756735-09603014.

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Mitchell Greenʼs conception of the thesis of Literary Cognitivism states that literary fiction can be a source of knowledge that depends crucially on its being fictional. By a modal argument the authors show that the criterion of fictionality cannot be crucial to the epistemic value of literary fiction. Rather, it lays in a certain kind of distance, e.g. a temporal, cultural, or interpersonal one. This will be motivated by drawing parallels to Gadamerʼs hermeneutics, especially his conception of fusion of horizons. In doing so, we agree with Green’s characterisation of knowledge that can be ga

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Weigand, Edda. "Words between reality and fiction." Literary Linguistics 3, no. 1 (2013): 147–63. http://dx.doi.org/10.1075/ld.3.1.09wei.

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The transition from reality to fiction can be best illustrated by analysing autobiographies which claim to describe the life of the author. Essentially they are based on memories, which poses the question whether what is being remembered really happened in this way. In what respect do ‘real’ stories differ from ‘literary’ or ‘fictional’ ones? Several literary autobiographies are analysed and contrasted with popular autobiographies. Are there special literary devices by which we can recognize that a story is intended to be fictional? According to Searle there is ‘no textual property that will i

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Dr. Saima Iqbal, Anam Shehzadi, and Iqra Shehzadi. "Najamuddin Ahmed: Personality and Literary Achievements." GUMAN 7, no. 1 (2024): 282–97. https://doi.org/10.63075/guman.v7i1.731.

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Najamuddin Ahmed is a well-known fiction writer, novelist and translated poet of Pakistan. He belongs to Bahawalnagar. He was born on 2 June 1971 in Bahawalnagar and studied there and did his MA in English Literature. Since September 1993, he has been employed in the Department of Finance, Punjab. So far, a total of thirteen of his books have appeared, eight of which are translations. Apart from this, books include three novels Madfan, Khoj and Saheem and two fiction collections, Ao Bhai Khalain and Farar and other fictions. Najamuddin is one of those writers who, instead of desiring baseless

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16

Bartolotta, Simona. "Thought Experiments, Literary Fiction, and Science Fiction: The Example of Isaac Asimov's Robot Cycle." Poetics Today 45, no. 4 (2024): 529–61. https://doi.org/10.1215/03335372-11381572.

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Abstract Literary cognitivism can be broadly defined as the claim that literary texts can be a source of knowledge. This article proposes the concept of aimless argumentativity to denote a paradoxical epistemic activity performed by fictional narratives. This concept is conceptualized and explored through an engagement with recent philosophical work on the epistemology of thought experiments and their similarities, or lack thereof, with literary fiction. These points are then illustrated through examples drawn from science fiction, and specifically Isaac Asimov's Robot series, which deploys it

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17

Weinert, Friedel. "Hypothetical, not Fictional Worlds." Kairos. Journal of Philosophy & Science 17, no. 1 (2016): 110–36. http://dx.doi.org/10.1515/kjps-2016-0019.

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Abstract This paper critically analyzes the fiction-view of scientific modeling, which exploits presumed analogies between literary fiction and model building in science. The basic idea is that in both fiction and scientific modeling fictional worlds are created. The paper argues that the fiction-view comes closest to certain scientific thought experiments, especially those involving demons in science and to literary movements like naturalism. But the paper concludes that the dissimilarities prevail over the similarities. The fiction-view fails to do justice to the plurality of model types use

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18

Hanfi, Muneer Ahmed. "براہوئی افسانہ مسافر؛ نا فنی او تنقیدی جاچ اس". Al-Burz 12, № 1 (2020): 14–19. http://dx.doi.org/10.54781/abz.v12i1.37.

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In the 19th century, Haibat Khan crafted "Musaafir" the premier fiction, a historical short story in the Brahui language and it was published in the year 1957, in the monthly literary magazine Nawaiy-e-Watan. The author employed content analysis, a branch of descriptive research to critically review fiction writing techniques, in comparison with the modern day fictions. The investigation revealed that the ‘Musaafir’ is a masterpiece of literary work in Brahui language, which focuses the portrayal of nature, characterizations, narration skills, theme and plot development, dialog formation, thou

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19

Stopel, Bartosz. "Engaging Readers Cognitively and Affectively in Flash Fiction." Transfer. Reception Studies 9 (November 30, 2024): 85–101. https://doi.org/10.16926/trs.2024.09.13.

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This article sets out to explore flash fiction, understood as very short forms of prose narrative and taking it to be a mode of writing that only properly developed in recent decades, although not without prominent antecedents going back through centuries of literary history. It addresses the issues of defining flash fiction, as well as its formal features, outlining their typical structures as well as speculating on how flash fiction may engage readers in its own characteristic ways. I argue that while retaining the basics of narrative requirements, such as representing events and being able

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20

Bacanu, Horea. "Globalisation of Cultural Circuits. The Case of International Awards for Fiction." European Review Of Applied Sociology 8, no. 11 (2015): 19–30. http://dx.doi.org/10.1515/eras-2015-0008.

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Abstract In the international circuit of fictional texts from the last fifty years (perhaps even one hundred years, in some cases), several independent international organizations, academic and editorial platforms of critique and debate have been established. They have been organizing international contests, fine authorities of critical appreciation, evaluation and awarding of most prolific authors and most successful fictional texts: novels, short stories, stories or utopian and dystopian fictions. The allotment on cultural corridors, the geographical identification of both author and title d

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Katic, Ana. "The epistemic role of fiction in scientific models." Theoria, Beograd 63, no. 3 (2020): 5–16. http://dx.doi.org/10.2298/theo2003005k.

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Giere?s analysis of the epistemic role of fiction in science and literature is the representative of antifictionists. Our research finds the three inconsistencies in his main paper regarding the comparison of fiction in scientific models and literary works. We analyze his argument and offer our solution to the issue favoring the perspective of fictionalism. Further, we support a typological differentiation of false representation in science into fictional and fictitious. The value of this differentiation we demonstrate by giving the example of digital organisms in system biology. The paper aim

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22

Košmrlj, Lea. "The Paradox of Historical Fiction." Acta Neophilologica 57, no. 2 (2024): 45–61. https://doi.org/10.4312/an.57.2.45-61.

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In light of the fact/fiction divide, this paper delves into the literary genre of historical fiction for young adults and re-examines the disputed boundaries between fact and fiction. Exploring Lois Lowry’s Number the Stars, a work of historical fiction for young adults about life in Nazi-occupied Denmark, this discussion addresses the paradoxical nature of historical fiction: it is the fictional elements of historical fiction that play the crucial part in bringing historical facts closer to the young adult reader.

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23

Wahyudi, Ibnu. "FLASH FICTION DI INDONESIA: 1858 HINGGA KINI." SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik 24, no. 1 (2023): 86. http://dx.doi.org/10.19184/semiotika.v24i1.36543.

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Flash fiction or what is better known in Indonesia as "mini fiction" or also "mini prose" is not a form of work that arises as a result of dealing with limited space today but also has something to do with the level of literacy at a certain time. It is not surprising that the publication of early prose in Indonesia, which at that time was still under colonial rule, namely in the mid-19th century, was essentially similar to the “fiksi mini” that has been developing in Indonesia in recent years. Thus, this paper is an attempt to straighten out and trace the dynamics of the flash fictions which h

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Gavaler, Chris, and Dan Johnson. "The literary genre effect." Scientific Study of Literature 9, no. 1 (2019): 34–52. http://dx.doi.org/10.1075/ssol.19010.joh.

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Abstract We test the literariness of genre fiction with an empirical study that directly manipulates both intrinsic text properties and extrinsic reader expectations of literary merit for science-fiction and narrative-realism stories. Participants were told they were going to read a story of either low or high literary merit and then read one of two stories that were identical except for one genre-determining word. There were no differences between the science-fiction and narrative-realism versions of the story in literary merit perception, text comprehension, or inference effort for theory of

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Sandberg, Eric. "Contemporary Crime Fiction, Cultural Prestige, and the Literary Field." Crime Fiction Studies 1, no. 1 (2020): 5–22. http://dx.doi.org/10.3366/cfs.2020.0004.

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Crime fiction laboured for many years under a persistent foundational anxiety over its cultural status. However, the cultural landscape has changed considerably in recent years, and many critics have identified a transformation in crime fiction's positioning as central to this transformation. This essay examines this claim by first looking at several ways in which crime fiction works well with a number of recent attempts to described key tendencies in contemporary literary production including its global view, its interest in the past, and its interstitial nature. It then locates crime fiction

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26

Norrick, Neal R. "Swearing in literary prose fiction and conversational narrative." Narrative Inquiry 22, no. 1 (2012): 24–49. http://dx.doi.org/10.1075/ni.22.1.03nor.

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This article compares swearing in novels with swearing in everyday talk based on a representative sample of British and American prose fiction and a several large corpora of natural conversation. Swearing allegedly makes fictional dialogue more realistic, but up till now no one has attempted a systematic comparison of fictional and natural conversational swearing. Fiction writers incorporate swearing into their dialogue to delineate characters and to signal emotions, sometimes setting it off from non-swearing talk and commenting on it in various ways. Traditionally, the author’s own voice cont

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27

Gooding-Williams, Robert. "Literary Fiction as Philosophy." Journal of Philosophy 83, no. 11 (1986): 667–75. http://dx.doi.org/10.5840/jphil1986831115.

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28

Buck, P. Lorraine. "Athenagoras'sEmbassy: A Literary Fiction." Harvard Theological Review 89, no. 3 (1996): 209–26. http://dx.doi.org/10.1017/s0017816000031862.

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In his 1989 article entitled “Apologetic Literature and Ambassadorial Activities,” William R. Schoedel considers “aspects of the form of apologetic literature in the early church and Judaism.” More specifically, he attempts to discover possible models for the literary character of the Christian apologies, and in particular theEmbassyof Athenagoras, in the various kinds of addresses that ambassadors delivered before the emperor when presenting appeals and requests. Examples of such addresses include the ambassadorial speech discussed by the third-century rhetorician Menander Rhetor, the legal o

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Ordaz Gargallo, jorge. "Geology and literary fiction." BOLETÍN GEOLÓGICO Y MINERO 134, no. 1 (2023): 67–85. http://dx.doi.org/10.21701/bolgeomin/134.1/004.

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In this article the relations between geological sciences and literature of fiction, especially with science-fiction, are reviewed. The consolidation of geology as a scientific specialization in the first half of XIXth century attracted some writers of adventure and fantasy novels who used, among other topics, matters based on geological knowledge. Some of the most representative works in this field, published in the XIXth and XXth centuries, by authors as Jules Verne, Arthur Conan Doyle, Edgar Rice Burroughs, H. P. Lovecraft, Vladimir Obruchev, Arthur C. Clarke, George Gaylord Simpson and Sar

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Khan, Mir hazar. "گل بنگلزئی نا افسانہ غاتا کتاب، دڑد آتا گواچی؛ نا جاچ اس". Al-Burz 13, № 1 (2021): 36–44. http://dx.doi.org/10.54781/abz.v13i1.271.

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When the industrial revolution and progressive tendencies in the nineteenth century influenced every sphere of life, literature could also not escape such trends. At that time, fiction (short story) was introduced as a new genre in literary world and soon it managed to generate a distinction. Like the other languages of the world, fiction writers of Brahui literature also effectively adopted this genre. Among the pioneer Brahui fiction writers, the name of Gul Bangulzai is also well known who initiated the fiction writing. The effects of the progressive literary movement can be seen in his f

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Aleksander, Bjelčevič. "Truth and lie in literature: Slovene writers sued for slander." "Świat i Słowo" – "World and Word" 29, no. 2 (2018): 207–20. https://doi.org/10.5281/zenodo.1216274.

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In 1999 novelist Breda Smolnikar was sued for defamation in her novel Ko se tam gori olistajo breze (When the Birches Up There Are Greening) by certain family Nakrst. Smolnikar received broad public support. In public defence different arguments were in play, the most frequent were trying to prove that the novel does not speak about the family Nakrst because (a) all literature is fiction and all literary characters are fictional beings; (b) similarity between literary character and a real person is always a coincidence; (c) all literature is a possible world and refers to people’s counte

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Zipfel, Frank. "The Pleasures of Imagination. Aspects of Fictionality in the Poetics of the Age of Enlightenment and in Present-Day Theories of Fiction." Journal of Literary Theory 14, no. 2 (2020): 260–86. http://dx.doi.org/10.1515/jlt-2020-2007.

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AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositio

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Ajdačić, D. "IRONY AND FANTASY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 116–26. http://dx.doi.org/10.17721/2075-437x.2020.36.11.

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The absence of a typology of irony in the theory of fiction stems from the fact that irony and fiction differently form and transform reality – fiction is a kind of fictional depiction of amazing worlds or phenomena. On the contrary, irony does not create worlds; in it, the subject comments on reality, adding another vision, a vision with a reassessment and deviation from what is said or presented. Irony can comment on the realities of different ontological status, that is, irony can relate to the real world and the fictional world, whether it is real or amazing. Fantasy transforms the world –

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Ågerup, Karl. "“In What Society Do Fictional Characters Speak? Identifying and Discussing Theoretical Challenges in Sociolinguistic Analyses of Literature." Metacritic Journal for Comparative Studies and Theory 10, no. 2 (2024): 150–68. https://doi.org/10.24193/mjcst.2024.18.07.

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This article examines the use of literary fiction as a source of data for analysing linguistic patterns in social contexts. By highlighting two interconnected methodological challenges in sociolinguistic studies of literary fiction, this study aims to foster interdisciplinary dialogue on study designs and methods. Building on previous unresolved discussions, it is argued that, firstly, studies that are limited to identifying a fictional text’s mimetic function and drawing real-world-related conclusions from that text risk circular reasoning, thereby contributing little new knowledge. Secondly,

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35

Cussen, John. "The People Jhumpa Lahiri Little Likes." Theory in Action 16, no. 1 (2023): 100–132. http://dx.doi.org/10.3798/tia.1937-0237.2304.

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This paper makes the claim that despite the culture-page and scholar classes' favorable reception of just about everything she offers, Bengali-American writer Jhumpa Lahiri thinks meanly of them and of their progressive mindsets. Telling in the second's regard are her counter-normative usages of their favored tropes--of, for example, the madwoman-in-the-attic trope. Telling in the first's regard are the literary academics who appear in her fictions. Nine for nine, they are shallow, feckless, and bullying sorts. Yes, literary academics--they are the people Jhumpa Lahiri little likes. In its lat

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Stiles, Anne. "“Nauseous Fiction”: Mary Baker Eddy and the Christian Science Novel, 1900–1910." Studies in the Novel 56, no. 1 (2024): 1–20. http://dx.doi.org/10.1353/sdn.2024.a921056.

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Abstract: In Science and Health (1875), Christian Science founder Mary Baker Eddy (1821–1910) discouraged followers from reading “nauseous fiction,” that is, “[n]ovels, remarkable only for their exaggerated pictures, impossible ideals, and specimens of depravity” (195). This essay examines Eddy’s views on fiction alongside Christian Science novels written around 1900 by followers such as Clara Louise Burnham, Mrs. Georgie Sheldon, and Katherine Yates. Eddy tentatively supported these authors’ literary productions but refused to grant them the endorsement of The Christian Science Publishing Soc

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Lanzendörfer, Tim. "How to Read the ‘Literary’ in the Literary Market." Zeitschrift für Anglistik und Amerikanistik 69, no. 1 (2021): 9–23. http://dx.doi.org/10.1515/zaa-2020-2026.

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Abstract This essay argues that under contemporary capitalism, all literary production is, at first approximation, commodity production. This has consequences for our understanding of the work of literary studies. We are no longer able to easily recur to preformed theories of the ‘literary’ as a category at least in some way exempt from extrinsic pressures. Attention to the ‘literary market’ remains superficial when it insists on paying attention chiefly to so-called literary fiction on the understanding that it has prima facie higher claims to our attention than popular genre fiction—it does

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Professor Quddoos Javed. "Dr. Riaz Tawhidi Kashmiri – A Representative Fiction Writer Of The Postmodern Era." Dareecha-e-Tahqeeq 1, no. 2 (2022): 11–18. http://dx.doi.org/10.58760/dareechaetahqeeq.v1i2.9.

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Dr. Riaz Tawhidi Kashmiri is a renowned fiction writer of Indian Occupied Kashmir. Not only are the stories of local themes found in his fictions but the canvas of most of his stories is so wide that world-class themes and issues have been molded into the framework of fiction with great artistic and intellectual style. Thus most of his short stories beautifully reflect postmodern themes and on a literary level Riaz Tawhidi seems to have succeeded in establishing his position as a representative fiction writer of the postmodern era. In this article we will critically study the themes of Dr Riaz

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TOWHEED, SHAFQUAT. "Determining "Fluctuating Opinions"." Nineteenth-Century Literature 60, no. 2 (2005): 199–236. http://dx.doi.org/10.1525/ncl.2005.60.2.199.

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Acknowledged for the originality and scope of her critical writing and recognized as one of the leading intellectuals of her age, Vernon Lee (1856 -1935) has rarely been viewed as a credible novelist, and critics have rarely seen an engagement with fiction as central to her literary craft. In this essay I reexamine Vernon Lee's theory and practice of fiction and argue that she increasingly depended upon access to novel readers in order to disseminate her more complex theoretical ideas and thereby shape an ideal and perceptive readership. In the first section I demonstrate the influence of popu

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Siderevičiūtė, Simona. "Science Fiction in Historical and Cultural Literary Discourse." Respectus Philologicus 25, no. 30 (2014): 172–84. http://dx.doi.org/10.15388/respectus.2014.25.30.13.

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This work intends to complement literary studies in science fiction. It discusses the history of global science fiction, overviews the most characteristic features of its historical periods, and provides an introduction to Lithuanian science fiction, indicating its main features and topics. In the context of culture, science fiction is often defined as a literary genre with the emphasis on its nature as fiction. Only rarely are the history of the origin of science fiction, its variations, and the pioneers of science fiction whose works are still highly valued taken into account. Science fictio

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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about

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Shrestha, Ravi Kumar. "Representation of History in Postmodern Fiction." Patan Prospective Journal 4, no. 2 (2024): 106–16. https://doi.org/10.3126/ppj.v4i2.79248.

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This paper shows that history is portrayed as a fiction in postmodern fiction. As postmodern fiction is an art form, it narrates history in the form of a story. So, the postmodern fiction becomes the fusion of history and fiction. In other words, it is structured as rewriting of history challenging the traditional history. It deconstructs the traditional history of fictionalizing history. The narrative becomes more important than the facts and information. Since the postmodern era is the era of questioning reality, truth, facts and so on which were judged objectively, the history is written an

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Orlemanski, Julie. "Literary Persons and Medieval Fiction in Bernard of Clairvaux’s Sermons on the Song of Songs." Representations 153, no. 1 (2021): 29–50. http://dx.doi.org/10.1525/rep.2021.153.3.29.

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Like many exegetes before him, the twelfth-century Cistercian abbot Bernard of Clairvaux regarded the lovers in the Song of Songs as allegorical fictions. Yet these prosopopoeial figures remained of profound commentarial interest to him. Bernard’s Sermons on the Song of Songs returns again and again to the literal level of meaning, where text becomes voice and voice becomes fleshly persona. This essay argues that Bernard pursued a distinctive poetics of fictional persons modeled on the dramatic exegesis of Origen of Alexandria as well as on the Song itself. Ultimately, the essay suggests, Bern

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Marshall, Alan. "The Literary Method of Urban Design: Design Fictions Using Fiction." Utopian Studies 34, no. 3 (2023): 560–69. http://dx.doi.org/10.5325/utopianstudies.34.3.0560.

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Aliagas, Cristina, Cristina Correro, and Martina Fittipaldi. "DIGITAL FICTION IN LITERARY EDUCATION." L1-Educational Studies in Language and Literature 24, no. 3 (2024): 1–27. http://dx.doi.org/10.21248/l1esll.2024.24.3.594.

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This paper documents L1 teachers’ viewpoints regarding the integration of digital fiction in the form of multimodal, digital literary texts as a resource to foster literary education at secondary level. This study is developed in the context of a larger collaborative, intersectoral research project focused on the co-construction of guided reading of digital fiction texts. Based on interviews with 6 secondary school teachers in Catalonia (Spain), we analyze what teachers think about the arrival of digital fiction in literary education and the pedagogical function they consider that it might per

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Owens, Alison, and Donna Lee Brien. "Australian women writers’ popular non-fiction prose in the pre-war period: Exploring their motivations." Australasian Journal of Popular Culture 11, no. 1 (2022): 63–80. http://dx.doi.org/10.1386/ajpc_00051_1.

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Since the 1970s, feminist scholars have undertaken important critical work on Australian women’s writing of earlier eras, profiling and promoting their fiction. Less attention has been afforded to the popular non-fiction produced by Australian women writers and, in particular, to that produced before the Second World War. Yet this writing is important for several reasons. First, the non-fiction writing of Australian women was voluminous and popular with readers. Second, this popular work critically engaged with a tumultuous political, social and moral landscape in which, as women’s rights were

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Askarova, V. Ya. "To Understand, to Guess, to Feel the Reader." Observatory of Culture, no. 3 (June 28, 2015): 119–21. http://dx.doi.org/10.25281/2072-3156-2015-0-3-119-121.

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To Understand, to Guess, to Feel the Reader (by Violetta Askarova) gives review of the book “Typology of Fiction Reading and Fiction Readers” by M. Y. Serebryanaya and G. N. Shevtsova-Vodka. This publication includes an analysis of fiction reading. The process of reading is displayed; the theory of reading and the scientific approaches to the classification of fiction readers are examined. Some basic concepts of the typology of reading are described. The authors analyze the typifications of fiction readers. Results received by different researchers in this field are summarized. The publication

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Guarneri, Dr Cristina. "Thematic, Formal, and Ideological Aspects of Literary Fiction: The Rise of Detective Fiction." International Journal of English Literature and Social Sciences 10, no. 1 (2025): 062–71. https://doi.org/10.22161/ijels.101.7.

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From ancient Greece on, fictional narratives have entailed deciphering mystery. At almost the same period as the detective branch of the Metropolitan Police was evolving, the genre of detective fiction was also emerging, mainly in the short-story form. In these stories, a mystery or a crime occurs, and an amateur or professional detective is called in to solve it. The first modern detective story is often thought to be Edgar Allan Poe’s The Murders in the Rue Morgue, which first introduced the golden age of detective stories, and the world to private detectives, that would later Conan Doyle’s

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Sandy, Mark. "The Sense of an Ending: Poetic Spaces and Closure in Keats’s 1819 Odes." Romanticism 28, no. 2 (2022): 188–96. http://dx.doi.org/10.3366/rom.2022.0554.

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Following Frank Kermode’s distinction, in The Sense of an Ending, between the stability of myth and the changeability of fiction, Keats’s ‘Ode on Indolence’ offers an understated self-conscious presentation of myth and fiction in comparison with the Nightingale and Grecian Urn odes. All three of these odes invest in mythologies as much as they remain alert to their own poetic frames and the fictive nature of the fictions behind them. This poetic self-awareness reconnects Keats’s odes with the reality of death behind the mythic figures of nightingale, urn, and indolence. Such subtle, shifting,

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Hatavara, Mari. "Analyzing master and counter-narratives in the multilayered narrative communication of literary fiction." Frontiers of Narrative Studies 11, no. 1 (2025): 51–67. https://doi.org/10.1515/fns-2025-2011.

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Abstract This article analyzes narrative contestation as presented in a novel’s storyworld and narration by an implied author orchestrating meanings in the novel. The aim is to test master and counter-narratives as a methodological concept in the analysis of literary fiction with its specific, multilayered communicative structure. Particularly the fiction-specific concept of implied author as the nexus for interpretation is discussed as a potential key for transporting the theory on master and counter narratives to the fictional realm. The analysis of the Finnish novel Röyhkeys (Arrogance, 201

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