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Journal articles on the topic 'Literary nonfiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Atack, Margaret, and Chris Anderson. "Literary Nonfiction: Theory, Criticism, Pedagogy." Modern Language Review 88, no. 4 (1993): 933. http://dx.doi.org/10.2307/3734431.

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2

Heyne, Eric. "Toward a Theory of Literary Nonfiction." MFS Modern Fiction Studies 33, no. 3 (1987): 479–90. http://dx.doi.org/10.1353/mfs.0.1150.

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3

Sterckx, Jo. "Het beeld van Midden- en Oost-Europa in Nederlandse literaire non-fictie." Werkwinkel 9, no. 1 (2014): 9–22. http://dx.doi.org/10.2478/werk-2014-0001.

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Abstract Over the last 20 years, literary nonfiction has become increasingly popular among the Dutch reading public. Thanks to increasing sales, translations and literary awards the genre achieved a strong position in Dutch literature. This article analyzes the image of Central and Eastern European countries in Dutch literary nonfiction of the last ten years (2004-14). It searches for characteristics of an orientalist and balkanist discourse and the presence of the imagological centre-periphery model in the works of Geert Mak, Jelle Brandt Corstius, Olaf Koens, Joop Verstraten and Jan Brokken.

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4

Smart, Robert Augustin. "The Nonfiction Novel." Poetics Today 7, no. 1 (1986): 181. http://dx.doi.org/10.2307/1772111.

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5

Galstyan, Ashot. "The Linguistic Structural Conceptual Framework Of Literary Nonfiction." WISDOM 13, no. 2 (2019): 23–29. http://dx.doi.org/10.24234/wisdom.v13i2.278.

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This paper is an attempt to study the linguistic layer of the memoir-writing genre primarily as exploration of linguistic mentality of a person (linguistic person, character), through which both the human being and the social environment become recognizable. This research describes the conceptual framework of the linguistic structure of the literary nonfiction by employing the following two principles: definition of the linguistic complexity of text-writing techniques and presentation of aesthetic value of these texts. A number of descriptive, stylistic and structural methods emplo

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6

McConn, Matthew. "Close Reading of Literary Nonfiction: The Three-column Journal." Clearing House: A Journal of Educational Strategies, Issues and Ideas 91, no. 2 (2017): 66–71. http://dx.doi.org/10.1080/00098655.2017.1386001.

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7

Hobson, Fred. "The Nonfiction of William Styron." Sewanee Review 124, no. 2 (2016): xxi—xxii. http://dx.doi.org/10.1353/sew.2016.0039.

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8

Meyer, Priscilla. "Igor, Ossian, and Kinbote: Nabokov's Nonfiction as Reference Library." Slavic Review 47, no. 1 (1988): 68–75. http://dx.doi.org/10.2307/2498839.

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“How ludicrous these efforts to translate Into one's private tongue a public fate!“Pale Fire, lines 231-232It is becoming apparent as research sets out the points of contact among Vladimir Nabokov's works that Nabokov deliberately designed his total oeuvre as a spiral that finds ever-widening patterns in the weave of the universe. We are beginning to see how Nabokov combines the passion of natural scientific investigation and the cool distance of literary creation in his art; from reading his commentaries to Pushkin's Eugene Oneginand The Song of Igor's Campaign,we understand how he interprets

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9

J. Madison Davis. "Recognizing the Art of Nonfiction: Literary Excellence in True Crime." World Literature Today 86, no. 5 (2012): 10. http://dx.doi.org/10.7588/worllitetoda.86.5.0010.

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10

Bloom, Lynn Z., Charles M. Anderson, Chris Anderson, and Alexander J. Butrym. "What We Talk about When We Talk about Literary Nonfiction." College English 53, no. 8 (1991): 944. http://dx.doi.org/10.2307/377701.

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11

Silverberg, Mark. "Relief: Observations on Creative Nonfiction as Pedagogy." LEARNing Landscapes 12, no. 1 (2019): 249–58. http://dx.doi.org/10.36510/learnland.v12i1.991.

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“Relief: Observations on Creative Nonfiction as Pedagogy” offers a case study in the possibilities of using creative writing as a pedagogical tool with ESL students. Analyzing the experience, comments, and creative work of a Chinese nursing student named Wei Wan at Ryerson University, the essay explores the benefits of personal writing and peer workshops as tools for self-exploration, aesthetic appreciation, and confidence building. While urging teachers to see the advantages of this methodology, the paper also reflects on the literary values of creative work in hybrid, non-standard English fo

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12

Fussell, Edwin Sill, and Chris Anderson. "Style as Argument: Contemporary American Nonfiction." American Literature 60, no. 1 (1988): 154. http://dx.doi.org/10.2307/2926431.

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13

Lee Gutkind. "Creative Nonfiction Immersion Classics by Women." World Literature Today 87, no. 3 (2013): 6. http://dx.doi.org/10.7588/worllitetoda.87.3.0006.

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14

Knox, Edward C. "I See France: Priorities in Nonfiction." Twentieth Century Literature 49, no. 1 (2003): 12. http://dx.doi.org/10.2307/3176006.

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15

Gump, Steven E. "Stephen J. Pyne. Style and Story: Literary Methods for Writing Nonfiction." Journal of Scholarly Publishing 50, no. 4 (2019): 279–82. http://dx.doi.org/10.3138/jsp.50.4.04.

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16

Griffin, Ross. "Possibly “the Truth, the Whole Truth and Nothing But the Truth”: Attempting to Define Creative Nonfiction." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2012 (January 1, 2012): 29–32. http://dx.doi.org/10.33178/boolean.2012.7.

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Locating such works as Frank McCourt’s Angela’s Ashes or Michael Herr’s Dispatches in any bookshop or library often presents an unexpected challenge for the average reader. As a nonfictional account firmly embedded in the author’s personal experiences, there is strong reason to think that such books would be included in the History section, comfortably situated amongst similarly factual texts of historical discourse. Curiously, however, they are often found sharing shelf space with deliberately fictional novels. This example of inconsistent categorisation is a concern for many readers of such

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17

Parnell, Jo (Joan-Annette). "Literary (Creative Nonfiction) Docu-Memoir: A Different Way of Writing a Life." European Journal of Life Writing 3 (October 29, 2014): C87—C104. http://dx.doi.org/10.5463/ejlw.3.136.

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Pioneered by the British writer Tony Parker, literary docu-memoir is a rare form that involves the creative nonfiction writer interviewing and audio-taping ordinary people for their unusual life experience as the resource material for a literary production. In everyday conversation, people use a language of their own making to make sense of their experiences for themselves and the person they are talking to. The literary docu-memoir brings out a deeper level of meaning in the speech and the reflections of ordinary people as elicited by the docu-memoirist. In this paper I offer a working

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18

Levine-Rasky, Cynthia. "Creative nonfiction and narrative inquiry." Qualitative Research Journal 19, no. 3 (2019): 355–67. http://dx.doi.org/10.1108/qrj-03-2019-0030.

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Purpose The purpose of this paper is to describe, situate and justify the use of creative nonfiction as an overlooked but legitimate source of text for use in social inquiry, specifically within the ambit of narrative inquiry. What potential lies in using creative writing, creative nonfiction specifically, as a source of text in social research? How may it be subjected to modes of analysis such that it deepens understandings of substantive issues? Links are explored between creative nonfiction and the social context of such accounts in an attempt to trace how writers embed general social proce

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19

Fernández-L'Hoeste, Héctor. "Ignacio López Calvo y Víctor Valle, editores. Latinx Writing Los Angeles: Nonfiction Dispatches from a Decolonial Rebellion." Revista Iberoamericana 85, no. 267 (2019): 613–15. http://dx.doi.org/10.5195/reviberoamer.2019.7782.

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20

Lewis, Colin J., Simon J. Roberts, Hazel Andrews, and Rebecca Sawiuk. "A Creative Writing Case Study of Gender-Based Violence in Coach Education: Stacey’s Story." Women in Sport and Physical Activity Journal 28, no. 1 (2020): 72–80. http://dx.doi.org/10.1123/wspaj.2018-0046.

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Creative nonfiction writing is the literary technique employed in this article to explore insights and assist our understanding of an “alleged” sexual assault in a sport coach education environment. Creative nonfiction employs various narrative tools—characters, setting, figurative language, sequences of events, plot, sub-plot, and dialogue—designed to render the sensitive and controversial elements of sexual assault significant. Readers are, therefore, invited to engage with Stacey’s Story and reflect on the actions of both the perpetrator(s) and the victim. While there are risks associated w

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21

Powell Watts, Stephanie. "The Nonfiction Impulse in the Beginning Writer." New Writing 2, no. 2 (2005): 85–105. http://dx.doi.org/10.1080/14790720508668948.

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22

Corral, Will H. "Globalization, Traveling Theory, and Fuentes's Nonfiction Prose." World Literature Today 70, no. 2 (1996): 267. http://dx.doi.org/10.2307/40152042.

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23

Dodd, Philip. "Literature, fictiveness and the dilemma of nonfiction." Prose Studies 10, no. 1 (1987): 5–8. http://dx.doi.org/10.1080/01440358708586290.

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24

Allen, Chadwick. "(So Many) Opportunities for Teaching Native Nonfiction." Studies in American Indian Literatures 32, no. 3-4 (2020): 201–19. http://dx.doi.org/10.1353/ail.2020.0024.

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25

Twidle. "Unusable Pasts: Life-Writing, Literary Nonfiction, and the Case of Demetrios Tsafendas." Research in African Literatures 46, no. 3 (2015): 1. http://dx.doi.org/10.2979/reseafrilite.46.3.1.

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26

Jenkins, M. "Coming Into Mcphee Country: John Mcphee and the Art of Literary Nonfiction." Interdisciplinary Studies in Literature and Environment 11, no. 2 (2004): 286–87. http://dx.doi.org/10.1093/isle/11.2.286.

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27

Hesse, Douglas, and Chris Anderson. "Style as Argument: Contemporary American Nonfiction." College Composition and Communication 39, no. 2 (1988): 243. http://dx.doi.org/10.2307/358038.

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28

Krupa, Gene H., Harry H. Crosby, and Duncan A. Carter. "The Committed Writer: Mastering Nonfiction Genres." College Composition and Communication 38, no. 1 (1987): 105. http://dx.doi.org/10.2307/357598.

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29

Mendes, Ana Cristina, and Lisa Lau. "The conjunctural spaces of ‘new India’: imagined geographies of 2010s India in representations by returnee migrants." cultural geographies 26, no. 1 (2018): 57–72. http://dx.doi.org/10.1177/1474474018786033.

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Focusing on returnee Indian authors, this article contributes to analytical perspectives on imagined geographies. We map the imagined geographies of 2010s Delhi and India as experienced and created by Indian returnee migrant authors, drawing on the hybrid nonfiction works India Becoming: A Portrait of Life in Modern India by Akash Kapur and Capital: The Eruption of Delhi by Rana Dasgupta. Juxtaposed, these texts sited on the borderline between fiction and nonfiction construct and produce knowledge on an imagined ‘new India’, textualised in literary form. Kapur and Dasgupta, having returned fro

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30

Bartoszynska, Katarzyna. "The Self in Nonfiction: Eva Hoffman's autobiographical project." Life Writing 2, no. 1 (2005): 3–17. http://dx.doi.org/10.1080/10408340308518271.

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31

Matus, J. "Matters of Fact: Reading Nonfiction over the Edge." American Literature 72, no. 1 (2000): 224–25. http://dx.doi.org/10.1215/00029831-72-1-224.

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32

Twidle, Hedley. "Experiments with Truth: Narrative Nonfiction in South Africa." Current Writing: Text and Reception in Southern Africa 31, no. 2 (2019): 94–106. http://dx.doi.org/10.1080/1013929x.2019.1618086.

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33

Wu, Cynthia. "Synchronic/Diachronic: Flexible Historicities in Hisaye Yamamoto's Nonfiction." Lit: Literature Interpretation Theory 25, no. 1 (2014): 57–72. http://dx.doi.org/10.1080/10436928.2014.868227.

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34

Segal, E. "Matters of Fact: Reading Nonfiction over the Edge." Poetics Today 22, no. 4 (2001): 867–68. http://dx.doi.org/10.1215/03335372-22-4-867.

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35

Ormaneze, Fabiano. "EDVALDO PEREIRA LIMA: mentor de uma proposta transdisciplinar." Revista Observatório 4, no. 6 (2018): 69–85. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n6p69.

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Este trabalho utiliza o método da história de vida e a pesquisa bibliográfica para abordar a trajetória e a contribuição de Edvaldo Pereira Lima na constituição do campo teórico do Jornalismo Literário no Brasil e seus desdobramentos diante da perspectiva transdisciplinar proposta pelo, hoje, professor aposentado da USP. Aborda três aspectos: a vida, a obra acadêmica – artigos e livros de cunho teórico – e a produção jornalística, composta, sobretudo, por livros-reportagem. Apresenta também breve histórico da Academia Brasileira de Jornalismo Literário (ABJL) e do curso de especialização pione

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36

Miles, K. "Landscape with Figures: The Nonfiction of Place." Interdisciplinary Studies in Literature and Environment 16, no. 3 (2009): 659–60. http://dx.doi.org/10.1093/isle/isp043.

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37

Schuette-Hoffman, Allison. "In the Middle of the Middle West: Literary Nonfiction from the Heartland (review)." Fourth Genre: Explorations in Nonfiction 6, no. 2 (2004): 137–40. http://dx.doi.org/10.1353/fge.2004.0044.

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38

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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39

Ikonen, Teemu, Outi Oja, Erkki Sevänen, and Katariina Kajannes. "Arvostelut." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 4 (December 1, 2006): 80–92. http://dx.doi.org/10.30665/av.74678.

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Teemu lkonen ltsereflektion renessanssi? Markku Lehtimäki: The Poetics of Norman Mailer's Nonfiction. Self-Reflexivity, Literary Form, and the Rhetoric of Narrative Outi Oja Metafiktion käsitteen juurilla Mika Hallila: Metafiktion käsite. Teoreettinen, kontekstuaalinen ja historiallinen tutkimus Erkki Sevänen Kapitalismikritiikin paluu Jussi Ojajärvi: Supermarketin valossa. Kapitalismi, subjeki ja minuus Mari Mörön romaanissa Kiltin yön lahjat ja Juha Seppälän novellissa "Supermarket" Katriina Kajannes Pikarijäkälän runoilija Liisa Enwald: Pohjajään ilo. Helvi Juvosen runoudesta

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40

Malin, Irving. "Book Review: Henry James and the Art of Nonfiction." Henry James Review 17, no. 1 (1996): 95–97. http://dx.doi.org/10.1353/hjr.1996.0004.

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41

Richter, David H. "Keeping Company in Hollywood: Ethical Issues in Nonfiction Film." Narrative 15, no. 2 (2007): 140–66. http://dx.doi.org/10.1353/nar.2007.0014.

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42

Pignagnoli, Virginia. "Changing dominants, changing features? The fiction/nonfiction distinction in contemporary literary and Instagram narratives." European Journal of English Studies 23, no. 2 (2019): 224–38. http://dx.doi.org/10.1080/13825577.2019.1640431.

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43

Przeszlakowska-Wasilewska, Joanna. "ENCHANTED WITH THE CITY OF THE SOUTH – NEW ORLEANS IN LAFCADIO HEARN’S LITERARY NONFICTION." Acta Neophilologica 1, no. XX (2018): 65–79. http://dx.doi.org/10.31648/an.2687.

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This paper is devoted to the New Orleans stage in the writings of the nineteenth-century American literary journalist, Lafcadio Hearn. The major focus is on the writer’s fascination with the city’s unique Southern character which was skillfully grasped and conveyed by Hearn during the decade of his residence in New Orleans. The articles published in the Cincinnati Commercial and the Daily City Item are discussed in terms of the author’s sensual and emotional approach towards what he considered asthe greatest assets of New Orleans: its tropicality, the Creole element, the climate, and the women

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44

Saramago, Victoria. "The Rights of Nature, the Rights of Fiction: Mario Vargas Llosa and the Amazon." Novel 54, no. 1 (2021): 19–42. http://dx.doi.org/10.1215/00295132-8868761.

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Abstract The Amazonian region occupies a singular place in the fiction and nonfiction of the Peruvian writer Mario Vargas Llosa. Author of paradigmatic novels on the Peruvian Amazon, Vargas Llosa nevertheless has repeatedly defended extensive exploitation of Amazonian natural resources—at the expense of Indigenous rights and environmental conservation—in his essays and political activities. This article discusses this conflict between Vargas Llosa's fictional and nonfictional work on the Amazon through the lens of a theory of fiction that emerges from his essays across decades and that suggest

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45

Andreescu, Raluca. "“Very much alive and very much under threat”: Chasing the Coffee-Flavored American Dream in Dave Eggers’s Monk of Mokha." East-West Cultural Passage 19, no. 2 (2019): 55–70. http://dx.doi.org/10.2478/ewcp-2019-0012.

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Abstract This essay examines the manner in which Dave Eggers’s recent work of literary nonfiction, The Monk of Mokha (2018), sets out to amplify the voices of the marginalized by chronicling the adventures of a young Yemeni-American in search of the best coffee in the world. This takes the protagonist from the infamous neighborhood of his birth in San Francisco, “a valley of desperation in a city of towering wealth,” to his trials and tribulations in the war-torn homeland of Yemen. I will argue that the narrative, which blurs the lines between fiction and nonfiction and combines history, polit

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46

Bell, Elizabeth S. "Call Forth a Good Day: The Nonfiction of Kay Boyle." Twentieth Century Literature 34, no. 3 (1988): 384. http://dx.doi.org/10.2307/441215.

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47

Keeble, Arin. "“Siblings, Kinship and Allegory in Jesmyn Ward’s Fiction and Nonfiction”." Critique: Studies in Contemporary Fiction 61, no. 1 (2019): 40–51. http://dx.doi.org/10.1080/00111619.2019.1663145.

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48

Mintz, Susannah. "To Boredom and Back: Creative Nonfiction and the Propulsive ‘I’." Life Writing 4, no. 2 (2007): 297–301. http://dx.doi.org/10.1080/14484520701559950.

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49

Cohen, Margaret. "Denotation in Alien Environments." Representations 125, no. 1 (2014): 103–26. http://dx.doi.org/10.1525/rep.2014.125.1.103.

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While documentary is generally thought to value clarity and denotation, this article examines nonfiction documentary forms where more poetic practices have served as a communicative, if not denotative, tool. Accounts of the first extended underwater observation by pioneering divers like William Beebe, Hans Hass, Philippe Tailliez, and Philippe Diolé used literary allusions and fanciful rhetoric to express the implausible conditions of this alien environment, in a practice that reached its height before the flowering of underwater color and documentary cinema in the mid-1950s.

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50

Upreti, Soni, and Dr Vidya Shanker Sharma. "From Heaven Lake: Travelling Across Cultures by Vikram Seth." SMART MOVES JOURNAL IJELLH 8, no. 4 (2020): 310. http://dx.doi.org/10.24113/ijellh.v8i4.10550.

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Travelling across culture is an endeavour to spread knowledge about the visiting provinces, on the route of the China, Nepal and India to his readers. This research work focuses on the prominent novelist, poet, and nonfiction writer, Vikram Seth. He who has been known as a citizen of the world. He is a cultural traveller. The work of Vikram Seth is a large variety of encyclopaedic and traditional forms and the places of his poetry and prose moves across the world, making literary homes of distant lands and cultures.

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