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Journal articles on the topic 'Non-fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Вершинина, И. Я. "Non-fiction with Commentary." Музыкальная академия, no. 1(769) (March 29, 2020): 188–92. http://dx.doi.org/10.34690/48.

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2

Chomiuk, Aleksandra. "Fiction or Non-fiction? Observations on the Margin of a Certain Dispute." Białostockie Studia Literaturoznawcze, no. 4 (2013): 233–49. http://dx.doi.org/10.15290/bsl.2013.04.16.

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3

Gerrig, Richard J. "Reexperiencing Fiction and Non-Fiction." Journal of Aesthetics and Art Criticism 47, no. 3 (1989): 277. http://dx.doi.org/10.2307/431007.

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4

GERRIG, RICHARD J. "Reexperiencing Fiction and Non-Fiction." Journal of Aesthetics and Art Criticism 47, no. 3 (1989): 277–80. http://dx.doi.org/10.1111/1540_6245.jaac47.3.0277.

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5

Olivier, Florence. "Chronique, fiction, roman de non-fiction." Caravelle, no. 113 (December 1, 2019): 23–34. http://dx.doi.org/10.4000/caravelle.6306.

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6

Ruiz Carmona, Carlos. "The Fiction in Non-Fiction Film." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, no. 2 (2019): 10–31. http://dx.doi.org/10.7195/ri14.v17i2.1238.

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Over the past few decades film theory, major scholars and acclaimed filmmakers have established that documentary just like fiction must resort to ambiguous and subjective rhetorical figures in order to represent the world. This has led some scholars to conclude that documentary as a term referring to itself as being non-fictional might be disregarding its inevitable fictional elements. This may imply that both documentary and fiction use the same strategies and obtain the same results when representing the world: ficitionalize reality. If we accept this claim as true we need to ask wheth

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7

Losman, Danielle. "Translating non-fiction." Publishing Research Quarterly 14, no. 2 (1998): 50–52. http://dx.doi.org/10.1007/s12109-998-0023-6.

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8

Gittings, John, R. H. Cassen, Barry Munslow, et al. "Non‐fiction reviews." Third World Quarterly 12, no. 3-4 (1990): 173–94. http://dx.doi.org/10.1080/01436599008420253.

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9

Woodward, Peter, David Nicholls, John Kent, et al. "Non‐fiction reviews." Third World Quarterly 13, no. 1 (1992): 201–16. http://dx.doi.org/10.1080/01436599208420271.

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10

Worsley, Peter, Harriet Friedmann, James Thomas, et al. "Non‐fiction reviews." Third World Quarterly 13, no. 2 (1992): 399–407. http://dx.doi.org/10.1080/01436599208420284.

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11

Sidaway, James D., Jennie Walmsley, Mohamed M. El‐Doufani, et al. "Non‐fiction reviews." Third World Quarterly 13, no. 3 (1992): 567–80. http://dx.doi.org/10.1080/01436599208420296.

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12

Barnard, Rita. "Beyond Rivalry: Literature/History, Fiction/Non‐Fiction." Safundi 13, no. 1-2 (2012): 1–4. http://dx.doi.org/10.1080/17533171.2011.642585.

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13

Holm, Michael Juul. "So are you fiction or non-fiction?" Publishing Research Quarterly 16, no. 1 (2000): 31–34. http://dx.doi.org/10.1007/s12109-000-1007-3.

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14

Abdurakhmanova-Pavlova, Daria Vladimirovna. "“Non-fiction” and “fiction” in John Woolman’s Journal." Philology and Culture 65, no. 3 (2021): 46–55. http://dx.doi.org/10.26907/2074-0239-2021-65-3-46-55.

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15

B., J. L., Tom Norton, and H. K. B. "NOT-QUITE-INDEXERS IN FICTION (AND NON-FICTION)." Indexer: The International Journal of Indexing: Volume 14, Issue 4 14, no. 4 (1985): 277–80. http://dx.doi.org/10.3828/indexer.1985.14.4.18.

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16

Matravers, Derek. "Recent philosophy and the fiction/non-fiction distinction." Collection and Curation 37, no. 2 (2018): 93–96. http://dx.doi.org/10.1108/cc-07-2017-0031.

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17

Werle, Dirk. "Knowledge in Motion between Fiction and Non-Fiction." Daphnis 45, no. 3-4 (2017): 563–77. http://dx.doi.org/10.1163/18796583-04503011.

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In epic poems of the seventeenth century written in German about the Thirty Years’ War, knowledge is set in motion, especially in the context of genre change and shifts in the generic tradition as well as in the conflictive area between fiction and non-fiction. The generic adjustments are partially caused by the transfer of a Greek and Latin genre model into German. This is illustrated by two examples, Martin Opitz’s Trost-Getichte in Widerwärtigkeit des Krieges, first published in 1633, and Georg Greflingerʼs Der Deutschen Dreißig-Jähriger Krieg, published in 1657.

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18

Palpacuer, Florence. "Unplugged - Academic Non Fiction." M@n@gement 22, no. 1 (2019): 130. http://dx.doi.org/10.3917/mana.221.0130.

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19

Yamburg, Eugene A. "Non-fiction pedagogy literature." National Psychological Journal 11, no. 3 (2013): 9–19. http://dx.doi.org/10.11621/npj.2013.0302.

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20

Yamburg, Eugene A. "Non-fiction pedagogy literature." National Psychological Journal 12, no. 4 (2013): 11–19. http://dx.doi.org/10.11621/npj.2013.0402.

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21

Mirchandani, Ravi. "Non-fiction: Gloriously irresponsible?" Publishing Research Quarterly 14, no. 2 (1998): 36–40. http://dx.doi.org/10.1007/s12109-998-0020-9.

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22

Malthête, Jacques. "Georges Méliès, de la non-fiction à la fiction." 1895 Mille huit cent quatre-vingt-quinze 18, no. 1 (1995): 70–83. http://dx.doi.org/10.3406/1895.1995.1105.

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23

Martin, Adrian. "The documentary temptation: Fiction filmmakers and non-fiction forms." NECSUS. European Journal of Media Studies 3, no. 2 (2014): 5–20. http://dx.doi.org/10.5117/necsus2014.2.mart.

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24

Clingman, Stephen. "Writing Spaces: Fiction and Non-Fiction in South Africa." Safundi 13, no. 1-2 (2012): 51–58. http://dx.doi.org/10.1080/17533171.2011.642588.

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25

Brereton, Pat, and Chao-Ping Hong. "Audience responses to environmental fiction and non-fiction films." Interactions: Studies in Communication & Culture 4, no. 2 (2013): 171–99. http://dx.doi.org/10.1386/iscc.4.2.171_1.

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26

Moroz, Grzegorz. "Provençal Landscapes in Aldous Huxley’s Fiction and Non-Fiction." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 357–67. http://dx.doi.org/10.36575/2353-2912/1(7)2019.357.

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The paper focuses on the analysis of different ways in which Aldous Huxley chose to represent Provençal landscapes in his novels, such as Eyeless in Gaza or Time Must Have a Stop, as well as in his essays, such as “Music at Night” or “The Olive Tree”. The analytical tools which have been developed by scholars of the so called ‘spatial turn’ have been used (particularly the notion of ‘polysensory landscapes’), while Huxley’s representations of Provence are considered in the context of Aldous Huxley’s biography and the political situation in France in particular and in the world in general in th

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27

Crisp, Georgina. "Non-fiction in Motion: Connecting Pre-schoolers with Non-fiction Books Through Movement." Journal of the Australian Library and Information Association 66, no. 4 (2017): 423–24. http://dx.doi.org/10.1080/24750158.2017.1357281.

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28

Zverev, Oleg A. "FACT AND ARTISTRY IN MODERN TEXTS: REVIEW OF SCIENTIFIC APPROACHES." Dynamics of Media Systems 4, no. 2 (2024): 36–44. https://doi.org/10.47475/2949-3390-2024-4-2-36-44.

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Non-fiction (from English «non-fiction», literally – “non–fiction”) is non-fiction literature that includes various prose genres based on real events and facts. Non-fiction includes nonfiction literature (biographies, memoirs, diaries, travel notes, essays), popular science literature, self-development literature and reference literature. A feature of non-fiction is the emotional impact on the reader through the description of real reality, and not through fictional characters and invented narratives, as it happens in fiction. This article examines the main scientific approaches to the study o

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29

Tyree, J. M. "Nomad: Herzog, Chatwin and non-non-fiction." Film International 18, no. 4 (2020): 148–52. http://dx.doi.org/10.1386/fint_00067_4.

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30

Morano, Michelle. "Against Loss: Choosing Non-Fiction." Iowa Journal of Cultural Studies 2000, no. 19 (2000): 42–45. http://dx.doi.org/10.17077/2168-569x.1326.

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31

Raeburn, John, and Ronald Weber. "Hemingway's Art of Non-Fiction." American Literature 63, no. 1 (1991): 139. http://dx.doi.org/10.2307/2926580.

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32

Rae, Gavin. "Artur DOMOSŁAWSKI, Kapuściński Non-Fiction." Debatte: Journal of Contemporary Central and Eastern Europe 18, no. 3 (2010): 355–60. http://dx.doi.org/10.1080/0965156x.2010.533869.

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33

Cossée, Eva. "What is literary non-fiction?" Publishing Research Quarterly 16, no. 1 (2000): 35–37. http://dx.doi.org/10.1007/s12109-000-1008-2.

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34

Keizer, Bert. "The language of non-fiction." Publishing Research Quarterly 16, no. 1 (2000): 49–54. http://dx.doi.org/10.1007/s12109-000-1011-7.

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35

Brugman, Emile. "The truth of non-fiction." Publishing Research Quarterly 14, no. 2 (1998): 16–18. http://dx.doi.org/10.1007/s12109-998-0014-7.

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36

Dekkers, Midas. "The fauna of non-fiction." Publishing Research Quarterly 14, no. 2 (1998): 19–21. http://dx.doi.org/10.1007/s12109-998-0015-6.

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37

Baghetti, Carlo. "Non fiction e working class." Cahiers d'études romanes, no. 38 (June 27, 2019): 287–98. http://dx.doi.org/10.4000/etudesromanes.9460.

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38

Rowe, M. "Transplant: a non-fiction narrative." Medical Humanities 28, no. 1 (2002): 23–27. http://dx.doi.org/10.1136/mh.28.1.23.

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39

Bottomore, Stephen. "Rediscovering early non-fiction film." Film History: An International Journal 13, no. 2 (2001): 160–73. http://dx.doi.org/10.2979/fil.2001.13.2.160.

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40

Brown, Duncan, and Antjie Krog. "Creative Non-Fiction: A Conversation." Current Writing 23, no. 1 (2011): 57–70. http://dx.doi.org/10.1080/1013929x.2011.572345.

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41

Vilches, Gerardo. "Photography in Non-Fiction Comics." European Comic Art 17, no. 2 (2024): 30–48. https://doi.org/10.3167/eca.2024.170203.

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Abstract Photography and comics were both media born with modernity in the nineteenth century, with an important role in the configuration of mass society. Photography has been related to comics in many ways, but it is in non-fiction comics where authors have exploited its potential as an index of reality and as evidence for testimonies. Works such as Art Spiegelman's Maus or Emmanuel Guibert's Le Photographe [The photographer] contributed to open a field of experimentation that some Spanish cartoonists have also explored. A comparative analysis of graphic novels such as Paco Roca's Regreso al

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42

Lima, Eliete Gusmão Gonçalves. "As filhas perdidas: ficção ou não ficção." Estudos de Psicanálise, no. 60 (2023): 115–26. https://doi.org/10.5935/2175-3482.n60a12.

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43

Raynaud, Claudine. "'Flesh and Blood': Autobiographical 'Material' between Fiction and Non-fiction." New Formations 67, no. 67 (2009): 46–57. http://dx.doi.org/10.3898/newf.67.05.2009.

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44

Graefrath, Bernd. "Lem’s Philosophy of Chance in His Fiction and Non-Fiction." Filozofia i Nauka 1, no. 10 (2022): 27–30. http://dx.doi.org/10.37240/fin.2022.10.1.4.

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45

Safyanova, Irina Vadimovna, and Anna Zalmanovna Atlas. "“Flush: A Biography” by Virginia Woolf: Fiction or Non-Fiction?" Philology. Theory & Practice 17, no. 8 (2024): 2665–70. http://dx.doi.org/10.30853/phil20240380.

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The aim of the study is to reveal genre peculiarities in “Flush: A Biography” by Virginia Woolf, the eminent twentieth-century English modernist writer. The paper focuses on her innovative techniques in an attempt to overcome the limitations of traditional biography by blending hard fact and fiction in her book about the life of Elisabeth Barrett Browning, the mid-nineteenth century English poet. The novelty of the research lies in exploring the combination of dominant features of nonfictional genre, most importantly the use of Browning’s authentic correspondence, and creative depiction of her

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46

Topping, Keith J. "Fiction and Non-Fiction Reading and Comprehension in Preferred Books." Reading Psychology 36, no. 4 (2014): 350–87. http://dx.doi.org/10.1080/02702711.2013.865692.

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47

Davidson, Meghan M., and Susan Ellis Weismer. "A preliminary investigation of parent-reported fiction versus non-fiction book preferences of school-age children with autism spectrum disorder." Autism & Developmental Language Impairments 3 (January 2018): 239694151880610. http://dx.doi.org/10.1177/2396941518806109.

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Background & aims Anecdotal evidence suggests that individuals with autism spectrum disorder prefer non-fiction books over fiction books. The current study was the first to investigate parent-reports of children with autism spectrum disorder’s fiction and non-fiction book preferences and whether these relate to individual differences in social communication, oral language, and/or reading abilities. Method Children (ages 8–14 years, M = 10.89, SD = 1.17) with autism spectrum disorder diagnoses ( n = 19) and typically developing peers ( n = 21) participated. Children completed standardized m

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48

Kucała, Bożena. "Unspoken dialogues and non-listening listeners in Graham Swift's fiction." Brno Studies in English 41, no. 1 (2015): 117–29. http://dx.doi.org/10.5817/bse2015-1-7.

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49

Zelinska, Anastasiia. "Semantic Limits of the Concept “Non-Fiction Book”." Current Issues of Mass Communication, no. 18 (2015): 62–73. http://dx.doi.org/10.17721/2312-5160.2015.18.62-73.

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In this study, the author proposed a terminologisation of the concept “non-fiction book” in the framework of Ukrainian theory of publishing. The relevance of the study is stipulated by the emergence in Ukrainian publishing space of the concept “non-fiction book”, which is widely used by publishers, authors, booksellers, literary managers and readers, while the term “non-fiction book” is not clearly defined in Ukrainian academic sphere and is absent in Ukrainian dictionaries. The main objectives of the study are: to summarize results of interdisciplinary discussions over the concept “non-fictio

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50

Gifreu-Castells, Arnau, Richard Misek, and Erwin Verbruggen. "Editorial." Non-fiction Transmedia 5, no. 10 (2016): 1. http://dx.doi.org/10.18146/2213-0969.2016.jethc108.

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Editorial to the issue on "Non-Fiction Transmedia". Over the last years, interactive digital media have greatly affected the logics of production, exhibition and reception of non-fiction audiovisual works, leading to the emergence of a new area called ‘interactive and transmedia non-fiction’. While the audiovisual non-fiction field has been partially studied, a few years ago emerged a new field focusing on interactive and transmedia non-fiction narratives, an unexplored territory that needs new theories and taxonomies to differentiate from its audiovisual counterpart.

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