Relevant bibliographies by topics / Parafiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Parafiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Parafiction"

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Lambert-Beatty, Carrie. "Make-Believe: Parafiction and Plausibility." October 129 (August 2009): 51–84. http://dx.doi.org/10.1162/octo.2009.129.1.51.

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Robertson, Kirsty. "The Disappearance of Arthur Nestor: Parafiction, Cryptozoology, Curation." Museum and Society 18, no. 2 (July 4, 2020): 98–114. http://dx.doi.org/10.29311/mas.v18i2.3083.

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This paper considers Beneath the Surface: The Archives of Arthur Nestor, a parafictional exhibition that I curated in 2014 with 16 undergraduate students at Western University, Canada. The exhibition depicted the life of Dr. Arthur Nestor, a professor of Biology who had disappeared from London (ON) in 1975, seemingly without trace. Over the summer of 2014, some of Nestor’s files and artefacts had been discovered during university renovations, and this archive was given to students in Museum Studies to organize and catalogue. As we sorted through the files, it became clear that Dr. Nestor was something of a controversial figure, a man who became an environmental activist in Southwestern Ontario because of his belief that cryptids (lake monsters) lived in Lakes Huron and Erie, and were in need of protection from human-made pollution. As the documents in his file overlapped with our research in the wider sphere, the evidence seemed to suggest that Nestor had left London to join Dr. Roy Mackal, a University of Chicago professor of cryptozoology searching for the Loch Ness Monster. This paper weaves together the tale of Arthur Nestor and the curating of Beneath the Surface with a history of the relationship between natural history museums and cryptozoology, ultimately questioning what parafiction can do in both art galleries and museums.
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Sushynskyi, Oleksandr. "Austro-Greece: Parafiction and Myth-Making Mechanisms of Hyperstition." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 118–27. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235231.

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The paper analizes the phenomenon of “Austro-Greek Empire” — a collective art-research project that includes ethno-cultural, social-political, and artistic frames. The fictional dimension of this “work-in-progress” project becomes its substantial part due to the topical issue of the post-truth phenomenon and conspiracy theories that are prevailing the media space. The importance of fictionalization methods in post-conceptual art is analyzed and demonstrated, given the possibility of constructing a metaposition in a situation of historical and political uncertainty. The “Austro-Greek Empire” is an emblematic project for the contemporary Ukrainian art process, as it aggregates a series of key issues, one of which is still the problem of identity. The article uses various methodological approaches, in particular, the optics of “parafiction” by C. Lambert-Beatty, psychoanalysis of J. Lacan, post-structuralist analysis of the mythology by R. Barthes and fictionalization of P. Osborne.
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Goldberg, Keren. "The melting pot: Parafiction Art in Israel and Palestine." Journal of Arts Writing by Students 1, no. 1 (January 1, 2015): 103–13. http://dx.doi.org/10.1386/jaws.1.1.103_1.

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Halwani, Fuad. "Narratives of Enfoldment: Multi-linear and Parafictional Storytelling in Media Art." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 98–109. http://dx.doi.org/10.24140/ijfma.v7.n2.05.

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Narratives have been witnessing a state of enfoldment within the virtual world(s) since the proliferation of transmedia story worlds and new media art works. The aesthetics of enfoldment are discussed by Laura U. Marks within different trends in media art. She follows a genealogy of media art that has its roots in premodern Islamic concepts. Enfoldment is therefore situated as the broad framework of this paper’s discussion. Since the prevalence of the concept of transmedia storytelling, coined by Henry Jenkins in 2007, different franchises (be it in entertainment and others) have adopted certain narrative tropes to create a transmedia presence or universe. One of these tropes is the usage of multi-linear storytelling. Multi-linearity is one of the forms narrative storytelling that liberates a story from its temporal structure, making the consumption of narrative open to the end user. Parafiction, on the other hand, denotes instances when the lines between fact and fiction become blurry creating contemporary artworks where story worlds are essential for the dissemination of the works themselves. According to Lambert-beaty (2009) “the slew of recent writings trying to describe or explain this condition ranges from philosophical explorations of ‘the ethics of the lie’, to moralist warnings about our entry into ‘the post-truth era’” (Lambert-beatty, 2009). The following article aims at disseminating past scholarship on multi-linear and parafictional storytelling in trans and new media art in an attempt at shaping the theoretical framework of my doctoral thesis project; a podcast series intended for online dissemination that features conversations between a fictional character and non-fictional historical figures.
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Magnone, Lena. "„Księgi Justynine”. O biografii Justine Frank." Poznańskie Studia Polonistyczne. Seria Literacka, no. 35 (November 5, 2019): 237–51. http://dx.doi.org/10.14746/pspsl.2019.35.11.

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The article is devoted to the biography of Justine Frank (1900-1943), a marginalized member of the surrealist movement, a painter and writer who combined Judaism with pornography, a critic of the Zionist project who tragically died in Palestine. Written by an Israeli artist and an expert on the interwar avant-garde, Roee Rosen, it is not only an artistic provocation – a part of a larger experiment in the field of the so-called parafiction also including editions of Frank’s novel Sweet Sweat and exhibitions of her paintings – but also an interesting statement in the discussion on the possibilities and limitations of feminist criticism, as it points out the problem of fabrication of the indispensable precursors.
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Smith, Rebecca. "Parafictions: UBERMORGEN.COM as a case study of parafictive practice conducted between 1998 and 2018." Journal of Arts Writing by Students 5, no. 1 (March 1, 2019): 29–42. http://dx.doi.org/10.1386/jaws.5.1.29_1.

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Recanati, François. "II—Fictional, Metafictional, Parafictional." Proceedings of the Aristotelian Society 118, no. 1 (February 21, 2018): 25–54. http://dx.doi.org/10.1093/arisoc/aoy001.

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Warren, Kate. "Double Trouble: Parafictional Personas and Contemporary Art." Persona Studies 2, no. 1 (May 17, 2016): 55–69. http://dx.doi.org/10.21153/ps2016vol2no1art536.

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Across the news and entertainment media there is an increasingly prevalent phenomenon: actors, performers and artists who play “versions of themselves”. This paper explores the entertaining and critical potentials of this strategy, which I term “parafictional personas”. I draw upon Carrie Lambert-Beatty’s theorisation of the parafictional as a critical mode that has developed out of (and in tension with) the “historiographic turn”. Parafictional personas are a specific iteration, characterised by two key components: they compulsively imbue every opportunity with layers of interconnections and self-reflexive moments; and they involve artists and performers appropriating their own “proper name”, constructing fictionalised doubles of themselves. While found widely across media, my central focus is contemporary visual art, analysing two key examples, Israeli–American artist Omer Fast and Lebanese artist Walid Raad.These artists are significant because their personas are not simply means of performing themselves as individuals; they are integrated into the ways the artists approach contentious, still unfolding events of contemporary history. Parafictional personas have the potential to thoroughly embed fictional constructs within reality, because of the difficulties in separating elements represented by the same proper name. Their critical potential lies in the ways that they make visible the difficulties of maintaining clear distinctions between historical and fictional, social and individual narratives. Parafictional personas confound cultural desires to order, categorise and “make sense” of historical narratives. They reveal how much we as viewers (and societies) search for ideas of truth and resolution, even if such truths are presented as incomplete, questionable, or irresolvable.
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Brasó, Emma. "Exhibiting Parafictional Artists: Curatorial Approaches to Fiction and Authorship." Journal of Curatorial Studies 10, no. 1 (April 1, 2021): 50–71. http://dx.doi.org/10.1386/jcs_00031_1.

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This article identifies and analyses parafictional strategies in artistic and curatorial practice. By examining exhibitions that have included artists working under fictitious identities from the mid-1990s to the present, I argue that they emerged in response to the conflictual demands of the art world. These case studies have been organized into three categories according to their main curatorial approach: projects in which artists remained anonymous or were asked to produce work under a purposely invented personality; exhibitions that turned the intersection of fiction and authorship into a theme to be researched; and curatorial initiatives that embraced the working logic of fiction in their own methodology. These strategies investigate how authorship, agency, style and self-promotion function in the contemporary art world.
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Dissertations / Theses on the topic "Parafiction"

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Ball, Adele. "NO WOMAN IS AN ISLAND." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4250.

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We have gathered the following pages to archive our time here in Richmond, Virginia. We have been here for two years, growing slowly, moving when needed to new anchorholds to avoid detection or arrest. We scrutinize the urban environment like modern archeologists. We collect stories and speculate about new uses of old things. It is imperative to be resourceful here, and we do so out of necessity but also in the spirit of practice. These pages were made en route, each an exploration of the tools at hand when on the move. The method of creation is just as important as the creation as the story itself. The ancients invented stories about the constellations in order to track their routes across the earth. A cluster of stars exists called the seven sisters. Only six are visible. According to myth, the sisters leave to look for the seventh sister and disappear below the horizon for a month. Their return to the sky signals the end of the planting season. The story becomes allegory, told to educate stargazers about the growing cycle. Like those sisters, we come and go. We tell stories to teach. We tell stories survive.
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Tkac, Aaron. "Architectural Daydreams: Using the Space Between Fiction and Reality to Explore the Potentials of Architectural Storytelling." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1617104552113073.

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Ashworth, Karike. "#SoBrave: The crisis of neoliberal feminine bravery." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/132395/1/Karike_Ashworth_Thesis.pdf.

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This creative practice-led research project employs cross-disciplinary methods to examine how neoliberal constructions of feminine bravery reinforce prescriptive and restrictive behaviour standards for women. Using performance, video, textiles and immersive installations to explore conceptions of feminine bravery, the artist has developed a parodic persona, 'Brave Girl', a mock super-hero/medieval warrior, who is inspired by popular culture, online media, cosplay and comic strip characters. Brave Girl embodies some aspects of the artist's journey – however, stepping away from autobiography, into "anti-autobiography," has enabled a distinct critical understanding of how affirmations of bravery function. The research determines that it is possible to use the ambiguities of contemporary art practice to reveal the hegemonic qualities of the feminine bravery construct.
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Iwataki, Ana A. "Mythic Narratives: The Chronicling of Conceptual Art." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/pitzer_theses/1.

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An exploration of the mythologized narratives that the work and lives of Conceptual artists Bas Jan Ader, Ana Mendieta, and Francis Alÿs have created and inspired. By virtue of their biographies, the fetishization of their personalities, and the ways in which this anecdotal information can be read in their work, mythologized narratives have been constructed, allowing for a prolonged interest existing within and without the confines of the art world. These mythologies come together as part of the oral tradition of the art world, a chronicling of narratives that incites continued interest for future generations.
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Brasó, Emma. "Parafictional artists : from the critique of authorship to the curatorial turn." Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3541/.

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This thesis examines the intersection of authorship and fiction in artistic practices from the 1980s until the present. Based on a series of examples of imaginary or partially fictional artists who are, nevertheless, able to function as authors in the contemporary art world, the thesis proposes the term “parafictional artists.” The concept of the parafictional, coined by the art historian Carrie Lambert-Beatty, is here revised to emphasize the capacity of these artists to interact with the art world in a plausible manner despite the disclosure of their imaginary nature. Such interactions include exhibiting and selling works, giving interviews, publishing books, or performing under their own name. Rather than focusing on why numerous artists from a broad geographic background have decided to employ fictional authorial strategies, this thesis explores a different set of questions: How does the extended practice of developing and exhibiting parafictional artists reflect as well as modify the ways in which contemporary authorship functions in todays’ highly institutionalized, mostly global, art world? And, what are the consequences of the introduction of these fictional explorations into artistic identity for the interpretation, presentation, and encounter with artworks? In order to answer the above questions, the thesis is divided in two parts. Part I utilises an art historical framework to propose interpretative models to analyse parafictional artists. Starting from the critique of authorship and its articulation by new art history in the 1980s, the thesis applies revised ideas on the importance of biography and intentionality to a number of selected case studies, including Reena Spaulings, Barbara Cleveland, Robbie Williams, The Atlas Group, and the three Janez Janšas, amongst others. Part II brings these debates up to date and questions the working logic of the critique of authorship from the 1990s onwards. This second part draws a parallel between the emergence of parafictional strategies and of curating as a professional activity and discourse, as a consequence of changes in the organization of the art world. The thesis concludes by examining a series of exhibitions and argues for a curatorial understanding of parafictional artists that, beyond critique, contributes to the production of knowledge through fiction.
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Books on the topic "Parafiction"

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Singularities: Fragments, Parafictions, Prose Poems -- New Directions in Fiction and Physics. Black Moss Press, 1990.

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Book chapters on the topic "Parafiction"

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Kernbauer, Eva. "Counterfactual History, Parafiction, and the Critical Ends of Utopia." In Art, History, and Anachronic Interventions Since 1990, 160–72. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003166412-8.

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Alves-Ferreira, Joana. "Parafictions: A Polaroid Archaeology." In Archaeology and Photography, 96–108. London; New York: Bloomsbury Visual Arts, 2019. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003103325-5.

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Albers, Kate Palmer. "Parafiction and the New Latent Image." In Ubiquity, 197–206. Leuven University Press, 2021. http://dx.doi.org/10.2307/j.ctv24cnspz.13.

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"5. Reading Anglophone Arab Enunciations Across Genres: Narrative Display, Performative Evidence, and the Parafiction of Theory." In Transgressive Truths and Flattering Lies, 187–256. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839450482-007.

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"5. Reading Anglophone Arab Enunciations Across Genres: Narrative Display, Performative Evidence, and the Parafiction of Theory." In Transgressive Truths and Flattering Lies, 187–256. transcript Verlag, 2020. http://dx.doi.org/10.1515/9783839450482-007.

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Alves-Ferreira, Joana. "Parafictions: A Polaroid Archaeology." In Archaeology and Photography. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781350029712.ch-005.

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Recanati, François. "Fictional reference as simulation." In The Language of Fiction, 17–36. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846376.003.0002.

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According to a widespread view, the author of a fiction makes pretend assertions, which themselves rest on ancillary acts of pretend reference. Fictional discourse is thus asymmetrically dependent upon ‘serious’ (non-fictional) discourse: fictional reference and fictional assertion alike are parasitic on genuine reference and genuine assertion, which they mimic. Recently, however, several authors have criticized the pretence approach. According to the alternative, two-stage model they argue for, fiction and non-fiction are on a par (rather than one being asymmetrically dependent upon the other). This chapter shows how this debate connects with the current controversy about the force/content distinction. A sustained defence of the pretence approach is provided, and the approach is shown to extend to the parafictional uses of fictional names.
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Smith, Rebecca. "The Legacy of the Berlin Dada Media Hoaxes in Contemporary Parafictive Acts." In Dada Data. Bloomsbury Visual Arts, 2023. http://dx.doi.org/10.5040/9781350227644.ch-003.

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Conference papers on the topic "Parafiction"

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Smith, Rebecca Griffin. "Parafictions and Contemporary Media Art 2008-2018." In RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.5.

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You might also be interested in the extended bibliographies on the topic 'Parafiction' for particular source types:
Journal articles
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