Relevant bibliographies by topics / Psychological fiction, English

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Academic literature on the topic 'Psychological fiction, English'

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Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Psychological fiction, English"

Shen, Fanxi. "Freud’s Psychoanalysis Perspective on the Characteristics of the Monster in Frankenstein." IRA International Journal of Education and Multidisciplinary Studies 20, no. 1 (March 13, 2024): 36. http://dx.doi.org/10.21013/jems.v20.n1.p3.

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The famous English writer Mary Shelley wrote <em>Frankenstein</em> in 1818, which is regarded as the world’s first science fiction novel, and thus Mary Shelley was awarded the title of Mother of Science Fiction. With a gothic plot, this novel contains the philosophy of technology, psychology and epistemology, expressing the author’s exploration of human nature. The psychological and action descriptions of the characters in this novel, to a certain extent, show the psychological characteristics of the character’s id, ego and superego. Therefore, this paper will elaborate the psychological characteristics of the characters from the aspects of id, ego and superego from Freud’s psychoanalysis theory, thus exploring the character traits of the novel and providing a new perspective for the interpretation of the novel.

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Redkozubova, Ekaterina A. "The psychological portrait of a conflict type personality in the English fiction discourse." Humanities and Social Sciences 88, no. 5 (September 1, 2021): 107–10. http://dx.doi.org/10.18522/2070-1403-2021-88-5-107-110.

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Madavi, Dr Manoj Shankarrao. "Literary Representation of Natives in Indian Regional Literature-A Vast Panorama of Indigenous Culture, Imperialism and Resistance." International Journal of English Language, Education and Literature Studies (IJEEL) 2, no. 5 (2023): 01–04. http://dx.doi.org/10.22161/ijeel.2.5.1.

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Indian English fiction writing shows the development of Indian literature which takes a dive deep into the colonial past of India along with the detail observation of the history of deviation of social strata and its psychological effects on common masses of India. Social realism was checked through the early independence period of English writing. In Indian English fiction writing, partition trauma was glorified, celebrated as the main theme and Gandhian age is also described by most of the prominent novelist like Raja Rao, Chaman Nahal, and Khushwant Singh. The women novelists took the initiative after the independent period and Kamala Markandeya, Ruth P. Jabhawala, Shashi Deshpande, Geeta Hariharan, Anita Nair and Namita Gokhale have shown the rebellious feminism though their postcolonial sensibilities. If we want to write historical, social and cultural literature of India, we do not have escapism from the history of adivasi victimization and several adivasi harassments of centuries in India.

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Martins, Mauricio de Jesus Dias, and Nicolas Baumard. "The rise of prosociality in fiction preceded democratic revolutions in Early Modern Europe." Proceedings of the National Academy of Sciences 117, no. 46 (October 30, 2020): 28684–91. http://dx.doi.org/10.1073/pnas.2009571117.

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The English and French Revolutions represent a turning point in history, marking the beginning of the modern rise of democracy. Recent advances in cultural evolution have put forward the idea that the early modern revolutions may be the product of a long-term psychological shift, from hierarchical and dominance-based interactions to democratic and trust-based relationships. In this study, we tested this hypothesis by analyzing theater plays during the early modern period in England and France. We found an increase in cooperation-related words over time relative to dominance-related words in both countries. Furthermore, we found that the accelerated rise of cooperation-related words preceded both the English Civil War (1642) and the French Revolution (1789). Finally, we found that rising per capita gross domestic product (GDPpc) generally led to an increase in cooperation-related words. These results highlight the likely role of long-term psychological and economic changes in explaining the rise of early modern democracies.

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Chernenko, О. "SEMIOSIS OF INTERPERSONAL CONFLICTS IN ENGLISH ARTISTIC DISCOURSE." MESSENGER of Kyiv National Linguistic University. Series Philology 25, no. 1 (August 26, 2022): 134–41. http://dx.doi.org/10.32589/2311-0821.1.2022.263129.

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The current paper presents an overview of interpersonal conflicts in discourse area of character in modern English fiction discourse from the standpoint of multimodality theory, pragmalinguistics, and semiotics. In this respect semiosis is defined as the action of a sign, a dynamic process of meaning-making and meaning-interpretation realized through multimodal semiotic modes which collectively construct the meaning, communicated in these situations. This constructing is proceeded with the help of conflictives as emergent discursive constructs, the result of interactive constructing by means of verbal, nonverbal and graphic semiotic resources functioning in different stages of conflict communicative process. The linguosemiotic space of their realization is in the plane of disharmony of interpersonal relations of characters and its semiosis is built on cognitive, semiotic, communicative, and pragmatic specifics of conflictives as operational units of conflict discourse. Moreover, the appropriate inferences require understanding of cognitive, psychological, social, and cultural aspects accompanying narration.The aim of the study is also to establish a link between different approaches to the interpretation of conflict communication development and methods of their research in modern scientific studies. Multimodal nature of conflictives comprises several modes of multimodality for the analysis of conflict semiosis in fiction discourse: verbal, nonverbal, visual, auditory, kinetic etc. These patterns of meaning combination or meaning multiplication through different semiotic modes together construct the meaning, communicated and interpreted in the situations of interpersonal conflicts in discourse area of character in modern English fiction discourse. To achieve the objectives of research, a semiotic approach to the paradigm of conflict discourse approaches is applied, together with the elements of conversational analysis, multimodal discourse analysis, pragmatic analysis. The obtained results show the capacity of the semiotic approach to the conflict studies to enhance the effectiveness of linguistic research in the field of conflict studies.

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Khabibullina, Lilia F. "Postcolonial Trauma in the 21st-Century English Female Fiction." Imagologiya i komparativistika, no. 15 (2021): 89–104. http://dx.doi.org/10.17223/24099554/15/5.

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The postcolonial fiction of the 21st century has developed a new version of family chronicle depicting the life of several generations of migrants to demonstrate the complexity of their experience, different for each generation. This article aims at investigating this tradition from the perspective of three urgent problems: trauma, postcolonial experience, and the “female” theme. The author uses the most illustrative modern women’s postcolonial writings (Z. Smith, Ju. Chang) to show the types of trauma featured in postcolonial literature as well as the change in the character of traumatic experience, including the migrant’s automythologization from generation to generation. There are several types of trauma, or stages experienced by migrants: historical, migration and selfidentification, more or less correlated with three generations of migrants. Historical trauma is the most severe and most often insurmountable for the first generation. It generates a myth about the past, terrible or beautiful, depending on the writer’s intention realized at the level of the writer or the characters. A most expanded form of this trauma can be found in the novel Wild Swans by Jung Chang, where the “female” experience underlines the severity of the historical situation in the homeland of migrants. The trauma of migration manifests itself as a situation of deterritorialization, lack of place, when the experience of the past dominates and prevents the migrants from adapting to a new life. This situation is clearly illustrated in the novel White Teeth by Z. Smith, where the first generation of migrants cannot cope with the effects of trauma. The trauma of selfidentification promotes a fictitious identity in the younger generation of migrants. Unable to join real life communities, they create automyths, joining fictional communities based on cultural myths (Muslim organizations, rap culture, environmental organizations). Such examples can be found in Z. Smith’s White Teeth and On Beauty. Thus, the problem of trauma undergoes erosion, because, strictly speaking, with each new generation, the event experienced as traumatic is less worth designating as such. Compared to historical trauma or the trauma of migration, trauma of self-identification is rather a psychological problem that affects the emotional sphere and is quite survivable for most of the characters.

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О. Г. ШКУТА. "VERBALIZATION OF THE CONCEPT OF FEAR IN THE ENGLISH YOUTH DYSTOPIAN NOVEL “THE HUNGER GAMES” BY SUZANNE COLLINS." MESSENGER of Kyiv National Linguistic University. Series Philology 22, no. 2 (December 26, 2019): 79–87. http://dx.doi.org/10.32589/2311-0821.2.2019.192338.

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Introduction. The article focuses on the problem of the concept of FEAR verbalization in the English-language youth dystopian fiction novel “The Hunger Games” by American writer Suzanne Collins. The main invariant features of dystopian novels in general, and, in particular, of youth dystopian fiction novels, are detected.The purpose of the article is to identify the means of verbalization of the concept of FEAR as a component of the invariant model in youth dystopian fiction novel The Hunger Games by American writer Suzanne Collins.The following methods are applied to analyze the data: descriptive method, the method of lexicographic analysis and vocabulary definitions’ analysis.The results. Based on the textual analysis the means of the concept of FEAR verbalization are identified, and the most frequently presented lexical units of its verbalization in The Hunger Games are highlighted. Localization of FEAR in the youth dystopian fiction novel in time and space is explored, as well as the manifestations of the emotion of FEAR, the development of successive stages of FEAR growth. The study has revealed that the maininvariant features of dystopian novels are totally controlled by society, obligatory unanimity of its members, quest, external conflict. The significance of Suzanne Collins' interpretation of the tiniest nuances of the emotion of FEAR is summed up. The article states that the FEAR in the novel is inexplicable, existential and motivated by certain circumstances.The research makes the conclusion that the concept of FEAR plays an important role in the poetics of dystopian youth fiction novels, testifying to the author as a master of psychological analysis.

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Soloshchuk, Lyudmyla, and Yuliia Skrynnik. "Ecolinguistic approach to the analysis of the notion “leader’s charisma” (based on English non-fiction literature)." 27, no. 27 (December 26, 2023): 67–76. http://dx.doi.org/10.26565/2218-2926-2023-27-05.

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The research attempts to study various aspects and correlations between the verbal and non-verbal characteristics of charismatic leaders from an ecolinguistic perspective. The analysis of the lingual and non-lingual repertoire of a charismatic leader, his main characteristics and correspondence of his verbal, non-verbal and supra-verbal behavior to the ecological principles of communication demonstrates that if the leader avoids using in their speech the elements producing a harmful effect on physical, psychological or emotional state of a partner they can reach ecologically effective influence on the audience. A charismatic leader's identity emerges from psychological and social factors that manifest in their speech. This statement correlates with the principles of ecolinguistics, which involve the analysis of verbal, non-verbal, and supra-verbal phenomena in the unity with natural, social, and psychological factors. Modern English non-fiction literature was chosen as the research material. The non-fiction authors – scientists, psychologists, coaches, and business-trainers, focus the reader’s attention on the main criteria for creating the image of a charismatic leader, which includes verbal and non-verbal communicative components, as well as their ecological combinability. Core features that effectively shape the image of a successful leader are charisma and high communicative skills, which include preservation of communicative maxims of quantity, quality, relation, and manner. The focus of ecolinguistic research on a charismatic leader who influences the society and achieves their goals through various means, including language, contributes to further development of the theory of discursive personality. The results of this study can be used in discourse studies, studies of verbal and non-verbal communication, pragmalinguistics, and communication theory.

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Kartashkova, Faina I., and Liubov E. Belyaeva. "Colour Meaning in English Literary Pieces." RUDN Journal of Language Studies, Semiotics and Semantics 13, no. 1 (March 31, 2022): 201–12. http://dx.doi.org/10.22363/2313-2299-2022-13-1-201-212.

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The article deals with the colour maening and colour symbolics of a literary piece. Analysis of colour world in English fiction is aimed at determining the linguistic means of representing the individual writers idea of colour via the system of colour values. Along with it, analysis of the expression of colour sensations and their influence both on characters and on the plot development was carried out. It was shown that colour vocabulary is represented by words in their direct and figurative meanings. It was proved that language units may be represented in the form of a complex individual-authorial interpretation. Adjectives which convey or specify various colours and their shades make the main group of colour vocabulary discussed in the article. The same function may be performed by attributive phrases the semantic centre of which form names of animate/inanimate nature. Frequency of adjectives denoting colour was stated. Of special importance is the way colour names carry a special psychoemotional load. On the basis of analysis of literary pieces, it is shown that together with other psychological details colour meaning and colour symbolism perform esthetic function. Colour value can enhance a positive or negative assesment of the work of art described in a literary piece. The article presents classification of colour names based on different types of meaning: direct, metaphoric and symbolic. An attempt (based on an analysis of the color names) was made to determine the authors idea of further development of the plot. Study of the role of light in works of art verbalised in fiction proved that light and transparent colour scheme render high spirits of the characters of literary pieces and evokes the recipients positive emotions.

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Dissertations / Theses on the topic "Psychological fiction, English"

Jespersdotter, Högman Julia. "Repeating Despite Repulsion: The Freudian Uncanny in Psychological Horror Games." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-42829.

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This thesis explores the diverse and intricate ways the psychological horror game genre can characterise a narrative by blurring the boundaries of reality and imagination in favour of storytelling. By utilising the Freudian uncanny, four video game fictions are dissected and analysed to perceive whether horror needs a narrative to be engaging and pleasurable. A discussion will also be made if video game fictions should be considered in the literary field or its own, and how it compares to written fiction in terms of interactivity, engagement, and immersion.

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Bindslev, Anne M. "Mrs. Humphry Ward a study in late-Victorian feminine consciousness and creative expression /." Doctoral thesis, Stockholm, Sweden : Almqvist & Wiksell International, 1985. http://books.google.com/books?id=l3ZbAAAAMAAJ.

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Richards, James. "Sugar Skulls." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/english_diss/8.

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This dissertation is a collection of four long short stories about contemporary Americans written in the mode of psychological realism. “Bare Knuckles” depicts the struggles of a young man trying to “make it” in the world of illegal boxing. “ZOSO” focuses on the breakdown of an upper-middleclass family forced to move from the rustbelt to the “New South.” In “Dusted,” a man ill-equipped to navigate through the adult world turns to substance abuse and violence as a “way out.” “Sugar Skulls” explores the fascination with death in the punk rock world.

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Mackinnon, Jeremy E. "Speaking the unspeakable : war trauma in six contemporary novels." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm15821.pdf.

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Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.

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Volz, Jessica A. "Vision, fiction and depiction : the forms and functions of visuality in the novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4438.

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There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.

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"The unfolding of self in the mid-nineteenth century English Bildungsroman." 2003. http://library.cuhk.edu.hk/record=b5896118.

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Cheung Fung-Ling.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves 106-112).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.v
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Passionate Impulses in Childhood and Adolescence --- p.26
Chapter Chapter Three --- Moral Dilemmas in Love --- p.52
Chapter Chapter Four --- The Ultimate Return --- p.75
Chapter Chapter Five --- Conclusion --- p.99
Notes --- p.104
Bibliography --- p.106

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Mackinnon, Jeremy E. "Speaking the unspeakable : war trauma in six contemporary novels / Jeremy E. Mackinnon." Thesis, 2001. http://hdl.handle.net/2440/19791.

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Includes bibliographical references (leaves 246-258)
258 leaves ; 30 cm.
Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.
Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2001

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Books on the topic "Psychological fiction, English"

L, Curtis Jerry, ed. Psychological sketches: A collection of short fiction. Lewiston, N.Y: Edwin Mellen Press, 2009.

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Hardy, Robert. Psychological and religious narratives in Iris Murdoch's fiction. Lewiston, N.Y: Edwin Mellen Press, 2000.

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M, Johnson George. Dynamic psychology in modernist British fiction. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2006.

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M, Johnson George. Dynamic Psychology in Modernist British Fiction. New York, USA: Palgrave Macmillan, 2005.

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Kullmann, Thomas. Violence in English children's and young adults' fiction. Aachen: Shaker Verlag, 2010.

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Walter, De la Mare. Missing. London: Hesperus, 2007.

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Liddle, Rod. Too beautiful for you: Tales of improper behavior. New York: Vintage Books, 2006.

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Doughty, Louise. An English murder. Thorndike, Me: Thorndike Press, 2000.

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Jim, Harrison. The English major. Thorndike, Me: Center Point Pub., 2009.

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Jim, Harrison. The English major. New York: Grove Press, 2008.

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Book chapters on the topic "Psychological fiction, English"

Saunders, Corinne. "Thinking Fantasies: Visions and Voices in Medieval English Secular Writing." In Visions and Voice-Hearing in Medieval and Early Modern Contexts, 91–116. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52659-7_5.

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AbstractThe creative engagement with visions and voices in medieval secular writing is the subject of this essay. Visionary experience is a prominent trope in late medieval imaginative fiction, rooted in long-standing literary conventions of dream vision, supernatural encounter and revelation, as well as in medical, theological and philosophical preoccupations of the period. Literary texts repeatedly depict supernatural experience of different kinds—dreams and prophecies, voices and visions, marvels and miracles, otherworldly and ghostly visitants. In part, such narratives respond to an impulse towards escapism and interest in the fantastic, and they have typically been seen as non-mimetic. Yet they also engage with serious ideas concerning visionary experience and the ways in which individual lives may open onto the supernatural—taking up the possibilities suggested both by dream theory and by the theological and psychological models of the period. Examples drawn from a range of Middle English romances and from Chaucer’s romance writing demonstrate the powerful creative potential of voices and visions. Such experiences open onto fearful and fascinating questions concerning forces beyond the self and their intersections with the processes of individual thinking, feeling and being in the world, from trauma to revelation to romantic love.

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Baldick, Chris. "The Modern Psychological Novel." In The Modern Movement, 189–211. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198183105.003.0010.

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Abstract The psychological novel in English has a long history going back to Samuel Richardson’s works of the 1740s. The term itself had been introduced by George Eliot in 1855, and was by the 1920s widely used in critical discussion. Novels of the special kind that concentrate on the emotional crises of a protagonist entering upon adulthood were already central to the tradition of English fiction. Although the German word Bildungsroman (variously translated as ‘novel of formation’, ‘education novel ‘ or ‘coming-of-age novel’) was not domesticated as an English term before 1910, the thing itself was prominent in Victorian literature, in Thackeray’s Pendennis (1850), Dickens’s David Copperfield (1850) and Great Expectations (1861), and George Eliot’s The Mill on the Floss (1860). Outside this particular genre of subjective fiction, there had been in the late Victorian and Edwardian periods a few distinguished novelists, most notably Henry James and Joseph Conrad, for whom the events of a novel’s action seemed less important than the characters ‘ perceptions and interpretations of them in the perplexing mazes of ‘consciousness ‘.

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Trotter, David. "Modern Writers I: English Mess." In Cooking With Mud, 115–52. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198185031.003.0005.

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Abstract In Chapter 3, I drew attention to a brace of significant literary departures: in Armadale, Wilkie Collins suspended the paranoia governing the genre of sensational fiction in order to give weight to the toss of a coin; in Sentimental Education, Gustave Flaubert set aside the doctrine of psychological determinism he had upheld for many years in order to emphasize the part played in his hero’s life by chance and by ‘external facts’. The only explanation I have so far advanced for these departures is bio graphical: Collins, still savouring the success of The Woman in White, no doubt felt that he could do more or less what he liked with his new narrative toy; Flaubert, who took care not to repeat himself, found in the force of circumstance a fresh (and ample) incentive to irony. That two such unlikely com panions should both choose to depart from the established pattern of their separate careers at roughly the same moment in the history of the European novel is, one might suppose, a coincidence.

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Spitzer, Jennifer. "The Soul under Psychoanalysis." In Secret Sharers, 59–87. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502089.003.0003.

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Chapter 2 traces the entanglements between Bloomsbury and psychoanalysis as a backdrop to Woolf’s ongoing discursive battles with Freud. Woolf was intimately involved in publishing and popularizing psychoanalysis to an English audience, yet she remained suspicious of Freud’s ideas for over two decades, reading his work only shortly before her death in 1939. In her essay “Freudian Fiction” and in Mrs. Dalloway, Woolf hyperbolizes the dangers of psychoanalysis and psychiatry as scientific dissections of the soul. As I go on to suggest, her discursive battle with Freud was tied to her aesthetic and ethical, albeit secular and modern, defense of the “soul,” and to her polemic against medical and psychological authoritarianism—a polemic that reaches its apogee in Mrs. Dalloway (1925). Yet Woolf’s use of free-indirect discourse as a narrative mode that offers access to the deepest recesses of the self by way of a distant and anonymous narrator, evokes analogous, albeit fictional, interventions that Woolf rejected in psychoanalysis.

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Miller, Giulia. "How to Define Waltz with Bashir: Animated Documentary or Animated Fiction, or Both?" In Studying Waltz with Bashir, 19–38. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.003.0002.

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This chapter looks at the form of Ari Folman's Waltz with Bashir and confirms whether it is an animated work of fiction or an animated documentary, or even both. It discusses how Waltz with Bashir was never originally promoted as a documentary and analyses the original Hebrew movie poster that simply gives the film's title, while the English language version says in small print 'based on a true story'. It also discloses how Waltz with Bashir has been praised for accurately portraying the more unreliable psychological state of the traumatised soldier through animated dreams and flashbacks. The chapter examines the distinction between how Waltz with Bashir was originally promoted and how it became to be defined as crucial. It points out how the viewer's expectations would have been different if Waltz with Bashir had been initially advertised as a documentary concerning Israel's role during the Sabra and Shatila massacres.

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Fermanis, Porscha. "Introduction: Romantic Histories of Feeling." In Romantic Pasts, 1–29. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474481885.003.0001.

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This introductory chapter traces the complex relationship between feeling and the making of the modern historical method in late eighteenth- and early nineteenth-century Britain. Focusing on ‘official’ history rather than on quasi- or para-historical genres, it makes the case that debates about the role and status of feeling played a central role in determining both the moving boundaries between history and fiction, and how historical methods developed as the nineteenth century progressed. In suggesting that sentimentalism was not an uncontested way of representing even the most radical disassociations in the development of historical consciousness (such as the English and French Revolutions), it argues for an emerging distinction in the period’s written history between a sentimental historicism (or ‘feeling history’) concerned with the representation of affective states and a psychological historicism (or ‘history of feeling’) concerned with the analysis of motives and mental states.

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"37). Indeed, rumour had it that one of them, En cas de bonheur, was nicknamed En cas de déprogrammation (In Case of Happiness/In Case of Cutting from the Schedules) (Pélégrin 1989: 37). The third and least powerful element in this force field is the British contribution to French TV serial fiction. As the French preference for the high(er) cultural mini-series might lead one to expect, British production is represented by BBC-style middle-brow costume dramas such as The Forsyte Saga, rather than by such soaps as Coronation Street or EastEnders, neither of which had been screened in France when Neighbours opened. This triangular force field of high-gloss prime-time American soaps and high(er) cultural French and British costume and psychological dramas afforded no familiar televisual footholds for a Neighbours. It landed in a limbo, possibly ahead of its time, but certainly lost in 1989. Whereas its register of the everyday proved readily assimilable to the British aesthetic discourse of social realism exemplified by such community-based soaps as Brookside, EastEnders, and even Coronation Street, such a discourse is in France found less in soaps than in quite another genre, the policier. Simultaneously, Neighbours fails to measure up to two key expectations of French television serial fiction: its psychological characterization with psychologically oriented mise-en-scène, and its polished, articulate dialog involving word-games and verbal topping (Bianchi 1990: 100–101). The second and third factors working against Neighbours’s French success are linguistic and to do with television imports. Both the unfamiliarities of the English language and of other Australian televisual product doubtless played their part in Neighbours’s failure in France. Linguistically, France is more chauvinist than such European countries as Holland, Belgium, and Germany, where Australian and British soap operas and mini-series are much more widely screened. And apart from short runs of Young Doctors, A Country Practice, and a few oddball exports, Australian televisual material is known best through the mini-series All the Rivers Run, The Thornbirds, and Return to Eden (which was successful enough on TF1 in 1989 for La Cinq to rescreen it in 1991). This is a far cry from the legion Australian soaps which paved the way for Neighbours in Britain. All in all, the prospects for Neighbours in France were not promising. In the event, as in the USA, it secured no opportunity to build up its audience. Antenne 2 declined to discuss the brevity of its run or its (too) frequent rescheduling. Catherine Humblot, Le Monde’s television commentator, sees a “French mania for change in television scheduling” as a widespread phenomenon: “if a programme has no immediate success, then they move it” (Humblot 1992). Rolande Cousin, the passionate advocate of Neighbours who had previously sold Santa Barbara and Dallas in France, adds that Antenne 2’s lack of confidence in the Australian soap may have been exacerbated by its employment policy of the time of offering golden handshakes to its experienced management and installing young blood. This would have arisen from Antenne 2’s difficulties finding adequate advertising revenue to support its." In To Be Continued..., 127. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-29.

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