Journal articles: 'Reading, fiction'

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Skoblow, Jeffrey. "Reading Fiction/Teaching Fiction/Reading Teaching." Pedagogy 1, no. 2 (April 1, 2001): 399–404. http://dx.doi.org/10.1215/15314200-1-2-399.

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Simon, Harvey B. "Reading Fiction." American Journal of Medicine 127, no. 4 (April 2014): 356–57. http://dx.doi.org/10.1016/j.amjmed.2013.11.017.

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Fathallah, Judith. "Reading real person fiction as digital fiction: An argument for new perspectives." Convergence: The International Journal of Research into New Media Technologies 24, no. 6 (January 19, 2017): 568–86. http://dx.doi.org/10.1177/1354856516688624.

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‘Real person fiction’ (RPF) is a subset of fanfiction that has gone largely unnoticed by academics. A handful of articles have argued for the justification of stories about real (living) people as a legitimate and morally sound art form, but only a very few studies have begun to consider RPF as a genre with its own aesthetics and conventions. This article argues that, to understand fannish RPF, we need to incorporate tools developed by scholars of digital fiction. Almost all fanfic is now produced for and on digital platforms, and moreover, the natural fit between RPF specifically and the study of metalepsis, or self-conscious movement between ‘levels’ of reality and fiction, makes this tool and others imported from the study of digital fiction an illuminating set of lenses through which read it. Along the way, I will incorporate further narrative theory to suggest that we understand appeals to the putative subject of RPF as directed to a ‘fictiona lized addressee’, that is, an addressee who is neither purely fictional nor purely nonfictional, but a construct of mediated activity that demonstrates fandom’s participation in the construction of the subcultural celebrity.

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

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

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Wilhelms, Lina. "“Esa zona indeterminada donde se cruzan la ficción y la verdad": Ficciones, realidades y la lectura como agentes críticos en El camino de Ida de Ricardo Piglia." Philologica Canariensia, no. 30 (2024) (June 22, 2024): 569–87. http://dx.doi.org/10.20420/phil.can.2024.691.

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This article analyses Ricardo Piglia's last novel, El camino de Ida (2013), which is influenced by the emphatic concept of fiction and the epistemological potential of literature, postulated by its author. The article discusses how the author aims to develop through his crime fiction a capacity for critical reading allowing us to recognise and read the state and economic fictions that, according to Piglia, fill reality. It will be shown how Piglia deliberately plays with fictional and factual elements at various levels of the complex narrative to provoke a critical and even suspicious attitude and to incite a reflection on reading. Thus, the novel anticipates on a meta-level central aspects of the recent debate between "critique and postcritique".

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Stock, Kathleen. "Knowledge from Fiction and the Challenge from Luck." Grazer Philosophische Studien 96, no. 3 (September 12, 2019): 476–96. http://dx.doi.org/10.1163/18756735-09603015.

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In order for true beliefs acquired from reading fiction to count as knowledge proper, they must survive ‘the challenge from luck’. That is, it must be established that such beliefs are neither luckily true, nor luckily believed by readers. The author considers three kinds of true belief a reader may, she assumes, get from reading fiction: a) those based on testimony about empirical facts; b) those based on ‘true in passing’ sentences; and c) those beliefs about counterfactuals one may get from reading a ‘didactic’ fiction. The first group escape the challenge from luck relatively easily, she argues. However, things turn out to be more complicated with the second group. The author examines Mitchell Green’s suggestion, effectively, that knowledge of fictional genre may see off the challenge from luck here, but rejects this in the form presented by Green, adapting it substantially to offer beliefs of this kind a more promising escape route. The author finishes by following Green’s lead once again, and discussing the category of ‘didactic’ fiction, as he calls it. She argues that any true beliefs about counterfactuals gained from such fictions are likely to be lucky. The author concludes however that things are much more promising for any true beliefs gained about oneself as a result of engaging with what Green calls an ‘interrogative’ fiction.

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

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Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. The brain processes which play a role in the mental construction of fiction worlds and the related engagement with fictional characters, remain largely unknown. The authors discuss the neurocognitive poetics model ( Jacobs, 2015a ) of literary reading specifying the likely neuronal correlates of several key processes in literary reading, namely inference and situation model building, immersion, mental simulation and imagery, figurative language and style, and the issue of distinguishing fact from fiction. An overview of recent work on these key processes is followed by a discussion of methodological challenges in studying the brain bases of fiction processing.

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Zigo, Diane, and Michael T. Moore. "Science Fiction: Serious Reading, Critical Reading." English Journal 94, no. 2 (November 1, 2004): 85–90. http://dx.doi.org/10.58680/ej20044186.

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Former high school teachers Diane Zigo and Michael T. Moore argue that science fiction deserves greater respect and a place in high school literature classes. They recommend titles and suggest activities for incorporating science fiction into English language arts instruction.

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Fisher, Judith L., and Andrew Blake. "Reading Victorian Fiction." South Central Review 8, no. 3 (1991): 94. http://dx.doi.org/10.2307/3189252.

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Djikic, Maja, Keith Oatley, and Mihnea C. Moldoveanu. "Reading other minds." Scientific Study of Literature 3, no. 1 (May 31, 2013): 28–47. http://dx.doi.org/10.1075/ssol.3.1.06dji.

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The potential of literature to increase empathy was investigated in an experiment. Participants (N = 100, 69 women) completed a package of questionnaires that measured lifelong exposure to fiction and nonfiction, personality traits, and affective and cognitive empathy. They read either an essay or a short story that were equivalent in length and complexity, were tested again for cognitive and affective empathy, and were finally given a non-self-report measure of empathy. Participants who read a short story who were also low in Openness experienced significant increases in self-reported cognitive empathy (p .05). No increases in affective empathy were found. Participants who were frequent fiction-readers had higher scores on the non-self-report measure of empathy. Our results suggest a role for fictional literature in facilitating development of empathy.

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O'Krent, Michael. "Toward a Science-Fictional Interpretational Method: Reading Three Borges Stories." Science Fiction Studies 51, no. 1 (March 2024): 32–52. http://dx.doi.org/10.1353/sfs.2024.a920232.

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ABSTRACT: This article reconsiders Samuel R. Delany's theory of science fiction as a form of language in order to develop the notion that science fiction is a method of making meaning and reading texts. Three stories by the Argentinian writer Jorge Luis Borges, "The Aleph," "The Library of Babel," and "Tlön, Uqbar, Orbis Tertius," are read as science fiction to demonstrate how the method functions. Borges's ambiguous relationship with science fiction during his lifetime is well-documented, but no previous study of Borges as a science-fiction writer exists in English. The notion of science fiction as a way of reading enables a reading that treats the elements of textual playfulness that make Borges's texts so beloved throughout literary studies as science fictional, because they encourage the reader to reconstruct an alternate world around the text and create a comprehensive theory of how that world works.

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Zigo, Diane, and Michael T. Moore. "Science Fiction: Serious Reading, Critical Reading." English Journal 94, no. 2 (November 2004): 85. http://dx.doi.org/10.2307/4128779.

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Null, Linda, and Suellen Alfred. "Personal Reading: Personal Reading." English Journal 97, no. 6 (July 1, 2008): 123–25. http://dx.doi.org/10.58680/ej20086665.

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Cools, Arthur. "Reading for Opacity and the Cognitive Value of Literary Fiction." Aesthetic Investigations 3, no. 1 (December 24, 2019): 130–45. http://dx.doi.org/10.58519/aesthinv.v3i1.11958.

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This article addresses the question of the cognitive value of literary fiction starting from Peter Lamarque’s opacity thesis. My intention is to articulate the cognitive value of literary fiction in accordance with the opacity thesis avoiding the pitfall of formalism to which the opacity thesis risks to be reduced. In a first part, I examine Lamarque’s opacity thesis and discuss the problems of the distinction between opacity and transparency in case of literary fiction. In a second part, I thematize the reader’s interest in reading literary fiction and I analyze it in terms of an interest at a distance. This examination enables me to articulate the cognitive value of literary fiction as intrinsic to the reader’s experience of literary fiction. The main argument for this approach is based upon an observation that I borrow from Roman Ingarden’s reflections on the literary artwork, according to which the reader’s focus on the literary fictional narrative as a whole distinguishes the reading experience of literary fiction. I argue that this focus on the narrative as a whole leads beyond a propositional understanding of the experience of literary fiction and helps us to better understand the reader’s interest in reading literary fiction.

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Allan, Angela S. "“Our Sense of Purpose”: Speculative Fiction and Systems Reading." Novel 52, no. 3 (November 1, 2019): 406–24. http://dx.doi.org/10.1215/00295132-7738578.

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Abstract This article reads Michael Crichton's Jurassic Park (1990) and Chang-rae Lee's On Such a Full Sea (2014) as works of speculative fiction that engage with the scientific concept of “the system” that emerged during the latter half of the twentieth century. It tracks this history, showing how ecologists and engineers generated their own speculative fictions of possible dystopian futures—environmental collapse, depletion of resources, and overpopulation—through models of dynamic systems. In turn, works of speculative fiction also began to borrow these models for understanding their own relationship to the world around them. This article argues that Jurassic Park and On Such a Full Sea reject the possibility of representing reality as a way to understand what a novel is. While speculative fiction primarily has been read as a popular vehicle for political critique, this article suggests how genre fiction can also generate new forms of literary critique and systems of reading.

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Mikkonen, Kai. "Minimal Departure and Fictional Narrative Situations." Storyworlds: A Journal of Narrative Studies 13, no. 2 (December 2021): 71–96. http://dx.doi.org/10.1353/stw.2021.a925851.

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Abstract: Readers understand fictional worlds at least to some extent by drawing on background knowledge of their own world. Some theories of fiction, however, hold that such realistic expectations, or processes of naturalization, are the default attitude in experiencing fictions. Thus, what Marie-Laure Ryan has called the principle of minimal departure (MD) states that readers understand fictional worlds and their components by drawing on background knowledge of their own world, unless otherwise indicated. This article is a critical examination of the relevance of the principle of MD and a contextualization of other theoretical notions of readerly attitude, including Thomas Pavel's principles of maximal departure (MxD) and optimal departure (OD) and Kendall L. Walton's principle of charity, within the broader framework of fictional verisimilitude and believability. The question of relevance will be discussed in relation to the idea of the contract of fiction by which is meant the knowledge that one is reading fiction. The analytic sections of this article focus on the question of fictional narrative situation, which in Ryan's possible-worlds theory functions as the trademark of fiction—as narrators and narratees (or narrative audiences) are exempted from the operations of MD. The "impossible" narrative situations that serve as examples include Jorge Luis Borges's loosely autobiographical story "Funes el memorioso" (1942) and two nineteenth-century French fictions: Guy de Maupassant's short story "La nuit" (1887) and a passage from Émile Zola's roman à thèse, Lourdes (1894).

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Majolino, Claudio. "“A Kind of Magic”: Emotions, Imagination, Language – A Reading of Sartre." Research in Phenomenology 51, no. 2 (September 22, 2021): 200–220. http://dx.doi.org/10.1163/15691640-12341471.

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Abstract This paper maintains that Sartre’s concept of magic has to be considered as a full-fledged and quite technical phenomenological concept. Such concept (a) describes a very specific way in which one is able to be conscious-of-something and (b) reveals some structural features of consciousness and its mode of existence. Moreover (c) the “magical” cluster emotions-imagination-language also appears to be the existential matrix, as it were, from which fictions are generated: starting from the most original fiction of all, namely the constitutive fiction upon which each individual existence is built, i.e. the fiction of one’s own essence.

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McGann, J. ""Reading Fiction/Teaching Fiction": A Pedagogical Experiment." Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 1, no. 1 (January 1, 2001): 143–66. http://dx.doi.org/10.1215/15314200-1-1-143.

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Samutina, Natalia. "Emotional landscapes of reading: fan fiction in the context of contemporary reading practices." International Journal of Cultural Studies 20, no. 3 (January 28, 2016): 253–69. http://dx.doi.org/10.1177/1367877916628238.

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This article focuses on fan fiction as a literary experience and especially on fan fiction readers’ receptive strategies. Methodologically, its approach is at the intersection of literary theory, theory of popular culture, and qualitative research into practices of communication within online communities. It characterizes fan fiction as a type of contemporary reading and writing. Taking as an example the Russian Harry Potter fan fiction community, the article poses a set of questions about the meanings and contexts of immersive reading and affective reading. The emotional reading of fan fiction communities is put into historical and theoretical context, with reference to researchers who analysed and criticized the dichotomy of rational and affective reading, or ‘enchantment’, in literary culture as one of the symptoms of modernity. The metaphor of ‘emotional landscapes of reading’ is used to theorize the reading strategies of fan fiction readers, and discussed through parallels with phenomenological theories of landscape. Among the ‘assemblage points of reading’ of fan fiction, specific elements are described, such as ‘selective reading’, ‘kink reading’, ‘first encounter with fan fiction texts’ and ‘unpredictability’.

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Selejan, Corina. "“C’est la vie, c’est la narration”: The Reader in Christine Brooke-Rose’s Textermination and David Lodge’s Small World." American, British and Canadian Studies Journal 26, no. 1 (June 1, 2016): 52–71. http://dx.doi.org/10.1515/abcsj-2016-0004.

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Abstract This article considers two metafictional academic novels from the reader’s point of view. It argues that this critical vantage point is suggested (if not imposed) by the fictional texts themselves. The theoretical texts informing this reading pertain either to reader response or to theories of metafiction, in an attempt to uncover conceptual commonalities between the two. Apart from a thematic focus on academic conferences as pilgrimages and the advocacy of reading as an ethically valuable activity, the two novels also share a propensity for intertextuality, a blurring of the boundaries between fictional and critical discourse, as well as a questioning of the borderline between fiction and reality. The reading of fiction is paralleled to the reading of (one’s own) life and self-reflexivity emerges as crucial to both types of literacy.

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Descher, Stefan. "Satirical Novels of the Late Enlightenment and the Practice of Fiction. A Methodological Proposal for Investigations Into the History of Fiction." Journal of Literary Theory 14, no. 2 (September 25, 2020): 147–72. http://dx.doi.org/10.1515/jlt-2020-2003.

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AbstractThe paper examines German satirical novels of the late Enlightenment period, published roughly between 1760 and 1790, under the following question: Is there any evidence that the historical practice of fiction (concerning this time and these texts) deviates from the modern practice of fiction as described by institutional accounts of fictionality? First, it is explained what, in this essay, is meant by the ›modern practice of fiction‹. Four ›core rules‹ are identified that, according to institutional accounts of fictionality, characterize the practice of reading works of fiction. These core rules are: You should not conclude that what is expressed by fictional utterances is actually true! You should not conclude that the author believes that what is expressed by his fictional utterances is actually true! You should imagine what is expressed by fictional utterances (make-believe, pretence)! You should (or at least can) make your imaginations the object of higher-level attitudes (for example you can evaluate, emotionally respond to, interpret them etc.)! Then, using the example of German satirical novels of the late Enlightenment, seven features of fictional texts are discussed that may provide clues about the historical practice of fiction and that could give an indication of whether the core rules actually do apply. These features are: assurances of truthfulness by the author or fictional authors/editors; direct thematization of the fictional/factual-text-distinction; fictional reading scenarios; comments by fictional narrators and/or characters on the practice of reading; statements of the actual author in the fictional text; ›that cannot be true‹-passages (intentional mistakes, anachronisms, various ways of breaking the reader’s expectations, etc.); various kinds of reference to the actual world (for example satirical allusions to actual persons or states of affairs). It will be argued that, for the corpus of texts under consideration, there is no convincing evidence that the historical practices of reading works of fiction deviates in any significant way from the core rules of the modern practice of fiction. However, the main aim of this paper is not to provide an exhaustive historical case study. First, the investigation is limited to the exemplary discussion of some (although significant) texts and text passages, so the results can only be considered preliminary. Second, while the satirical novel of the late Enlightenment indeed is a particularly interesting and revealing genre for the study of the historical practice of fiction (arguments are given in section 3), the main purpose of this essay is to make a methodological proposal. A general procedure is provided for finding out whether the historical practice of fiction differs from our modern practice – a procedure that can be applied to texts of other times and genres as well.

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Kuzmičová, Anežka, Theresa Schilhab, and Michael Burke. "m-Reading: Fiction reading from mobile phones." Convergence: The International Journal of Research into New Media Technologies 26, no. 2 (April 26, 2018): 333–49. http://dx.doi.org/10.1177/1354856518770987.

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Mobile phones are reportedly the most rapidly expanding e-reading device worldwide. However, the embodied, cognitive and affective implications of smartphone-supported fiction reading for leisure (m-reading) have yet to be investigated empirically. Revisiting the theoretical work of digitization scholar Anne Mangen, we argue that the digital reading experience is not only contingent on patterns of embodied reader–device interaction (Mangen, 2008 and later) but also embedded in the immediate environment and broader situational context. We call this the situation constraint. Its application to Mangen’s general framework enables us to identify four novel research areas, wherein m-reading should be investigated with regard to its unique affordances. The areas are reader–device affectivity, situated embodiment, attention training and long-term immersion.

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Morton, Lindsay. "Reading Differently: Exploring "The Power of the Real" in Literary Journalism." Recherches en Communication 51 (September 10, 2020): 5–19. http://dx.doi.org/10.14428/rec.v51i0.58503.

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This paper contends that previous research on the experience of reading literary journalism has predominantly been focused on the experience of the ideal, implied and/or interpellated reader. Scholarly discussions about the qualitative differences between reading fiction and non-fiction are usually theoretical or based on close readings where the analyses are projected on to a generalised readership. However, recent developments in the fields of psychology, neuroscience, and cognitive narratology are opening avenues for qualitative and quantitative research into the experience of reading literary journalism. This article takes some tentative steps towards exploring the nature of "experientiality" for readers by asking questions of emerging research in order to further articulate the "power" of narrative non-fiction.

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Mazurkiewicz, Adam. "O (nie tylko estetycznych) pożytkach z lektury fantastyki naukowej." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no. 3 (December 13, 2021): 9–44. http://dx.doi.org/10.36770/bp.621.

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The article is devoted to the potential benefits of a variety of natures from reading science fiction. They are divided into aesthetic and non-artistic, related to the functioning of this phenomenon in the congregational imagination, which models and at the same time is modelled by it. Given the properties of science fiction and its role in the reading circuit, one can conclude about the importance of science fiction as an artistic formula that approximates both the future and the dilemmas of the present, hidden in a futuristic stack of props (this is evident especially when reading socio-political fiction). At the same time, the reading experience contradicts such a high rating of science literature, most often – above – aspiring only to readily attractive “adventurials in space/cyberspace”. Indeed, if there are any advantages of reading science fiction, it must be realised, first of all, that they depend mainly on the expectations of the audience; their reading attitude (that is whether they will treat science fiction as a manifestation of literary escapism, or perhaps a medium of important socio-civilizational issues). However, readers who treat novels in an escapist way can be contrasted with those who equate it with the specific language of discourse over the present day. Therefore, it is important how the author will treat the chosen convention: as an excuse to present further “adventure in space”, or as an opportunity to look at the present from a special perspective, which is provided by the narrative future of action time of science fiction novels. Only then will it be possible to speak of the benefit of reading science fiction, which is more or less indirectly linked to the life of the reader.

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Mackey, Margaret. "Formative Young Adult Literature: Negotiating the Terms of Reading." Jeunesse: Young People, Texts, Cultures 14, no. 2 (December 1, 2022): 180–95. http://dx.doi.org/10.3138/jeunesse-2022-0004.

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Joshua Landy says “formative fictions” help us fine-tune our mental capacities. This article looks at how novels for young adults may challenge readers to fine-tune their capacities as readers of more complex fiction. Three sample titles ( I Capture the Castle by Dodie Smith, The Tricksters by Margaret Mahy, and Slay by Brittney Morris) make use of character-authors to invite readers to negotiate the terms of reading. Young readers normally have extensive childhood experience in the social negotiation of the terms of make-believe games (“You be the daddy”) and can apply this expertise to the challenge of these novels as they interact with the explicit observations of the heroines about the making of stories. This article takes up Aidan Chambers’ challenge to analyze materials for youth as a separate literature. By exploring the work of three novels published over a 70-year span, (the titles were published in 1948, 1986, and 2019), it meets his demand to include the history of youth literature in our considerations. In these sample texts, young readers are invited to turn back to early childhood in order to make use of the skills and experience of fictional engagement as first developed in pretend games; as a consequence, they develop more subtle capacities as interpreters of complex fiction, thus addressing a major challenge of what Chambers calls “the age between.”

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Reed, Adam. "Literature and Reading." Annual Review of Anthropology 47, no. 1 (October 21, 2018): 33–45. http://dx.doi.org/10.1146/annurev-anthro-102317-050223.

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This article examines anthropological approaches to fiction reading. It asks why the field of literary anthropology remains largely disinvested of ethnographic work on literary cultures and how that field might approach the study of literature and reading ethnographically. The issue of the creative agency of fiction readers is explored in the context of what it means to ask anthropological questions of literature, which includes the challenge of speaking back to dominant approaches grounded in forms of critical analysis. Finally, the article looks to recent work in the anthropology of Christianity on Bible reading and engagements with biblical characters to open up new questions about the relationship between fiction reading and temporal regimes.

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Rahman, Fathu, M. Amir P, and Tammasse. "Trends in Reading Literary Fiction in Print and Cyber Media by Undergraduate Students of Hasanuddin University." International Journal of Education and Practice 7, no. 2 (April 10, 2019): 66–77. http://dx.doi.org/10.18488/journal.61.2019.72.66.77.

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This research investigated the trends in reading literary fiction by students of Hasanuddin University and their main reasons for reading works of fiction. Reading tendencies were grouped into types, reading of fiction in print and fiction in electronic (cyber) media. The purposes of this study were: 1) to quantify the literary fiction reading media preferred by students; 2) to identify specific reasons for their choice of media; 3) to identify perceived personal benefits obtained from reading literary fiction, and 4) to evaluate readers’ personal choices in terms of contents. The majority of students preferred to read using electronic media (62%), although a substantial majority preferred the classical printed book format (38%). The reasons given for preferring cyber literature (defined as works of fiction presented in an electronic medium) to printed literature were mainly practical, such as ease of access using electronic devices (tablets, computers, smartphones, etc.) as well as capacity and versatility, and that one multi-functional device can hold many books or other reading media. This research indicates that young people view reading fiction not only as entertainment, but also as a valuable and rewarding activity. The trend towards electronic media provides a growing and increasingly used opportunity for casual readers and enthusiasts to access and enjoy a wide cross-section of literary fiction.

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Chupasov, Vadim. "Not-for-children reading: markers of adult sci-fi in Sergei lukyanenko’s writings." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 268–80. http://dx.doi.org/10.31860/2304-5817-2021-1-19-268-280.

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New forms of science fiction had emerged in several post-Soviet countries in years 1990–2000. New science fiction inherits and transforms traditions and conventions of Soviet “science fiction” (nauchnaya fantastica). The emergence of market relations in the “field of literature” provoked an identity crisis, also initiating various attempts to redefine the boundaries between science fiction and previously closely related discourses, including children’s literature. This article, using several works by S. Lukyanenko as an example, examines how this rhetorical strategy has been implemented within science fiction texts. At the level of motifs and themes, references to sexuality and violence (especially in child-adult relations), tabooed in children’s literature, play a significant part in categorizing Lukyanenko’s novels as adult literature. In the system of typical of SF generic conventions this presents the depicted world as the harsh reality, thus creating a realistic effect. Markers of the second type point to historical dimensions of the fictional world, and this technique invokes conventions of “serious” (i.e. adult) speculative fiction. Also the references to iconic science fiction texts show that the novels are intended for adults and not for children. In conclusion the article raises the issue of children’s literature as being a specific construct and being the neglected Other within science fiction.

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Pujiastuti, Indah, Vismaia S. Damaianti, and Syihabuddin Syihabuddin. "Membangun Pemahaman Bacaan Mahasiswa melalui Aktivitas Pascabaca." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, no. 1 (February 1, 2022): 119–34. http://dx.doi.org/10.30872/diglosia.v5i1.356.

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Activity after reading (post-reading) is the stage where a reader responds to what he has read. At this stage, it is hoped that there will be changes from readers, changes in mindset, understanding, and increasing knowledge. This study describes the implementation of activities after reading carried out by students independently and structured. This research is a descriptive survey. Data were obtained from questionnaires distributed to 246 students and 11 lecturers of the Indonesian Language and Literature Education Departments, Raja Ali Haji Maritime University. The findings are, first, the majority of students read fiction when reading independently. After reading, students carry out various activities such as recording quotes, summarizing readings, recording difficult vocabulary, and discussing. Second, when reading in a structured way, students read a lot of non-fiction, such as reference books, scientific articles, research reports, handouts. Activities carried out after structured reading are writing activities such as summarizing, compiling presentation materials, writing reports, and writing reviews. However, students' have obstacles when completing activities after reading, such as difficulty in concluding readings, understanding sentences, and reading vocabulary there that the expected results after reading are not optimal. These obstacles cause students to only rewrite (copy-paste) readings. Students have not yet reached the stage of how critical reading and building their mindset.

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Demmerling, Christoph. "Von den Lesewelten zur Lebenswelt. Überlegungen zu der Frage, warum uns fiktionale Literatur berührt." Journal of Literary Theory 12, no. 2 (September 3, 2018): 260–78. http://dx.doi.org/10.1515/jlt-2018-0015.

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Abstract The following article argues that fictional texts can be distinguished from non-fictional texts in a prototypical way, even if the concept of the fictional cannot be defined in classical terms. In order to be able to characterize fictional texts, semantic, pragmatic, and reader-conditioned factors have to be taken into account. With reference to Frege, Searle, and Gabriel, the article recalls some proposals for how we might define fictional speech. Underscored in particular is the role of reception for the classification of a text as fictional. I make the case, from a philosophical perspective, for the view that fictional texts represent worlds that do not exist even though these worlds obviously can, and de facto do, contain many elements that are familiar to us from our world. I call these worlds reading worlds and explain the relationship between reading worlds and the life world of readers. This will help support the argument that the encounter with fictional literature can invoke real feelings and that such feelings are by no means irrational, as some defenders of the paradox of fiction would like us to believe. It is the exemplary character of fictional texts that enables us to make connections between the reading worlds and the life world. First and foremost, the article discusses the question of what it is that readers’ feelings are in fact related to. The widespread view that these feelings are primarily related to the characters or events represented in a text proves too simple and needs to be amended. Whoever is sad because of the fate of a fictive character imagines how he or she would fare if in a similar situation. He or she would feel sad as it relates to his or her own situation. And it is this feeling on behalf of one’s self that is the presupposition of sympathy for a fictive character. While reading, the feelings related to fictive characters and content are intertwined with the feelings related to one’s own personal concerns. The feelings one has on his or her own behalf belong to the feelings related to fictive characters; the former are the presupposition of the latter. If we look at the matter in this way, a new perspective opens up on the paradox of fiction. Generally speaking, the discussion surrounding the paradox of fiction is really about readers’ feelings as they relate to fictive persons or content. The question is then how it is possible to have them, since fictive persons and situations do not exist. If, however, the emotional relation to fictive characters and situations is conceived of as mediated by the feelings one has on one’s own behalf, the paradox loses its confusing effect since the imputation of existence no longer plays a central role. Instead, the conjecture that the events in a fictional story could have happened in one’s own life is important. The reader imagines that a story had or could have happened to him or herself. Readers are therefore often moved by a fictive event because they relate what happened in a story to themselves. They have understood the literary event as something that is humanly relevant in a general sense, and they see it as exemplary for human life as such. This is the decisive factor which gives rise to a connection between fiction and reality. The emotional relation to fictive characters happens on the basis of emotions that we would have for our own sake were we confronted with an occurrence like the one being narrated. What happens to the characters in a fictional text could also happen to readers. This is enough to stimulate corresponding feelings. We neither have to assume the existence of fictive characters nor do we have to suspend our knowledge about the fictive character of events or take part in a game of make-believe. But we do have to be able to regard the events in a fictional text as exemplary for human life. The representation of an occurrence in a novel exhibits a number of commonalities with the representation of something that could happen in the future. Consciousness of the future would seem to be a presupposition for developing feelings for something that is only represented. This requires the power of imagination. One has to be able to imagine what is happening to the characters involved in the occurrence being narrated in a fictional text, ›empathize‹ with them, and ultimately one has to be able to imagine that he or she could also be entangled in the same event and what it would be like. Without the use of these skills, it would remain a mystery how reading a fictional text can lead to feelings and how fictive occurrences can be related to reality. The fate of Anna Karenina can move us, we can sympathize with her, because reading the novel confronts us with possibilities that could affect our own lives. The imagination of such possibilities stimulates feelings that are related to us and to our lives. On that basis, we can participate in the fate of fictive characters without having to imagine that they really exist.

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Barbero, Carola. "Genuine and rational tears." Theoria, Beograd 53, no. 2 (2010): 5–18. http://dx.doi.org/10.2298/theo1002005b.

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In this paper I examine the emotions we feel while reading a work of fiction. Some philosophers think that our emotional engagement with fiction gives rise to a paradox and involves either irrationality or participation in a game of make believe. In this paper I argue that an Object Theory in a Meinongian style, by supporting a realistic perspective on fictional emotions, is able to dissolve the paradox of fiction.

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Santamarina, Xiomara. "Fugitive Slave, Fugitive Novelist: The Narrative of James Williams (1838)." American Literary History 31, no. 1 (January 1, 2019): 24–46. http://dx.doi.org/10.1093/alh/ajy051.

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AbstractThis essay argues for reading a discredited slave narrative—the Narrative of James Williams (1838)—as an early black novel. Reading this narrative as a founding black novel à la Robinson Crusoe complicates the genealogy and theoretical parameters of literary criticism about early US black fiction. Such a reading revises accounts about the emergence of the third-person fictive voice inaugurated by Frederick Douglass and William Wells Brown in the 1850s. It also offers a new understanding of the antislavery movement’s quest for authenticity. More importantly, reading NJW as novelistic fiction illustrates how a fugitive slave might narrativize muddied textual politics and effectively challenge the reparative vision with which we theorize the genres and politics of early African American literary texts.

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Ajeng Pratiwi, Ni Komang. "Implementation of Fiction in Teaching Reading." Journal of Humanities and Social Sciences 4, no. 3 (December 24, 2022): 148–54. http://dx.doi.org/10.36079/lamintang.jhass-0403.450.

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This is a conceptional article which the writer proposes a concept of implementation of teaching reading by using fiction. This is aimed to investigate how the fiction are used to materials in teaching reading. It shows that materials can be used to develop students’ reading skill. The pictures in the fiction are engaging and can help students by providing clear storyline as guidance to write story. In addition, the short story also part of fiction, it makes the students have shown their improvement such as they are able to comprehend the text well, the situation of the teaching reading process become more joyful and interesting. So, it can be concluded that the implementation of teaching reading by using fiction can improve the students’ reading skill.

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Kim, Wi-Jiwoon, Seo Rin Yoon, Seohyun Nam, Yunjin Lee, and Dongsun Yim. "The Impact of Reading Modalities and Text Types on Reading in School-Age Children: An Eye-Tracking Study." Applied Sciences 13, no. 19 (September 28, 2023): 10802. http://dx.doi.org/10.3390/app131910802.

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This study examined the eye movement patterns of 317 elementary students across reading conditions (audio-assisted reading (AR) and reading-only (R)) and text types (fiction and non-fiction) and identified eye movement parameters that predict their literal comprehension (LC) and inferential comprehension (IC). Participants, randomly assigned to either reading condition and either text type, answered questions assessing their LC and IC. Average fixation duration (AFD), total fixation duration (TFD), and scanpath length were used as eye movement parameters. The main effects of age were observed on all parameters, along with interaction effects between age and reading condition on TFD and scanpath length. These results indicate that children employ different reading strategies, depending on reading modalities and text types. When controlling for age, TFD had a positive impact on the LC of both text types in the AR, while in the R, it had a negative effect on the IC of both text types. Longer scanpaths predicted the IC of fiction in the AR; the LC and IC of non-fiction under the AR; and the LC of non-fiction within the R. AFD had a negative influence on the IC of fiction in the AR, as well as on the LC and IC of non-fiction in the AR, and the LC of non-fiction under the R. These findings highlight the importance of selecting appropriate reading strategies, based on reading modality and text type, to enhance reading comprehension. This study offers guidance for educators when providing reading instruction to school-age children.

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Serebrianaya, M. Ya, and G. N. Shvetsova-Vodka. "Typology of Reading Fiction. Stage of Pre-Reading." Bibliotekovedenie [Library and Information Science (Russia)], no. 1 (February 28, 2014): 59–65. http://dx.doi.org/10.25281/0869-608x-2014-0-1-59-65.

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The article outlines the basic concepts of typology of reading. There is disclosed the concept content of the first stage of reader activity - pre-reading. There are described characteristic features of the selection of fiction considered for reading, carried out at this stage.

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Lysaker, Judith T., and Zaira Arvelo Alicea. "Theorizing fiction reading engagement during wordless book reading." Linguistics and Education 37 (February 2017): 42–51. http://dx.doi.org/10.1016/j.linged.2016.11.001.

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Takahashi, Yuka, Toshiyuki Himichi, Ayumi Masuchi, Daisuke Nakanishi, and Yohsuke Ohtsubo. "Is reading fiction associated with a higher mind-reading ability? Two conceptual replication studies in Japan." PLOS ONE 18, no. 6 (June 22, 2023): e0287542. http://dx.doi.org/10.1371/journal.pone.0287542.

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Previous studies have revealed that reading fiction is associated with dispositional empathy and theory-of-mind abilities. Earlier studies established a correlation between fiction reading habits and the two measures of social cognition: trait fantasy (i.e., the tendency to transpose oneself into fictitious characters) and performance on the Reading the Mind in the Eyes Test (RMET; a test of the ability to identify others’ mental states based on their eyes). Recently, experimental studies have shown that brief exposure to fiction enhances RMET performance. Nevertheless, these studies have been conducted only in Western countries, and few published studies have investigated these relationships in Asian countries. This research aims to address this gap. Study 1, which involved 338 Japanese undergraduates, conceptually replicated the previously reported correlations between fiction reading and fantasy and RMET scores (after statistically controlling for the effect of outliers). However, Study 2, which involved 304 Japanese undergraduates, failed to replicate the causal relationship. Participants read an excerpt either from literary fiction or from nonfiction, or engaged in a calculation task, before completing the RMET. Brief exposure to literary fiction did not increase the RMET score. In sum, this study replicated the associations of fiction reading with fantasy and RMET scores in Japan, but failed to replicate the causal relationship.

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Nünning, Vera. "21. Reading Fictions, Changing Minds: The Cognitive Value of Fiction." English and American Studies in German 2015, no. 1 (November 1, 2015): 33–36. http://dx.doi.org/10.1515/east-2016-0022.

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Moorjani, Angela. "Beckett's Racinian Fictions: “Racine and the Modern Novel” Revisited." Samuel Beckett Today / Aujourd'hui 24, no. 1 (December 1, 2012): 41–56. http://dx.doi.org/10.1163/18757405-024001003.

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Reading Beckett's fictions through Racine's tragedies is facilitated by Beckett's own reading of the seventeenth-century dramatist through the lens of the modern novel. Using the notes of three students in Beckett's 1931 course at Trinity College Dublin and Jorge Luis Borges's view on the 'creation' of literary precursors, this essay examines the effect of Beckett's Racines on his own fiction.

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Ubaldo, Kathleen Denise H., and Marison Felicidad R. Dy. "Fiction Reading and Empathy Capacity of Selected Filipino Adolescents and Young Adults." IAFOR Journal of Psychology & the Behavioral Sciences 7, no. 1 (December 24, 2022): 21–34. http://dx.doi.org/10.22492/ijpbs.7.1.02.

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This study aimed to discover if adolescents’ and young adults’ empathy capacity is higher when they engage more in fiction reading. A total of 301 students, aged 16-22, completed a self-administered questionnaire. More than half (56%) of the respondents consider reading as a hobby with books as the preferred reading material. Around 38% have moderate fiction reading scores and around 77% have high empathy capacity scores. Findings showed that the older the respondent is, the less likely they would read fiction and the lower their empathy level. Females are more likely to read fiction and are more empathic than males. Also, results revealed that the more the individual reads fiction, the more empathic they can become. Home and school interventions can be created to increase opportunities and desire for reading fiction and enhancing empathy capacity.

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Nagy, Zsolt. "Reading Science Fiction in Socialist Hungary." Hungarian Studies Review 50, no. 1-2 (November 1, 2023): 88–105. http://dx.doi.org/10.5325/hungarianstud.50.1-2.0088.

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Abstract The article explores the emergence of science fiction as a genre in socialist Hungary. By focusing on the origins and role of the science fiction anthology Galaktika [Galaxy] and the book series Kozmosz Fantasztikus Könyvek [Cosmos fantastic books] and exploring the role of their editor, Péter Kuczka, the article argues that book publication from the mid- to late 1960s onward was much more elastic and variable than one would think. Readers’ growing interest in science fiction, and the commercial success of science fiction publications, convinced the state that it needed to accept science fiction as a legitimate literary genre. By examining the intellectual and cultural development that led to this legitimization and by analyzing some of the key publications and their themes and topoi, the article hopes to contribute to a better understanding of Hungarian socialist cultural policy.

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Peabody, Susan. "Reading and Writing Historical Fiction." Iowa Journal of Literary Studies 10, no. 1 (1989): 29–39. http://dx.doi.org/10.17077/0743-2747.1295.

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Pers, Mona. "Swedes Reading Chinese American Fiction." Amerasia Journal 34, no. 2 (January 2008): 55–60. http://dx.doi.org/10.17953/amer.34.2.1374841378v480xm.

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Karakozov, Rauf R. "Sense Production in Reading Fiction." Journal of Russian & East European Psychology 34, no. 1 (January 1996): 64–77. http://dx.doi.org/10.2753/rpo1061-0405340164.

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Kasinitz, Philip. "Summer Reading: The Fiction Issue." Sociological Forum 24, no. 2 (June 2009): 457–60. http://dx.doi.org/10.1111/j.1573-7861.2009.01110_1.x.

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Carr, Barbara, and Mary Ann Caws. "Reading Frames in Modern Fiction." World Literature Today 60, no. 4 (1986): 693. http://dx.doi.org/10.2307/40142982.

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Horn, Patrick E. "Reading 21st-Century Southern Fiction." Southern Cultures 22, no. 3 (2016): 14–19. http://dx.doi.org/10.1353/scu.2016.0028.

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Barras, Colin. "Reading literary fiction boosts empathy." New Scientist 220, no. 2938 (October 2013): 17. http://dx.doi.org/10.1016/s0262-4079(13)62426-4.

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Polyakova, Marina. "Studying Pedagogy by Reading Fiction." Social and cultural space of Russia and abroad: society, education, language, no. 4 (2015): 181–92. http://dx.doi.org/10.17853/2312-3281-2015-4-181-192.

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Torrance, Ronald. "Kristin Stapleton (2016). Fact in Fiction: 1920s China and Ba Jin’s Family." British Journal of Chinese Studies 8, no. 2 (March 1, 2019): 156–60. http://dx.doi.org/10.51661/bjocs.v8i2.5.

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There are few resources amongst contemporary Chinese literary criticism that manage to weave such insightful literary readings and incisive historical research as Kristin Stapleton’s Fact in Fiction: 1920s China and Ba Jin’s Family. The book accomplishes three feats, as set out by Stapleton in her introductory chapter, simultaneously incorporating a history of twentieth-century Chengdu (and its relevance to the developments in China during this period, more broadly) alongside the author’s biography of Ba Jin’s formative years in the city and the historiographical context of his novel Family. Such an undertaking by a less skilled author would have, perhaps, produced a work which simplifies the rich historical underpinnings of Ba Jin’s Family to supplementary readings of the novel, coupled with incidental evidence of the political and social machinations of the city in which its author grew up. Not so under Stapleton’s careful guidance. By reading the social and economic development of early twentieth-century Chengdu as much as its fictional counterpart in Ba Jin’s Turbulent Stream trilogy, Stapleton provides a perceptive reading of Family which invites the reader to consider how fiction can enrich and enliven our understanding of history.

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Journal articles on the topic 'Reading, fiction'

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