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Journal articles on the topic 'Theory of Fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Mikkonen, Jukka. "Sutrop on literary fiction-making: defending Currie." Disputatio 3, no. 28 (2010): 309–15. http://dx.doi.org/10.2478/disp-2010-0004.

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Abstract In her study Fiction and Imagination: The Anthropological Function of Literature (2000), Margit Sutrop criticizes Gregory Currie’s theory of fiction-making, as presented in The Nature of Fiction(1990), for using an inappropriate conception of the author’s ‘fictive intention.’ As Sutrop sees it, Currie is mistaken in reducing the author’s fictive intention to that of achieving a certain response in the audience. In this paper, I shall discuss Sutrop’s theory of fiction-making and argue that although her view is insightful in distinguishing the illocutionary effect and the perlocutionar

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Morris, Raphael. "Interpretive Context, Counterpart Theory and Fictional Realism without Contradictions." Disputatio 11, no. 54 (2019): 231–53. http://dx.doi.org/10.2478/disp-2019-0018.

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Abstract Models for truth in fiction must be able to account for differing versions and interpretations of a given fiction in such a way that prevents contradictions from arising. I propose an analysis of truth in fiction designed to accommodate this. I examine both the interpretation of claims about truth in fiction (the ‘Interpretation Problem’) and the metaphysical nature of fictional worlds and entities (the ‘Metaphysical Problem’). My reply to the Interpretation Problem is a semantic contextualism influenced by Cameron (2012), while my reply to the Metaphysical Problem involves an extensi

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Orlando, Eleonora. "Fictional Names and Literary Characters: A Defence of Abstractism." THEORIA. An International Journal for Theory, History and Foundations of Science 31, no. 2 (2016): 143. http://dx.doi.org/10.1387/theoria.15193.

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This paper is focused on the abstractist theory of fiction, namely, the semantic theory according to which fictional names refer to abstract entities. Two semantic problems that arise in relation to that position are analysed: the first is the problem of accounting for the intuitive truth of typically fictive uses of statements containing fictional names; the second is the one of explaining some problematic metafictive uses, in particular, the use of intuitively true negative existentials.

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Beer, David. "Fiction and Social Theory: E-Special Introduction." Theory, Culture & Society 33, no. 7-8 (2016): 409–19. http://dx.doi.org/10.1177/0263276415595912.

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This E-Special issue brings together a range of articles from the Theory, Culture, & Society archive that directly explore the relations between fiction and social theory. Each article develops a different perspective on these relations, yet they all share a common interest in probing at the different ways in which fiction might enrich and provoke our conceptual imaginations. These articles ask how theory might be used to understand or illuminate fiction, whilst also considering how theory might be extended, challenged or informed by fictional resources. In general terms, the articles take

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Raghunath, Riyukta. "Possible worlds theory, accessibility relations, and counterfactual historical fiction." Journal of Literary Semantics 51, no. 1 (2022): 1–18. http://dx.doi.org/10.1515/jls-2022-2047.

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Abstract Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relat

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GHEORGHIU, Oana Celia. "ENCODING REALITY INTO FICTION/ DECODING FICTION AS REALITY: POSTMODERN HISTORIOGRAPHY AS CRITICAL THEORY." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 5, no. 1 (2021): 99–105. http://dx.doi.org/10.26520/mcdsare.2021.5.99-105.

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This paper is intended as a brief critical review of three interrelated, fairly similar critical theories, born out the necessity of looking into cultural forms and products with a view to finding the politics at work therein. While American New Historicism is more historically oriented, British Cultural Materialism, with its more obvious influence from Marxism, Postcolonialism and other theories which place the margin at their centre, seems to be more in tune with contemporaneity, and so is the area of Cultural Studies, with its emphasis on cultural representations. It is advocated here that

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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 (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 stud

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Savage, Paul, Joep P. Cornelissen, and Henrika Franck. "Fiction and Organization Studies." Organization Studies 39, no. 7 (2017): 975–94. http://dx.doi.org/10.1177/0170840617709309.

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The topic of fiction is in itself not new to the domain of organization studies. However, prior research has often separated fiction from the reality of organizations and used fiction metaphorically or as a figurative source to describe and interpret organizations. In this article, we go beyond the classic use of fiction, and suggest that fiction should be a central concern in organization studies. We draw on the philosophy of fiction to offer an alternative account of the nature of fiction and its basic operation. We specifically import Searle’s work on speech acts, Walton’s pretense theory,

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Kidd, David, Martino Ongis, and Emanuele Castano. "On literary fiction and its effects on theory of mind." Transdisciplinary Approaches to Literature and Empathy 6, no. 1 (2016): 42–58. http://dx.doi.org/10.1075/ssol.6.1.04kid.

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Storytelling is a hallmark human activity. We use stories to make sense of the world, to explain it to our children, to create communities, and to learn about others. This article focuses on fictional stories and their impact on complex sociocognitive abilities. Correlational and experimental evidence shows that exposure to fiction recruits and hones our ability to represent others’ mental states, or theory of mind (ToM). Experimental studies suggest this effect is specific to literary fiction. Using a unique set of texts, we replicate the finding that literary fiction improves ToM performance

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10

Proudfoot, Diane. "Sylvan's Bottle and other Problems." Australasian Journal of Logic 15, no. 2 (2018): 95. http://dx.doi.org/10.26686/ajl.v15i2.4858.

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   According to Richard Routley, a comprehensive theory of fiction is impossible, since almost anything is in principle imaginable. In my view, Routley is right: for any purported logic of fiction, there will be actual or imaginable fictions that successfully counterexample the logic. Using the example of ‘impossible’ fictions, I test this claim against theories proposed by Routley’s Meinongian contemporaries and also by Routley himself (for what he called ‘esoteric’ works of fiction) and his 21st century heirs. I argue that the phenomenon of impossible fictions challenges ev

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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction." Journal of Literary Theory 12, no. 2 (2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.

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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlie

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Markussen, Thomas, Eva Knutz, and Tau Lenskjold. "Design Fiction as a Practice for Researching the Social." Temes de Disseny, no. 36 (October 1, 2020): 16–39. http://dx.doi.org/10.46467/tdd36.2020.16-39.

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The aim of this paper is to contribute to a new conceptual foundation for design fiction. Much attention is dedicated to theorising how design fictions relate to our so-called actual world. This work can be seen as an attempt at securing the seriousness and legitimacy of design fiction as an approach to design research. The theory of possible worlds has proven promising in this regard. We argue, however, that a detailed understanding of design fiction is still lacking. In design fiction literature, authors often engage in critiquing techno-centric approaches while paying less attention to how

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van Loon, Julienne. "Narrative Theory/Narrative Fiction." New Writing 4, no. 1 (2007): 18–25. http://dx.doi.org/10.2167/new313.0.

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14

Martinich, Aloysius. "A Theory of Fiction." Philosophy and Literature 25, no. 1 (2001): 96–112. http://dx.doi.org/10.1353/phl.2001.0014.

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TROTTER, DAVID. "Theory and detective fiction." Critical Quarterly 33, no. 2 (1991): 66–77. http://dx.doi.org/10.1111/j.1467-8705.1991.tb00952.x.

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Bareis, J. Alexander. "The Implied Fictional Narrator." Journal of Literary Theory 14, no. 1 (2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.

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AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular dur

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

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

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Safarov, Pasha. "Fyodor Dostoevsky's theory "Humanism", or fiction in criminal science." International Journal of Academic Research 6, no. 3 (2014): 163–65. http://dx.doi.org/10.7813/2075-4124.2014/6-3/b.24.

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Isto, Raino. "How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale." Open Philosophy 2, no. 1 (2019): 552–65. http://dx.doi.org/10.1515/opphil-2019-0039.

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AbstractThis article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written in the 1970s, Big Dumb O

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Gao, Jiali, and Yan Hua. "On the English Translation Strategy of Science Fiction from Humboldt's Linguistic Worldview —Taking the English Translation of Three-Body Problem as an Example." Theory and Practice in Language Studies 11, no. 2 (2021): 186. http://dx.doi.org/10.17507/tpls.1102.11.

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In recent years, many science fictions have been published, such as The Three-body Problem, The Wandering Earth, and so on. The number of people who are interested in science fiction is increasing. Meanwhile, the translation of science fiction has become more important. The Linguistic Worldview proposed by Humboldt is of great importance to the translation of science fiction. This thesis is based on Linguistic Worldview. It analyzes The Three-body Problem (English version) and the importance of such theory to the translation of science fiction. It proposes three translation strategies: free tr

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Ng, Kenny K. K. "Theory and Practice of the Long Novel." Prism 17, no. 2 (2020): 326–52. http://dx.doi.org/10.1215/25783491-8690412.

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AbstractThis article examines the promises and predicaments of May Fourth writers in their experimental writing of the “long novel” (changpian xiaoshuo 長篇小說) as a Chinese brand of the modern epic. May Fourth intellectuals showed a conscious effort to institute a new brand of fictional genre to enlighten the reading public. Yet their “education of the novel” was far from complete, as New Literature writers found fictional expressions primarily in the form of the short story, with strong undertones of individualism, subjective lyricism, and elitism. By focusing on Mao Dun's 茅盾 (1896–1981) Ziye 子

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Boaz, Cynthia. "How Speculative Fiction Can Teach about Gender and Power in International Politics: A Pedagogical Overview." International Studies Perspectives 21, no. 3 (2019): 240–57. http://dx.doi.org/10.1093/isp/ekz020.

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Abstract Fictional universes can be treated as discrete units of analysis in which we see the operation of international relations theory. This article discusses insights gleaned from a course created at Sonoma State University called “Gender and Geopolitics in Science Fiction and Fantasy,” in which feminist theory and international relations approaches are integrated, and science fiction and fantasy texts serve as the mechanism through which to examine the key themes and questions. This article provides an overview of the pedagogy to highlight the usefulness of speculative fiction in teaching

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23

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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Schneiderman, Leo. "Norman Mailer and Rank's Theory of the Creative Self." Imagination, Cognition and Personality 14, no. 1 (1994): 3–18. http://dx.doi.org/10.2190/5bc6-cxca-d48t-n941.

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The present article investigates Mailer's fiction and non-fiction in relation to Rank's views on creativity. Both Rank and Mailer are interpreted as examples of artists who invent themselves, the former as an intuitive therapist, the latter as the creator of a public and private persona. In Mailer's case, projections of the persona are traced to his fictional alter egos. Special attention is given to analyzing the significance of Mailer's creation of fictional protagonists who act out antisocial, anarchic impulses in a seemingly conflict-free way. This tendency, which characterizes Mailer's wo

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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

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Boyd, Brian. "Fiction and Theory of Mind." Philosophy and Literature 30, no. 2 (2006): 590–600. http://dx.doi.org/10.1353/phl.2006.0025.

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Crowley, Helen, Lyn Thomas, and Vicki Bertram. "Fiction and Theory: Crossing Boundaries." Feminist Review 74, no. 1 (2003): 1. http://dx.doi.org/10.1057/palgrave.fr.9400099.

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Alexandrescu, V., M. Söderström, and M. Venermo. "Angiosome Theory: Fact or Fiction?" Scandinavian Journal of Surgery 101, no. 2 (2012): 125–31. http://dx.doi.org/10.1177/145749691210100209.

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The angiosome concept delineates the human body into three-dimensional blocks of tissue fed by specific arterial and venous sources named “angiosomes.” Adjacent angiosomes are connected by a vast compensatory collateral web, or “choke vessels.” This concept may provide new information applicable to improving targeted revascularization of ischemic tissue lesions. A few dedicated studies available seem to favor this strategy, as encouraging ulcer healing and limb preservation are reported in connection with both bypass and endovascular techniques based on these principles. The theory on the angi

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Mahlberg, Michaela, Viola Wiegand, Peter Stockwell, and Anthony Hennessey. "Speech-bundles in the 19th-century English novel." Language and Literature: International Journal of Stylistics 28, no. 4 (2019): 326–53. http://dx.doi.org/10.1177/0963947019886754.

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We propose a lexico-grammatical approach to speech in fiction based on the centrality of ‘fictional speech-bundles’ as the key element of fictional talk. To identify fictional speech-bundles, we use three corpora of 19th-century fiction that are available through the corpus stylistic web application CLiC (Corpus Linguistics in Context). We focus on the ‘quotes’ subsets of the corpora, i.e. text within quotation marks, which is mostly equivalent to direct speech. These quotes subsets are compared across the fiction corpora and with the spoken component of the British National Corpus 1994. The c

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Pinheiro, Sara. "Acousmatic Foley: Staging sound-fiction." Organised Sound 21, no. 3 (2016): 242–48. http://dx.doi.org/10.1017/s1355771816000212.

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This article proposes a narrative theory thought in terms that are specific to sound practice. It addresses two different fields – Acousmatic Music and Foley Art – as a possibility of understanding sound narration and conceptualising it around the idea of fiction. To this end, it begins from the concepts of sound-motif, sound-prop and sound-actors, in order to propose a dramaturgic practice specific to sound terms.The theory of sound dramaturgy acquires a practical outline by making use of multichannel constellations as a composition strategy, with specific loudspeaker arrangements. The theory

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Allan, Angela S. "“Our Sense of Purpose”: Speculative Fiction and Systems Reading." Novel 52, no. 3 (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 re

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Bawardi, Basiliyus. "First Steps in Writing Arabic Narrative Fiction: The Case of Hadīqat al-Akhbār." Die Welt des Islams 48, no. 2 (2008): 170–95. http://dx.doi.org/10.1163/157006008x335921.

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AbstractThis study tracks the significant literary activity of the Beirut newspaper Hadīqat al-Akhbār (1858-1911) in its first ten years. A textual examination of the newspaper reveals that Khalīl al-Khūrī (1836-1907), a central figure of the nahda and the owner of Hadīqat al-Akhbār, believed that an adoption of a new Western literary genre into the traditional Arabic literary tradition would provide the Arab culture with tools for reviving the Arabic language and create new styles of expression. The textual analysis of numerous narrative fictions that were published in the newspaper demonstra

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Zipfel, Frank. "The Pleasures of Imagination. Aspects of Fictionality in the Poetics of the Age of Enlightenment and in Present-Day Theories of Fiction." Journal of Literary Theory 14, no. 2 (2020): 260–86. http://dx.doi.org/10.1515/jlt-2020-2007.

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AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositio

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

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

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Klinkowitz, Jerome. "Fiction." American Literary Scholarship 2017, no. 1 (2019): 317–43. http://dx.doi.org/10.1215/00659142-7491863.

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CROWLEY, JOHN. "FICTION IN REVIEW CLASSIC SCIENCE FICTION." Yale Review 101, no. 3 (2013): 162–71. http://dx.doi.org/10.1111/yrev.12069.

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CROWLEY, JOHN. "FICTION IN REVIEW CLASSIC SCIENCE FICTION." Yale Review 101, no. 3 (2013): 162–71. http://dx.doi.org/10.1353/tyr.2013.0084.

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TOWHEED, SHAFQUAT. "Determining "Fluctuating Opinions"." Nineteenth-Century Literature 60, no. 2 (2005): 199–236. http://dx.doi.org/10.1525/ncl.2005.60.2.199.

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Acknowledged for the originality and scope of her critical writing and recognized as one of the leading intellectuals of her age, Vernon Lee (1856 -1935) has rarely been viewed as a credible novelist, and critics have rarely seen an engagement with fiction as central to her literary craft. In this essay I reexamine Vernon Lee's theory and practice of fiction and argue that she increasingly depended upon access to novel readers in order to disseminate her more complex theoretical ideas and thereby shape an ideal and perceptive readership. In the first section I demonstrate the influence of popu

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Weigand, Edda. "Words between reality and fiction." Literary Linguistics 3, no. 1 (2013): 147–63. http://dx.doi.org/10.1075/ld.3.1.09wei.

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The transition from reality to fiction can be best illustrated by analysing autobiographies which claim to describe the life of the author. Essentially they are based on memories, which poses the question whether what is being remembered really happened in this way. In what respect do ‘real’ stories differ from ‘literary’ or ‘fictional’ ones? Several literary autobiographies are analysed and contrasted with popular autobiographies. Are there special literary devices by which we can recognize that a story is intended to be fictional? According to Searle there is ‘no textual property that will i

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Summerley, Rory. "Approaches to Game Fiction Derived from Musicals and Pornography." Arts 7, no. 3 (2018): 44. http://dx.doi.org/10.3390/arts7030044.

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This paper discusses the construction of consistent fictions in games using relevant theory drawn from discussions of musicals and pornography in opposition to media that are traditionally associated with fiction and used to discuss games (film, theatre, literature etc.). Game developer John Carmack’s famous quip that stories in games are like stories in pornography—optional—is the impetus for a discussion of the role and function of fiction in games. This paper aims to kick-start an informed approach to constructing and understanding consistent fictions in games. Case studies from games, musi

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Ajdačić, D. "IRONY AND FANTASY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 116–26. http://dx.doi.org/10.17721/2075-437x.2020.36.11.

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The absence of a typology of irony in the theory of fiction stems from the fact that irony and fiction differently form and transform reality – fiction is a kind of fictional depiction of amazing worlds or phenomena. On the contrary, irony does not create worlds; in it, the subject comments on reality, adding another vision, a vision with a reassessment and deviation from what is said or presented. Irony can comment on the realities of different ontological status, that is, irony can relate to the real world and the fictional world, whether it is real or amazing. Fantasy transforms the world –

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Vaage, Margrethe Bruun. "On Punishment and Why We Enjoy It in Fiction." Poetics Today 40, no. 3 (2019): 543–57. http://dx.doi.org/10.1215/03335372-7558136.

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The article proposes an explanation for why spectators may enjoy excessive punishment when watching fiction, even in Scandinavia where harsh punishment is roundly condemned. Excessive punishment is typically carried out by a vigilante avenger, and in fiction this character is often a fantastic character (e.g., not realistic, taking on superhuman and/or supernatural characteristics). We allow ourselves to enjoy punishment more readily when the character who punishes is clearly fictional. In The Girl with the Dragon Tattoo and Let the Right One In, fantastic elements seep into an otherwise reali

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Chakravorty, Mrinalini. "The Dead That Haunt Anil's Ghost: Subaltern Difference and Postcolonial Melancholia." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 542–58. http://dx.doi.org/10.1632/pmla.2013.128.3.542.

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Anil's Ghost, Michael Ondaatje's haunting novel about the Sri Lankan civil war, probes paradoxes that arise in postcolonial fictional representations of transnational violence. What is conveyed by novels of war and genocide that cast the whole of a decolonial territory as a “deathworld”? The prism of death in Anil's Ghost requires readers of this text to relinquish settled notions of how we as humans understand our finitude and our entanglements with the deaths of others. Postcolonial fictions of violence conjoin historical circumstance with phantasmatic expressions to raise important question

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Rahma Dwi Nopryana, Wahyudin,. "FILOSOFIS KEBENARAN FIKSI SEBAGAI PENGEMBANGAN INTELEGENSI BAGI KEHIDUPAN INDIVIDU MANUSIA." Jurnal Bimbingan Penyuluhan Islam 1, no. 2 (2020): 269. http://dx.doi.org/10.32332/jbpi.v1i2.1723.

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The study of intelligence development, as a form of analyzing the intelligence of creativity in revealing objects and trying to find specific, unique things contained in fiction. Changes in the way of thinking intelligence in a fictional truth is a discourse to express a pattern and story line with an understanding. Understanding of intelligence by distinguishing, guessing, then explaining, which is in fiction. The problem of literary works called fiction is a work that tells something that did not really happen. There is a difference of opinion in a work of fiction because it is not in accord

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Faulconbridge, Pete. "A New Approach to the Paradox of Fiction." Stance: an international undergraduate philosophy journal 4, no. 1 (2011): 91–101. http://dx.doi.org/10.33043/s.4.1.91-101.

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It seems that an intuitive characterization of our emotional engagement with fiction contains a paradox, which has been labelled the ‘Paradox of Fiction’. Using insights into the nature of mental contentgained from the disjunctive theory of perception I propose a novel solution to the Paradox, explained and motivated by reference to Kendall Walton’s influential account of fictionality. Using this insight I suggest that we can take the phenomenology of fictional engagement seriously in a way not allowed by Walton.

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O'Callaghan, Evelyn. "Historical Fiction and Fictional History: Caryl Phillips's Cambridge." Journal of Commonwealth Literature 28, no. 2 (1993): 34–47. http://dx.doi.org/10.1177/002198949302800205.

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Dranenko, Galyna. "Bayard’s Fables: A Fictional Theory or / and / is a Theoretical Fiction." Pitannâ lìteraturoznavstva 99 (June 28, 2019): 111–34. http://dx.doi.org/10.31861/pytlit2019.99.111.

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Hanson, Clare, Gerardine Meaney, Judith Still, and Michael Worton. "(Un)like Subjects: Women, Theory, Fiction." Modern Language Review 91, no. 3 (1996): 686. http://dx.doi.org/10.2307/3734101.

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Cox, Ailsa. "Short fiction writers with a theory." Short Fiction in Theory & Practice 7, no. 1 (2017): 3–6. http://dx.doi.org/10.1386/fict.7.1.3_2.

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Jackson, Gregory S. "A Game Theory of Evangelical Fiction." Critical Inquiry 39, no. 3 (2013): 451–85. http://dx.doi.org/10.1086/670041.

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