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Journal articles on the topic 'Xhosa fiction Culture in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Mtuze, P. T. "Female stereotyping in Xhosa prose fiction and folk-tales." South African Journal of African Languages 11, no. 2 (January 1991): 66–73. http://dx.doi.org/10.1080/02572117.1991.10586893.

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2

Scott, Lwando. "Inxeba (The Wound), Queerness and Xhosa Culture." Journal of African Cultural Studies 33, no. 1 (December 14, 2020): 26–38. http://dx.doi.org/10.1080/13696815.2020.1792278.

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3

Bruns, G. L. "Fiction Sets You Free: Literature, Liberty, and Western Culture." Modern Language Quarterly 70, no. 2 (January 1, 2009): 269–72. http://dx.doi.org/10.1215/00267929-2008-040.

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4

Edelberg, Cynthia Dubin, and Roberta Rubenstein. "Boundaries of the Self: Gender, Culture, Fiction." American Literature 60, no. 2 (May 1988): 318. http://dx.doi.org/10.2307/2927234.

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5

Hengen, Shannon, and Roberta Rubenstein. "Boundaries of the Self: Gender, Culture, Fiction." Journal of the Midwest Modern Language Association 21, no. 2 (1988): 34. http://dx.doi.org/10.2307/1315365.

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6

Baer, Elizabeth R., and Roberta Rubenstein. "Boundaries of the Self: Gender, Culture, Fiction." Tulsa Studies in Women's Literature 7, no. 2 (1988): 307. http://dx.doi.org/10.2307/463687.

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7

Rhodes, Chip. "Twenties Fiction, Mass Culture, and the Modern Subject." American Literature 68, no. 2 (June 1996): 385. http://dx.doi.org/10.2307/2928303.

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8

Oyowe. "Fiction, Culture, and the Concept of a Person." Research in African Literatures 45, no. 2 (2014): 46. http://dx.doi.org/10.2979/reseafrilite.45.2.46.

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9

Young, Mary. "Walter Mosley, Detective Fiction and Black Culture." Journal of Popular Culture 32, no. 1 (June 1998): 141–50. http://dx.doi.org/10.1111/j.0022-3840.1998.3201_141.x.

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10

Saarti, Jarmo. "Fictional Literature, Classification and Indexing." KNOWLEDGE ORGANIZATION 46, no. 4 (2019): 320–32. http://dx.doi.org/10.5771/0943-7444-2019-4-320.

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Fiction content analysis and retrieval are interesting specific topics for two major reasons: 1) the extensive use of fictional works; and, 2) the multimodality and interpretational nature of fiction. The primary challenge in the analysis of fictional content is that there is no single meaning to be analysed; the analysis is an ongoing process involving an interaction between the text produced by author, the reader and the society in which the interaction occurs. Furthermore, different audiences have specific needs to be taken into consideration. This article explores the topic of fiction knowledge organization, including both classification and indexing. It provides a broad and analytical overview of the literature as well as describing several experimental approaches and developmental projects for the analysis of fictional content. Traditional fiction indexing has been mainly based on the factual aspects of the work; this has then been expanded to handle different aspects of the fictional work. There have been attempts made to develop vocabularies for fiction indexing. All the major classification schemes use the genre and language/culture of fictional works when subdividing fictional works into subclasses. The evolution of shelf classification of fiction and the appearance of different types of digital tools have revolutionized the classification of fiction, making it possible to integrate both indexing and classification of fictional works.

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11

Wahab, Mohammed Osman Abdul, Mohammed Nurul Islam, and Nisar Ahmad Koka. "Dimensions of Literature and Journalism, History, Ideology and Culture." Theory and Practice in Language Studies 9, no. 12 (December 1, 2019): 1474. http://dx.doi.org/10.17507/tpls.0912.02.

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Literature is a hugely loaded term that brings within its ambit a variety of concerns ranging from philosophy to journalism as there is almost a photo finish between what is construed as journalism and what is commonly and widely presumed literature. Adding interactive or writing multi-platform stories/literature/fiction is quickly becoming a new craft of publishing onto itself and a tool for writers to use. The media field could be very different in coming years---or it could still be just a bunch of promotional tie-tins. The dimensions of literature breach boundaries to conform to the possibilities of generating discourses on issues of humanitarian concerns. Hemingway, Dos Passos, Dickens and Thackeray came to the writing of fiction through journalism. Psychology and Philosophy have given the edges to literature as the likes of James Joyce, Joseph Conrad and Virginia Woolf. Journalism aided the growth of imperial culture and simultaneously provoking a debate between the East and West, between the Fascist and the Liberals and between the Diary of A young Girl and Tin Drum and again between what Bertolt Brecht did in Germany to stave off the last remains of Nazism though diced up in ruins. The difference lies in the manner of treating its shades and colors.

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12

Skelton, Shannon Blake. "Alternate Americas: Science Fiction Film and American Culture." Journal of Popular Culture 40, no. 1 (February 2007): 192–93. http://dx.doi.org/10.1111/j.1540-5931.2007.00372.x.

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13

Capozzi, Rocco, and Peter Bondanella. "Umberto Eco and the Open Text: Semiotics, Fiction, Popular Culture." World Literature Today 72, no. 4 (1998): 813. http://dx.doi.org/10.2307/40154309.

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14

Laflen, Angela, and Christopher Douglas. "Reciting America: Culture and Cliche in Contemporary U. S. Fiction." Journal of the Midwest Modern Language Association 35, no. 2 (2002): 115. http://dx.doi.org/10.2307/1315175.

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15

Nile, Richard. "Pulp fiction: Popular culture and literary reputation." Journal of Australian Studies 22, no. 58 (January 1998): 66–74. http://dx.doi.org/10.1080/14443059809387403.

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16

Hanikmah, Luluk. "THE BLUE ALIEN IN KOI MIL GAYA FILM: POPULAR LITERATURE." English Teaching Journal : A Journal of English Literature, Language and Education 4, no. 1 (May 24, 2019): 10. http://dx.doi.org/10.25273/etj.v4i1.4356.

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<p>The purpose of this research is to<strong> </strong>describe<strong> </strong>the blue alien as the phenomenon Alien’s representation in science fiction of Bollywood and Bollywood’s action in bringing outer space alien to Indian culture that is represented in<em> Koi Mil Gaya </em>film. This research uses qualitative research. The researcher needs popular literature by Ida Rochani Adi to get what the author is willing to share her readers. It is also a way to the researcher to investigate why the author choose alien as the new character, and is there popular culture inside the character evidences the effects and goals of the author in creating a story. The analysis reveals that the alien’s representation of Bollywood’s science fiction, and Bollywood’s action in bringing outer space alien to India culture. The conclusion shows there are similar formula in each Bollywood science fiction in alien’s representation and Bollywood action in bringing outer space alien to India culture is influenced by 3 factors, there are: Hollywood influence, Ancient India influence, and popular news in India. The researcher uses the symbol to analyze the blue alien as the representation of Lord Krishna. It is Hindu mythology. Hindu mythology is popular culture in India belief. It is appropriate with the researcher’s assumption that the blue alien has correlation with India culture. In conclusion, the alien which has blue skin is the appearance of Lord Krishna.</p>

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17

Zunshine, Lisa. "The Secret Life of Fiction." PMLA/Publications of the Modern Language Association of America 130, no. 3 (May 2015): 724–31. http://dx.doi.org/10.1632/pmla.2015.130.3.724.

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A troubling feature of the common core state standards initiative (CCSSI) for english language arts (ELA) is its failure to recognize literature as a catalyst of complex thinking in students. According to the CCSSI, to “prepare all students for success in college, career, and life,” children must read texts “more complex” than “stories and literature” (“English Language Arts Standards”). The assumption that “stories” are inferior to nonfiction has a long tradition in Western culture; tapping into that prejudice is easy, and no proof seems to be required.

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18

Menadue, Christopher Benjamin, and Karen Diane Cheer. "Human Culture and Science Fiction: A Review of the Literature, 1980-2016." SAGE Open 7, no. 3 (July 2017): 215824401772369. http://dx.doi.org/10.1177/2158244017723690.

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19

Ekman, Stefan. "A Companion to Science Fiction (Blackwell Companions to Literature and Culture Series)." English Studies 91, no. 2 (April 2010): 238–39. http://dx.doi.org/10.1080/00138380903363720.

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20

Hall, Sara. "Emancipatory Entertainments: Gender in Weimar Mass Culture." German Politics and Society 21, no. 3 (September 1, 2003): 120–29. http://dx.doi.org/10.3167/104503003782353394.

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Vibeke Rützou Petersen, Women and Modernity in Weimar Germany: Reality and Representation in Popular Fiction (New York: Berghahn, 2001)Richard C. McCormick, Gender and Sexuality in Weimar Modernity: Film, Literature, and “New Objectivity” (New York: Palgrave, 2001)

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21

Maver, Igor. "Slovene migrant literature in Australia." Acta Neophilologica 35, no. 1-2 (December 1, 2002): 5–11. http://dx.doi.org/10.4312/an.35.1-2.5-11.

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This article on the literary creativity of Slovene rnigrants in Australia after the Second World War, including the most recent publications, discusses only the most artistically accomplished auth ors and addresses those works that have received the most enthusiastic reception by the critics and readers alike. Of course, those who are not mentioned are also important to the preservation of Slovene culture and identity among the Slovene migrants in Australia from a documentary, histori cal,or ethnological points of view. However, the genresfeatured here include the explicitly literary, the semi-literary fictionalized biography, the memoir and documentary fiction, and the literary journalistic text - all those fields and genres that nowadays straddle the division line between 'high' literature and so-called 'creative fiction'.

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22

Skinner, Beverly Lanier, and Dorothy Hamer Denniston. "The Fiction of Paule Marshall: Reconstructions of History, Culture, and Gender." American Literature 69, no. 1 (March 1997): 237. http://dx.doi.org/10.2307/2928200.

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23

Hutchings-Goetz, Tracey. "The Glove as Fetish Object in Eighteenth-Century Fiction and Culture." Eighteenth-Century Fiction 31, no. 2 (January 2019): 317–42. http://dx.doi.org/10.3138/ecf.31.2.317.

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24

Loughman, Celeste, and Carol Fairbanks. "Japanese Women Fiction Writers: Their Culture and Society, 1890s to 1990s." World Literature Today 77, no. 3/4 (2003): 89. http://dx.doi.org/10.2307/40158208.

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25

Tolson, Melvin B., Manuel Zapata Olivella, and Yvonne Captain-Hidalgo. "The Culture of Fiction in the Works of Manuel Zapata Olivella." World Literature Today 69, no. 1 (1995): 112. http://dx.doi.org/10.2307/40150908.

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26

Martina Kolb. "Resisting Arrest: Detective Fiction and Popular Culture (review)." Comparative Literature Studies 46, no. 3 (2009): 545–49. http://dx.doi.org/10.1353/cls.0.0096.

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27

Sey, J. "The terminator syndrome: Science fiction, cinema and contemporary culture." Literator 13, no. 3 (May 6, 1992): 13–20. http://dx.doi.org/10.4102/lit.v13i3.760.

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This paper examines the impact of contemporary technology on representations of the human body in American popular culture, focusing on James Cameron’s science fiction films The Terminator (1984) and The Terminator II - Judgment Day (1991) in both of which the key figures are cybernetic organisms (cyborgs) or a robot which can exactly imitate the human form . The paper argues that the ability of modern film technology’ to represent the human form in robotic guise undercuts the distinction between nature and culture which maintains the position of the human being in society. The ability of the robot or cyborg to be ‘polygendered’ in particular, undermines the position of a properly oedipalized human body in society, one which balances the instinctual life against the rule of cultural law. As a result the second Terminator film attempts a recuperation of the category of the human by an oedipalization of the terminator cyborg.

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28

Thiry, Maxime. "L’écran de la fiction ou la fiction de l’écran. La culture de l’hypermédia au travers de l’œuvre d’Éric Laurrent." Les Lettres Romanes 69, no. 3-4 (July 2015): 497–515. http://dx.doi.org/10.1484/j.llr.5.109228.

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29

Areqi, Rashad Mohammed Moqbel Al. "Rise of Islamic Literature between Fact and Fiction." Journal of Language Teaching and Research 7, no. 4 (July 1, 2016): 682. http://dx.doi.org/10.17507/jltr.0704.07.

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The Islamic literature does not take its proper place among the world arts as one of the significant areas of research. Islamism does not spring up as a tool of literary criticism worthy of studying and writing about. Many studies need to be done on the Islamic literature to highlight this sort of literature and culture. Critics may not give sufficient concern for the Islamic literature and they have not been encouraged to go deeply into the literary works of the writers who classify themselves Islamic writers. This article attempts to set a place for the Islamic literature and traces the first attempts and origins of this sort of literature. It introduces a number of Islamic critics who are interested in this area of the Islamic literature. The main argument is how the Islamic critics define and present what they claim to be Islamic literature and Islamic theory in their writings in general and literary writings in particular. The results indicated that the Islamic critics attempt to put the foundations of this new literature but their efforts do not show sufficient concern with the Islamic literature and the literary works of the Islamic literature do not get sufficient study and research.

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30

Hellén, Anna. "American Fiction of the 1990s. Reflections of History and Culture." English Studies 91, no. 7 (November 2010): 807–8. http://dx.doi.org/10.1080/0013838x.2010.488827.

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31

Lam, Melissa. "Diasporic literature." Cultural China in Discursive Transformation 21, no. 2 (July 5, 2011): 309–18. http://dx.doi.org/10.1075/japc.21.2.08lam.

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Only since the 1960s has the Asian Diaspora been studied as a historical movement greatly impacting the United States — affecting not only socio-historical cultural trends and geographic ethnography, but also culturally redefining major areas of Western history and culture. This paper explores the reverse impact of the Asian America Diaspora on Mainland China or the Chinese Motherland. Mainland Chinese writers Ha Jin and Yiyun Li have left China and today teach in major American universities and reside in America. However, the fiction of both authors explores themes and landscapes that remain immersed in Mainland Chinese culture, traditions and environment. Both authors explore the themes of “cultural collisions” between East and West, choosing to write in their adopted English language instead of their mother Putonghua tongue. Central to this paper is the idea that ethnicity and race are socially and historically constructed as well as contested, reclaimed and redefined

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32

Mirzoyan, Hrachik, and Natalia Gonchar. "The Azerbaijani Version of History of National Literature." Armenian Folia Anglistika 8, no. 1-2 (10) (October 15, 2012): 162–80. http://dx.doi.org/10.46991/afa/2012.8.1-2.162.

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The article provides a thorough and detailed examination of the thick collection titled “The Astral Cluster. Folklore and Monuments of Azerbaijan’s Literature” published in Moscow by the publishing house Fiction (Khudozhestvennaya literatura). The authors of the article provide irrefutable evidence to prove that the collection contains numerous and various obvious mistakes, illogical and anti-scientific claims, conscious and unconscious falsifications, explicit aspirations to seize the literary and cultural values of other nations and many other phenomena which are not appropriate for the scientific investigation of the history of culture. And most importantly all this is done with a low language culture. The authors of the article strongly believe that the Azerbaijani scholars showed similar approaches back in the Soviet years. While this is not a new and unexpected incident, it is quite surprising and saddening that all this was allowed in the book published by the famous publishing house Fiction with the support of the Interstate Fund of Humanitarian Co-operation of the CIS member states.

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33

White, Donna R. "Science Fiction, Children's Literature, and Popular Culture: Coming of Age in Fantasyland (review)." Lion and the Unicorn 26, no. 1 (2002): 131–33. http://dx.doi.org/10.1353/uni.2002.0013.

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34

Fyn, Amy F. "Book Review: Encyclopedia of Romance Fiction." Reference & User Services Quarterly 58, no. 4 (October 25, 2019): 263. http://dx.doi.org/10.5860/rusq.58.4.7162.

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Part reference book, part readers’ advisory, and completely entertaining to browse, the Encyclopedia of Romance Fiction’s selective set of entries illustrates the breadth of the romance genre while acknowledging its reach, from early literature to today’s publishing industry. The market share of popular romance indicates the public’s enduring interest and demonstrates a need for supplementary resources for general readers or those beginning research in romance-related topics. Academic study of this popular reading material is increasing, with special issues and at least one peer-reviewed journal devoted to the topic and recognition within disciplines including literature, women’s and gender studies, and popular culture.

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35

Anger, Suzy. "Rethinking Victorian Culture, and: Rereading Victorian Fiction (review)." Victorian Studies 44, no. 2 (2002): 359–62. http://dx.doi.org/10.1353/vic.2002.0002.

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36

Simmons, David. "Postmodern Vampires: Film, Fiction, and Popular Culture. By Sorcha Ní Fhlainn." Gothic Studies 23, no. 1 (March 2021): 118–20. http://dx.doi.org/10.3366/gothic.2021.0083.

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37

Korolev, Cyril. "“Tell it to Harry Potter, would you suddenly meet him”: Sf&F Fan Fiction as a Post-Folklore Genre of the WWW Age." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 281–300. http://dx.doi.org/10.31860/2304-5817-2021-1-19-281-300.

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The article examines the current situation in the modern Russian net-literature, where, along with the predominance of romantic fantasy and theso-called Lit-RPG (stories based on computer role-playing games), there is a rise of fan fiction, i. e. amateur fiction based on milestones (literary and cinematic — books, films, TV series, anime, computer games, etc.) of popular culture. As a special subgenre of amateur creativity, fan fiction has emerged in the English-speaking culture in the 1930s, then the emergence of the Internet has contributed to its spread and further development, and in the 1999-2000s a Russian-speaking segment of fan fiction has been formed, significant in volume and diverse in topics. This work examines the genesis of this kind of neterature and reveals the post-folklore nature of modern fan fiction, defines fan fiction as a specific phenomenon of modern popular culture, characterizes the peculiarities of fan fiction as a subject of scientific research, and provides some quantitative characteristics of the corpus of Russian-language fan fiction. The article presents outlines and prospects for further study.

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38

Fluck, Winfried. "Fiction and Fictionality in Popular Culture: Some Observations on the Aesthetics of Popular Culture." Journal of Popular Culture 21, no. 4 (March 1988): 49–62. http://dx.doi.org/10.1111/j.0022-3840.1988.00049.x.

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39

CORDLE, DANIEL. "Protect/Protest: British nuclear fiction of the 1980s." British Journal for the History of Science 45, no. 4 (December 2012): 653–69. http://dx.doi.org/10.1017/s0007087412001112.

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AbstractAnalyses of nuclear fiction have tended to focus on the literature of the United States, particularly that of the 1950s. This article not only switches attention to British literature, but makes the case for the 1980s as a nuclear decade, arguing that the late Cold War context, especially renewed fears of global conflict, produced a distinctive nuclear literature and culture. Taking its cue from E.P. Thompson's rewriting of the British government's civil-defence slogan, ‘Protect and Survive’, as ‘Protest and Survive’, it identifies a series of issues – gender and the family, the environment and socio-economic organization – through which competing nuclear discourses can be read. In particular, it argues, British fiction of this period functions by undercutting the idea that protection is possible. Hence, although few nuclear texts advocate particular policy positions, they are characterized by a politics of vulnerability. Proposing for the first time the existence of a distinctive 1980s nuclear culture, it seeks to suggest the broad parameters within which further research might take place.

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40

Mitchell, Claudia. "Feminist Activism against Rape Culture." Girlhood Studies 14, no. 1 (March 1, 2021): v—vi. http://dx.doi.org/10.3167/ghs.2021.140101.

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I met Roxanne Harde, the guest editor of this Special Issue, at the Second International Girls Studies Association conference in 2019 when I attended the panel discussion, “Representations of Rape in Young Adult Fiction.” I recall Roxanne’s passion vividly and, indeed, the enthusiasm of all three presenters as they discussed a variety of texts in superb presentations that aligned well with Ann Smith’s notion of feminism in action in their seeing “a fictional text not only as a literary investigation into issues of concern to its author but also as the site of educational research” (2000: 245). Their papers pointed to the ways in which the analysis of how rape culture is treated in Young Adult (YA) literature, film, and the print media can take scholars and activists so much further into the issues, and, at the same time, noted the ways in which rape culture in all its manifestations as a global phenomenon has inevitably led to its becoming an everyday topic of YA fiction.

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41

Barone, Dennis. "Machines are Us: Joseph Papaleo and the Literature of Sprawl." Forum Italicum: A Journal of Italian Studies 42, no. 1 (March 2008): 99–113. http://dx.doi.org/10.1177/001458580804200106.

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This essay examines the work of Italian American fiction writer Joseph Papaleo in the context of suburbanization, globalization, and ethnic heritage and identity. In doing so I demonstrate that Papaleo's fiction provides understanding of how Italian Americans have looked at Italy as they experienced the alienation of a consumer culture. Papaleo's fiction presents a mixed nostalgia for what Italy represents and recognition that it, too, like the United States, confronts continuous auto-dependent sprawl. Papaleo adds a suburban focus to the more frequently urban-centered literature of Italian Americans and he adds an ethic perspective to the predominantly Anglo American literature of the suburbs. His 1970 novel Out of Place depicts a materially successful Italian American, Gene Santoro, who cannot fill a deeper spiritual need in either the United States or Italy.

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42

Boudreau, Kristin, and Diane Price Herndl. "Invalid Women: Figuring Feminine Illness in American Fiction and Culture, 1840-1940." American Literature 65, no. 4 (December 1993): 791. http://dx.doi.org/10.2307/2927305.

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43

Dandridge, Rita B., and Laura Doyle. "Bordering on the Body: The Racial Matrix of Modern Fiction and Culture." American Literature 67, no. 4 (December 1995): 870. http://dx.doi.org/10.2307/2927916.

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44

Melaver, Martin, and Terry Castle. "Masquerade and Civilization: The Carnivalesque in Eighteenth-Century English Culture and Fiction." Poetics Today 8, no. 3/4 (1987): 746. http://dx.doi.org/10.2307/1772600.

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45

BABAEI, ABDOLRAZAGH, and AMIN TAADOLKHAH. "Portrayal of the American Culture through Metafiction." Journal of Education Culture and Society 4, no. 2 (January 7, 2020): 9–15. http://dx.doi.org/10.15503/jecs20132.9.15.

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Kurt Vonnegut’s position that artists should be treasured as alarm systems and as biological agents of change comes most pertinent in his two great novels. The selected English novels of the past century – Cat’s Cradle (1963), Slaughterhouse Five (1969), and Breakfast of Champions (1973) – connect the world of fiction to the harsh realities of the world via creative metafictional strategies, making literature an alarm coated with the comforting lies ofstorytelling. It is metafi ction that enables Vonnegut to create different understandings of historical events by writing a kind of literature that combines facts and fiction. Defi ned as a kind of narrative that “self-consciously and systematically draws attention to its status as artefact” metafiction stands against the duplicitous “suspension of disbelief” that is simply an imitation and interpretation of presumed realities. As a postmodern mode of writing it opts for an undisguised narration that undermines not only the author’s univocal control over fiction but also challenges the established understanding of the ideas. Multidimensional display of events and thoughts by Vonnegut works in direction of metafiction to give readers a self-conscious awareness of what they read. Hiroshima bombing in 1946 and the destruction of Dresden in Germany by allied forces in World War II are the subjects of the selected novels respectively. In them Vonnegut presents a creative account in the form of playful fictions. The study aims to investigate how the novelist portrayed human mentality of the American culture by telling self-referentialstories that focus on two historical events and some prevailing cultural problems.

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46

Stanforth, Sherry Cook, and Dorothy Hamer Denniston. "The Fiction of Paule Marshall: Reconstructions of History, Culture, and Gender." MELUS 22, no. 1 (1997): 156. http://dx.doi.org/10.2307/468092.

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47

Brown, Kimberly N., and Dorothy Hamer Denniston. "The Fiction of Paule Marshall: Reconstructions of History, Culture, and Gender." Tulsa Studies in Women's Literature 16, no. 2 (1997): 376. http://dx.doi.org/10.2307/464368.

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48

Swanson, Philip. "The Recontextualization of William Faulkner in Latin American Fiction and Culture." Bulletin of Spanish Studies 84, no. 1 (January 2007): 141. http://dx.doi.org/10.1080/14753820601141071.

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49

Watson, Kate. "Violent Women and Sensation Fiction: Crime, Medicine and Victorian Popular Culture." Women's Writing 16, no. 1 (May 2009): 170–72. http://dx.doi.org/10.1080/09699080902854495.

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50

Zdenkowska, Marcelina. "The comics as an example of fan culture." Kultura Popularna 60, no. 2 (January 31, 2020): 136–47. http://dx.doi.org/10.5604/01.3001.0013.7340.

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In this article I analyze the chosen examples of fan comics. In the first part of the article I describe the history of comics, how and by whom they were created. Then I show the comic’s role as part of Transmedia Storytelling. In the second part I introduce the term fan fiction and I describe the circumstances of the creation of this specific form of fan art. Moreover I write about the most important fan fiction theories. In the last part of the article I analyze 3 selected authors of comics who publish their works on social media platform Deviant Art. Also I describe their style, inspirations and references to original works. Fan comics are a very specific phenomenon. However the many possibilities given by this art is not used by the fans. There are no experiments with a form contrary to the fan fiction literature. On the other hand the selected comics are an exception. Maybe the authors are not very innovative. But the interesting thing is that they use humor and autobiographical themes in an unusual way.

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