Fictional Creation Research Articles

Contornos do espaço autobiográfico: o autorretrato literário em Sergio Kokis

Amongst the various (and controversial) modalities of self-writing, the literary self-portrait remains a field of little theoretical exploration. Though the term loaned from the visual arts field makes part of the literary creation since long, its conceptual approach still constitutes a slippery soil, especially in contemporary literature, where the hybridization of several subgenres of the autobiography may be observed. Attempting to contribute to the reflection on the self-projection in this particular category of self-writing, the present work aims at actualizing ideas by Michel Beaujour, who has carefully examined the theme in the 1980s, through a dialogue with recent analysis by Robert Dion and Frances Fortier. In this process, we create a theoretical basis to study autobiographical texts by Sergio Kokis, a painter and writer of Brazilian origin established in Quebec, particularly in his work L’amour du lointain (2012), a literary self-portrait that offers access to the backstage of Kokis’s fictional creation. Extrapolating the self-analysis exercise, Kokis proposes in this text a review of his Romanesque writing, by recovering certain tracks of his personal history in order to contribute critically and to establish his experience as a reader and a painter, yet revealing the inconsistencies and contrarieties of the labels imposed within the autobiographical writing field. --- DOI: http://dx.doi.org/10.12957/matraga.2017.30202

High intergenerational connections: a film-based inquiry

Purpose This study aims to increase the understanding about the concept of high-quality connections (HQCs) by examining how it develops between members of different generations. Design/methodology/approach It draws on film-based method to explain how the theory of HQC unfolds, particularly in a context of high intergenerational connection. Findings This study reflects the analysis of a movie that, to a large extent, fits in the HQCs conceptual framework. Rather, all key mechanisms of HQCs concept (i.e. behavioral, cognitive and emotional) were found in the plot of Die Hard 4.0. It provides compelling evidence that films may explore the possibilities of reality including the nuances of the relationships among human beings, despite the fact that it portrays a fictional creation. In doing so, it shows that HQCs are likely to be found – as very often happens in the real life – even in the worst situations. Findings also show that HQCs may be built through the time as individuals start to better know each other, i.e. their styles, behavior, religion preferences, held values, capabilities and interpersonal skills. Research limitations/implications Otherwise, film method does not allow that the research results be generalized. At best, it offers elements to the viewers reflect about. Practical implications Very often individuals are designated to carry out certain tasks along with unknown colleagues with whom they need to interact in a positive manner to accomplish the goals. As a result, organizations should pay close attention to the quality of connections among their employees. Originality/value To the best of the author’s knowledge, this is the first endeavor toward analyzing the mechanisms of HQCs concept by means of such approach. In doing so, this analysis strongly corroborates HQCs concept functioning.

Situated: Reconsidering Context in the Creation and Interpretation of Design Fictions

Design fiction and ethnographic methods strengthen each other by creating a creative but rigorous scaffolding for interrogating expectations and reactions to the future. Design fiction can influence the activities, people, and places in which ethnography is done, and ethnography can create design fictions. Viewers and creators populate design fictions with their own past, present, and hoped for future. The intersection of these methods push ethnography beyond the edges of its thoughtful consideration of the present moment, in order to begin investigating the future.

Plotting Jane Austen: heritage sites as fictional worlds in the literary tourist’s imagination

Fans seeking engagement with Jane Austen and her fictional creations seek out heritage locations linked both temporally and geographically to her life and works. This article adopts a multidisciplinary framework that triangulates fan studies, literary criticism, and heritage studies to analyse three Austen-linked fan spaces: Chawton Cottage (Austen’s former home and now a museum), Lyme Park (‘Pemberley’ in B.B.C.’s 1995 adaptation of Pride and Prejudice), and two Austen-themed literary walks. I argue that the fan’s desire for connection is by no means an organic or natural quality of the heritage site itself. Rather, creating connections between the revered object (Austen) and the physical spaces that purport to contain her necessitates imaginative work on the part of the literary tourist. That such performative work is necessary in both the ‘real’ (Chawton) and ‘fictional’ (Lyme Park) locations demonstrates the problematic nature of previous critical emphases on the authenticity – or lack thereof – of such spaces. The significance of the fan’s pilgrimage to Austen-linked heritage sites lies not in the author to be ‘found’ there but in how the tourist actively constructs ‘their’ Jane by inscribing her presence – and those of her characters – onto these spaces.

Calculation in the pirate bazaars

ABSTRACTRecent debates in economic sociology have focused on the question of long-term calculation specific to capitalism. With a renewed interest in Max Weber’s work, particularly his seminal essay, The protestant ethic and the spirit of capitalism, scholars such as Arjun Appadurai and Jens Beckert have analysed calculative devices intrinsic to long-term accounting. Appadurai highlights the charismatic figure of the financial player who speculates on uncertainty, the same realm of uncertainty that in Beckert’s work becomes intelligible through the creation of market fictions. In this paper, I instead explore calculation as it unfolds in bazaars selling contraband and pirated electronic goods. Based on an ethnographic account of Delhi’s Lajpat Rai market, Palika Bazaar, and Nehru Place, I argue that calculation in the pirate bazaars is of a short-term nature and oriented to an embedded economic rationality that is closely entangled with the longue durée of everyday life. Rather than future-oriented fictions, small-scale traders employ moral stories and piracy-related discourses to meet day-to-day survival needs.

作文における構想指導の問題点と実践 : 創作(物語文)と構想指導( 古典教育をめぐって)

作文における構想指導の問題点と実践 : 創作(物語文)と構想指導( 古典教育をめぐって)

Parámetros para el estudio de la producción editorial en contextos de dictadura y emergencia cultural. La editorial Galaxia en el período 1951-1973

Este artículo tiene como objeto el estudio de la producción de la editorial Galaxia, fundada en Vigo en 1950 y cuya primera obra es publicada en el año siguiente. A través de dos cortes temporales (1951-1967, 1967-1973), se realiza un análisis tipológico y cuantitativo de los títulos editados por esta casa, identificando las tendencias activas y cambios operados durante este período. Se tienen en cuenta tanto el número de ediciones o reediciones, como la lengua, el origen —según los factores formulados por José Lambert: producción, tradición e importación— y la tipología de las obras, realizando en este último caso estudios más detallados sobre las diferentes modalidades de ensayo/libro científico-técnico así como de la creación ficcional. Por último, se ofrecen conclusiones sobre la situación del campo editorial gallego y, en general, del proceso de emergencia del sistema cultural, recalcando la posibilidad de exportación de estos parámetros de análisis a contextos análogos.

『어린이』잡지 속 애화 연구

This thesis closely analyzed 12 pathetic stories published in Eorini. This paper was intended to determine what inherent feature these texts had which spanned a wide range of genres from coverage materials to creative works.BR The first feature of the pathetic story is sorrowfulness. The sorrowfulness of the pathetic story derives from the character’s situation. The characters undergo the tragic incidents or are faced with the situation they cannot bear. These situations or incidents proceed in a painful direction and are finalized with tears.BR The second feature of the pathetic story is the reality. The pathetic story uses the device of the reality in the text for readers to feel as if the incident took place really. The narrator intervenes to emphasize the incident took place really and the place where the incident took place is described concretely as if that place is really somewhere or the name of the place is revealed clearly. This story also embodies the reality issue or social issue general people encounter in the daily life.BR The third feature of the pathetic story is the fictiveness. The pathetic story does not necessarily embody the things that took place actually. A lot of pathetic stories are the fictional creations and let readers think that story is a true story by means of the device of reality. Lots of writings published as the pathetic stories are included in the boy novel to be discussed because of this fictiveness.BR This study that determined the features of pathetic story will be a foundation of the work that analyzes the pathetic story in the period context in the future.

English

Indonesian fiction works of the 21 st century often intertextualise with puppet stories and characters. Puppet stories and characters, used as sources and references, inspire the creation of modern Indonesian fiction. Puppet stories are canonic works originating from mainstream Mahabharata and Ramayana , thematically narrating the heroism of good characters in defeating evil characters. Reactualisation of puppet stories and characters in literature is a redefinition and contextualisation as a response to the chalenges of time. Analyses of the intertextuality between Indonesian fiction and puppet stories and characters show the following things. First, Indonesian fiction is seen as intensively intertextualising with puppet stories and characters. Many puppet characters that are actualised originate more from the mainstream Mahabharata than from the mainstream Ramayana . Characters with good traits are made protagonists and characters with evil traits are m a de antagonists. Second, Indonesian fiction uses the identities of puppet characters as name references. References of puppet character identities take the form of hypograms of names with characters, names without characters, and characters without names. The most intensive identity referencing of puppet characters in the form of hypogramming to continue convention is naming with characters. Third, Indonesian fiction uses puppet stories and characters as cultural references. P uppet hypograming is taken to function as cultural references, comparison purposes, means of children education, and reincarnation sources in the Hindu religion. Cultural referencing of puppets is more efficient and communicative as it is typological, following the mainstreams and exact. Keywords : Indonesian fiction; puppet culture; Ramayana and Mahabharata; character re-actualisation; intertextual ity

A CITY THAT NEVER EXISTED: XIAO BAI’S LITERARY REMAKING OF 1931 SHANGHAI

This article provides an account of the literary recreation of the semi-colonial Shanghai of 1931, carried out by the Chinese contemporary author Xiao Bai in his 2011 novel Zujie. It also includes the features and implications of such an operation. Critically praised as a turning point in contemporary Chinese fiction about old Shanghai, the novel appears to transcend genre categories, and was welcomed as a heterogeneous “third type” crossing the boundaries between genre fiction and pure literature. Inspired by historical facts and supported by painstaking archival research, Zujie originally incorporates a variety of literary models, narrative techniques, sources, genres, themes, and perspectives. The heterogeneity at play in the novel can be essentially scrutinised at three levels. Such levels are: the debate on the genre as it emerges from a number of paratextual sources; the treatment of historical factuality and its relationship with fictional creation; the use of polyphonic devices, with reference to the portrayal of hybrid characters, deliberately disorienting narrative techniques, and a re-elaboration of imported and domestic sources and literary models that plays havoc with the very notions of foreignness and identity. Xiao Bai’s original representation of 1930s Shanghai is analysed and commented upon with respect to such factors. Finally, the significance of this multi-layered literary operation and its implications for the reader are highlighted.

Don Quijote y Próspero: lecturas, lectores leídos y el poder de la imaginación

This essay explores the similarities in the way Alonso Quijano in Miguel de Cervantes’ Don Quixote and Prospero in William Shakespeare’s The Tempest relate as readers to their acts of reading and to their books. The former ones, although apparently rejected, are in fact, celebrated as the means that enhance the development of the imagination and fictional creation.

Literary Trespassing in Susan Abulhawa's Mornings in Jenin and Sayed Kashua's Second Person Singular

This article focuses on a rare leitmotif in literary productions by Palestinians. Both Susan Abulhawa's Mornings in Jenin and Sayed Kashua's Second Person Singular present Arab characters who, under unusual circumstances, impersonate or literally acquire the identity of the Israeli-Jewish other. In the fictional creations of Ismael/David and Amir/Yonatan, Abulhawa and Kashua, respectively, construe characters whose existence blurs the borderline between various versions of today's Palestinian Arab and mainstream projections of its Israeli-Jewish counterpart. These characters represent, as the article demonstrates, the authors' attempts to work out the implications of the idea that — as a result of the historical events of Israeli Independence and the consequent Palestinian Nakba — the collision of two national yearnings has created a liminal space in which both Israeli and Palestinian narratives gradually infiltrate one another, developing an inextricable and dynamic bond between the Palestinian identity and its counterpart.

Ética en los medios de comunicación: retos y oportunidades para la investigación

A reflection on the challenges and opportunities faced by researchers, professionals, society, and teachers in the field of ethics of communication and professional ethics including journalism, public relations, and advertising. The creation of fiction and entertainment content in audiovisual media is presented. Describing advances made in the last two decades, key elements that mark the present and the future of research are identified. The response of the scientific community to the call for contributions under the motto “Ethics, research and communication: Looking to the future” for the present journal issue, identifies three fundamental axes: self-regulation instruments, new technologies, and values, particularly in the field of journalism.

Slashing through the boundaries: Heavy metal fandom, fan fiction and girl cultures

Abstract This article explores the creation and circulation of online fan fiction about heavy metal performers. Heavy metal fan fiction, which is overwhelmingly created and consumed by young women, allows girls not only to actively assert themselves within this form of music fandom, but also to renegotiate hegemonic codes of hyper-heterosexual masculinity within heavy metal discourses. The queering of metal masculinity through slash (male/male) fiction further demonstrates how such practices deconstruct heavy metal’s gender norms and actually slash the rigid strictures of metal masculinity in the process. These constellations of sexuality, gender and metal fandom have thus enabled girls to redefine their own resistant spaces within a masculinist subculture.

Ethical Design Fiction: Between Storytelling and World Building

In this paper we examine how ethical challenges can be approached in and through design fiction. To do so, we develop a new framework for analysis as well as creation of design fictions. Our main focus will be on design fiction within a strategical setting, connecting the notion of design fiction to the design process within large corporations as well as strategic design and decision making. Three cases are presented to support our findings. The final contribution will be the design fiction framework found in the conclusion.

СОВРЕМЕННАЯ РУССКАЯ ИСТОРИЧЕСКАЯ ПРОЗА В КОНТЕКСТЕ ЛИТЕРАТУРНОГО ПРОЦЕССА 2000—2010-Х ГОДОВ

The purpose of the article is to identify the main principles of creation of the modern historical fiction and to determine the reasons for its popularity. In the course of the current study, the following features of modern Russian historical prose were noted: non-realistic depictions of historical events and historical figures, the shift of the narrative towards the sphere of private life and reinforcing the entertainment element. Writers are paying more attention to recreating the historical flavor, reflecting the consciousness of the era. The historico-philosophical prose of V. Aksenov and E. Vodolazkin is fundamentally different: they bring back to the historical prose its core values, philosophical and social categories, which are equally important for the past eras as well modern times. In general, the modern historical fiction, if analyzed systematically, reflects the leading artistic trends of the literary process of 2000-2010th: a dialogue with mass culture and the search for a new narrative style.

The authorial delusion: counting lady Macbeth’s children

ABSTRACTIn 1933, literary critic L. C. Knights published a caustic essay against the notion cultivated by certain of his colleagues, predominantly A. C. Bradley, that Shakespeare is a ‘great creator of characters’. Knights (1973) regarded the examination of isolated particles such as ‘character’ as disorientating, alleging that an analysis of this sort obscures the greater merit of language. Knight’s polemic essentially stands in the threshold of the dissention between formalists and realists: the former consider the examination of the fictional narrative as anything but a textual construct a scholarly faux pas; the latter regard the referential relationship between text and the world as a foundation for the creation of fiction. This is a pseudo-dilemma. The notion that literature is denuded of its artistic merit once it is defined by its constituent artefacts is disorienting, for it completely bypasses the dynamics of its creation. Put differently, a post-event analysis can exist as a standalone act, albeit it cannot challenge or dismiss the foundational principles of the event’s creation process.

Intertextualidade, metaficção e autoficção: Fronteiras da narrativa de ficção na literatura do início do século XXI

Na literatura da segunda metade do século XX, existem várias obras em que é explícita a alusão e até mesmo a apropriação de personagens e de ideias de outras obras literárias. Narrativas de ficção que têm como tema a própria produção de narrativas de ficção se tornaram também frequentes na literatura contemporânea. Em algumas obras literárias, a linha que perpassa a fronteira entre a figura do autor e a do narrador se tornou bastante fluida. O objetivo deste artigo é examinar como algumas obras literárias bem recentes, produzidas nos últimos dez anos, têm levado a intertextualidade, a metaficção, e a autoficção às últimas consequências. Essas obras, como pretendo mostrar, exploram as fronteiras da literatura com as artes visuais, com o plágio, com relatos autobiográficos, e com o universo de textos publicados sob a forma de postagens nas redes sociais. Em algumas dessas obras, não é sequer evidente se temos diante de nós um “texto”, no sentido tradicional da palavra, ou alguma coisa diferente.

When Real People Become Fictional: The Collision of Trademark, Copyright, and Publicity Rights in Online Stories About Celebrities

Fanficion is frequently defined as the writing of fiction involving the characters or setting of someone else’s creation. However, there is a subset of fanfiction that is known as Real Person Fiction, or RPF. This subset writes stories not about other people’s fictional creations but about real people, whether they be hockey players or movie stars, and it has long been the scene of heated debate in the fan community. Some fans who readily and enthusiastically engage with fanfiction draw strict “squick” lines about RPF and call it “creepy” and “disturbing.” Perhaps for this reason, scholars have paid little attention to online stories about celebrities in evaluations of fan activities. From a legal standpoint, however, these stories are much more easily defensible than fanfiction. As they involve real people instead of fictional creations, they do not implicate copyright and so are protected from the charges of copyright infringement that could be levied at other pieces of fanfiction. Their First Amendment implications and non-commercial speech aspects tend to protect them from attacks using trademark law. Finally, their embrace of wildly unlikely fictional scenarios — ranging from movie stars recast as baristas to pregnant male hockey players — shields them from any possible liability for privacy right or publicity right violations. This Article concludes that online stories about celebrities are currently legally protected, possibly more so than more traditional forms of fanfiction and even some more mainstream forms of storytelling. It further concludes that these stories should be so protected as a matter of sound policy.

The Psychological Problems and Existentialist View of the Great Two Americans Ernest Hemingway and F. Scot Fitzgerald: A Glimpses

This paper has focused the demonstration of the two great American writers, Ernest Hemingway and F. Scot Fitzgerald’s experience with their own health problems, influence on their life and writing. Hemingway’s weakening physical condition and increasing severe mental problems that were bipolar disorder, alcohol dependence, traumatic brain injury, and probable border line and narcissistic personality traits considerably reduced his fictional creation in the final years of his lifetime. Fitzgerald spent more than a decade of his later career, writing about illness while he struggled with tuberculosis, insomnia, alcoholism and heart disease as well as the mental illness of his wife Zelda with studying of Fitzgerald's analysis of his own life, from his stories, we are able to bring together the ineffaceable connection between personal suffering and the need for expression, between illness and identity, between writing and healing. As a result, Fitzgerald's donations to the canon of illness literature are noteworthy and as is characteristic of his career-credit for these contributions is overdue.