Form Of Fiction Research Articles

When the world gets worse: Form and feeling in Australian climate fiction

In a political context of climate inaction, Australian fiction writers have increasingly focused on the emergency; drawing attention to how the political and environmental processes underway might play out and exploring attendant emotions. The novel form – with its foregrounding of private feelings and individual agency, and its historical alignment with the development of the extractive capitalism it may wish to critique – occupies an ambivalent position as a tool to bring about change. If the task is to refigure the social imaginary towards interconnection with all forms of life, is the novel an inadequate means of social engagement? I hope to make the case – by referencing debates in climate change literature and through discussion of Scary Monsters by Michelle de Kretser (2021) and This Devastating Fever by Sophie Cunningham (2022) – that writers are using the distinctive capacities of the novel to think through contemporary challenges. These novels, distinct in tone and narrative content, both treat climate change as inextricable from other forces – such as colonialism and misogyny – and emphasise interconnectedness with other beings. Through a commitment to play, via formal experimentation and humour, they help readers to engage with the intellectual and emotional challenges of a changing world.

Questions without Answers: Enjoyment of Irresolution in Mystery Player Experience

Mysteries are an engaging form of fiction, capturing audiences with curiosity, uncertainty, and ambiguity. However, mysteries in games have presented a challenge for research since the word mystery may be understood as 1) detective mysteries with clear-cut answers or 2) as mysteries which are unsolvable and incomprehensible. This paper focuses on the latter kind of mysteries. To investigate what constitutes a mystery player experience, in what ways mystery games provide answers to players and how to design these games, we inspected five mystery games through a formalist game analysis by a player-researcher. We discovered (1) how the mystery player experience was characterised by enjoyment of irresolution, state of not receiving clear-cut answers to a mystery, (2) how a mystery condition, a state of wonder and fascination, promoted openness, and (3) how interpretation management represented the doing in the mystery player experience. To our surprise, although the player was driven to find answers to mysteries, the eventual irresolution was an enjoyable experience to the player. We conclude that all mysteries need not be answered during the game, and the experience can be enjoyable because of this.

Between the Novel and Other Forms of Literature: Unpacking the Language of Narrative Art through Albert Cook's Lens

This research paper explores the language of narrative art to show the differences between the novel and other forms of literature through the lens of Albert Cook. Using the interdisciplinary approach that combines close reading, textual analysis, and critical discourse analysis, this study unpacks the ways in which Cook's work illuminates the complex relationships between language, form, and meaning in narrative fiction. By tracing the ways in which Cook's ideas have influenced contemporary debates in narrative theory and literary scholarship, this study argues that his work provides a valuable framework for thinking about the role of language in shaping our experience of narrative fiction. Using critical discourse analysis, this research examines the broader implications of Cook's work for our understanding of the relationship between language, form, and meaning in narrative art. Through its interdisciplinary approach, this study makes a significant contribution to the fields of literary theory, narrative theory, and linguistics, and it provides a valuable resource for scholars and researchers interested in the role of language in shaping our understanding of the world around us. The study concludes that while the poem directly arouses our feelings in its lyrical form, a limit that has a consistent and precise connection between hearing, the tone of the voice, and the spoken expression, the novel seeks to arouse and maintain that general and organized waiting in us, which is the waiting for realistic events through the narrative language.

Sounds of the Past: Creating Immersion in Video Games Through Diegetic, Pre-Existing Music

The modern state of gaming has seen a variety of interactive narratives play out in a variety of worlds. A major category of setting in video games is ‘the past’, whether that be a form of realistic fiction, an alternate history, or something which draws inspiration from some aspect of the real past to create an entirely imagined location. Despite the differences in their likenesses to our own world, many games referencing the past share a commonality in their musical soundtracks: the use of pre-existing music. Songs like “Drunken Sailor” or “La Cucaracha” are prolific, but there exists an ever-growing variety with less well-known examples. An interesting pattern which emerges in the temporal space of these games is the diegetic use of pre-existing music. Using pre-existing music comes with the risk of not aligning with a player’s expectations for a given piece, and using diegetic music creates a risk of misalignment between the action the player sees and the audio they hear. Combining these two modalities could initially seem to be not worth the collective risks, but games like Pentiment (2022), Assassin’s Creed: Unity (2014), and Life Is Strange: True Colors (2021) all successfully integrate their pre-existing audio with game narratives. What purpose does pre-existing, diegetic music serve to warrant its widespread inclusion in such games? An analysis of the three games and their respective examples will demonstrate the importance of integrating player expectations and experiences with the physical space established in the game to produce a more immersive experience.

Disposable (Textual) Bodies

The present article compares two coeval authors, Daniel Defoe (1660-1731) and Jane Barker (1652–1732), who stand on opposite sides of the political and religious spectrum, to analyse the ways in which they engage with popular prostitute stories in Moll Flanders (1722) and the Patch-Work narratives (1723, 1726), respectively. This contribution, then, offers novel insights into these writers’ work, exploring the ways in which Defoe rewrites this form of popular fiction to conform to his middle-class fantasy of personal development, and how Barker responds both to Defoe’s tales of prostitute ascent and the general taste for this fiction from her own ideological perspective. It will also expose their similarities, as they construct composite literary bodies of many different prostitute narratives, and emphasize the need to understand the novel as an assemblage of voices, genres and sociomaterial aspects.

Writing the Self: Identity Formation in Dalit Women’s Life Writings

The formation of self in Dalit women’s writings is a historical process which is based on their lived experiences, centuries of suffering and resistance against the atrocities meted out on them because of untouchability and being women. They depict their struggle for survival and protest through the experiences from their daily lives of poverty, hunger, humiliation and exploitation. Uniquely, Dalit women’s ‘Self’ stands for individual identity as well as the collective identity of the community they belong to. At the intersection of class, caste and gender they are considered as ‘Dalit among Dalits’. In the pages of history, they remained neglected and suffered the ‘triple’ subjugation of caste, class and gender. Presently, they have embarked their self-identity on the literary canon through their life writings as resistance against their subordination – both caste and patriarchy. Their writings are mostly in form of autobiographies, biographies, memoirs and autobiographical fiction and most of them have been written in regional languages which lead to the formation of Dalit ‘Self’. Recently, a few Dalit women’s writings have been translated into English and have got access to the wider range of readers. These translated works, though few in number, have paved ways for Dalit women’s formation of self and have succeeded in establishing a standpoint for themselves – a Dalit Feminist Standpoint. Taking up the analysis of three groundbreaking Dalit women’s autobiographies namely The Prisons We Broke by Baby Kamble, The Weave of My Life by Urmila Pawar and Karukku by Bama, the focus of the paper centers around Dalit women’s suffering and how they successfully combat the hegemony of their oppressors and formed a separate branch of identity for themselves on the literary canon as Dalit feminism.

On the Hybridity of the Classic Occult Detective Story

Abstract: This paper reads fin-de-siècle and Edwardian British occult detective fiction as a form of proto-science fiction, suggesting that the epistemological focus on the occult typical of these texts can be usefully envisioned as formally and functionally equivalent to the focus of modern science fiction on orthodox science. Drawing from Stephen Halliwell's studies on mimesis and recent developments in the field of unnatural narratology, the paper thus shows how the subgenre of occult detective fiction anticipates and participates in the systematic rationalization of the impossible that distinguishes the discourse of modern science fiction.

Recipes for the Future of Seaweed Aquaculture

Climate cuisine is about eating the future you want into being. In this article, I examine how seaweed recipes can be forms of climate fiction through the way that the reader is invited to participate in sustainable foodways. I examine several popularizations of seaweed aquaculture that imagine practices of eating and growing seaweeds. Their formal similarities center on participation: they include the direct address of the reader through the second person voice, and position themselves as instructional models. Bren Smith’s Eat Like a Fish (Smith, Eat like a fish: My adventures as a fisherman turned restorative ocean farmer, Penguin, 2019) interpellates the reader as eater, invited to cultivate eating habits that, on a societal scale, would produce a more materially sustainable relation with the planet. The vignette “Ghost Bar,” which appears in Holly Jean Buck’s After Geoengineering: Climate Tragedy, Repair, and Restoration (Buck, After geoengineering: Climate tragedy, repair, and restoration, Verso, 2019), sensorily emplaces the reader in a future seaweed farm as a window into the kinds of livelihoods and forms of work that could be part of mitigating global warming. I trace the similarities between Smith's recipes and Buck’s interpellation of a reader, both of which use the second-person mode addressing an unmarked “you,” inviting this “you” to imagine and actualize the future dish or future scenario they sketch. While these texts have their own limitations at the level of the social imagination, such popularizations of seaweed aquaculture model an important way of understanding the intimacies of climate fiction and recipes. Recipes not only popularize the sustainable eating of seaweeds, but actively constitute a form of climate fiction through their intention to actualize more seaweedy futures.

Möglichkeitsentwürfe und Medieninszenierung als Poetologien in Philipp von Zesens Die Adriatische Rosemund (1645)

Abstract Philipp von Zesen published an extraordinary novel in 1645 regarding several aspects: it neither follows a single common pattern of the literary tradition nor does it contain a solution to the narrated conflict – both unusual for the novel production of the time. According to my hypothesis, the intermedial structures show the success or failure of communication, the love plot and love subjects in cultural history in general, whereby the way a novel should be linguistically organised is always dealt with. Communication and the act of love are explicitly used to negotiate art-theoretical and medial considerations. The room for manoeuvre of the fictional form allows the lovers to delay decisions and at the same time act in a way that is conventional for the genre. This procedure can be observed in all the affordances created by medially created inserts.

A big little fiction form: last decade of production and circulation of made-for-TV movies in Europe

ABSTRACT Made-for-television movies, originating as popular television forms in the 1960s, have historically received scant scholarly attention and faced persistent devaluation within the film industry. However, the contemporary landscape witnesses a resurgence in interest, catalyzed by the focus of VOD services on long-form fiction tailored for streaming, commonly referred to as “originals.” This paper conducts a retrospective examination of the past decade, scrutinizing the presence of made-for-television movies within general television and accentuating their intrinsic value by investigating intra-European circulation flows. Through comprehensive content analysis of general-interest channel schedules in five prominent European countries, this study explores the nuances of production, circulation dynamics, and the influence of public corporations in this scenario. The findings reveal distinctive circulation patterns characterized by continual European exchanges, setting made-for-TV movies apart from TV series, particularly on public channels. Notably, a select cluster of large European countries emerges as pivotal players dominating these intra-European flows.

MITOS DALAM KAMPANYE POLITIK

One form of audio-visual mass media that is capable of conveying information effectively is a film, both in the form of fiction and documentary. Mass art, especially film, can bring a picture of the contemporary world to the public at large, increase political awareness, encourage world surveillance, and bring social critical images. Through film, directors can convey messages and raise a phenomenon that occurs in society. Roland Barthes's semiotic analysis is very relevant to use in studying a film because a film consists of various interrelated signs. The signs include various sign systems that work together to achieve the desired effect. In Roland Barthes' semiotic analysis, the film has a meaning consisting of a signifier and a signified. The research method used is qualitative with primary data sources from the film Our Brand Is Crisis. Researchers used data collection techniques through observation and documentation. Roland Barthes' Semiotic Analysis in this study is used to interpret the meaning of the signs in the film, which consists of five stages: identifying signs, analyzing denotative and connotative meanings, determining social, cultural, and historical contexts, and analyzing the myths contained in signs. the. The goal is to understand and express meaning in film and how the social and cultural context shapes it.

BIOGRAPHICAL TRUTH THROUGH THE PRISM OF METAFICTIONAL REPRESENTATION IN IAN WATSON’S CHEKHOV’S JOURNEY

This study aims to spotlight the postmodern tendency of metafiction in Ian Watson’s novel “Chekhov's Journey”. Metafiction is self-conscious in relation to language, literary form, and storytelling in fiction. This form of fiction accentuates its construct and reminds the readers to be aware of a fictional work. Ian Watson is a noteworthy science-fiction writer, and his famous novelsare ‘The Embedding’ (1973) and ‘The Jonah Kit’ (1975), which brought him prestigious awards, while in this study we will focus on his metafictional work ‘Chekhov’s Journey’. This novel exhibits the subject of postmodern metafiction. In this novel, a modern-day actor uses hypnosis to simulate Anton Chekhov's 1890 journey through Siberia. The method of study adopted the metafiction theories proposed by Patricia Waugh and Linda Hutcheon. It highlights Ian Watson’s texts that represent the elements of metafiction through the protagonists. Using various theories related to postmodern metafiction, the view of metafiction in the work is substantiated and explored. The postmodern perspective of metafiction is explored in Ian Watson’s text and analyzed with metafiction theories. The study results are compared and discussed with other studies and contemporary texts concerning metafiction. The findings show that metafiction is applicable in the given work of Ian Watson. He projects the aspects of metafiction in his work through his writing, especially narration, both fiction and reality.

Creative Writing Skills in English: Developing Student's Potential and Creativity

This research describes teaching creative writing skills in English to develop student's potential and creativity. This research is library research. The finding shows that creative writing is an innovative writing style that emphasizes narrative, character development, opinions, and non-formal language styles. It involves expressing ideas and imagination in various forms of fiction and nonfiction and requires the ability to build the reader's imagination and research skills such as poetry, short stories, novels, epics, short stories, fairy tales, drama scripts, film scenarios, song lyrics, television scripts, advertising scripts, popular articles, opinions, news, etc. It also attracts attention and entertains readers, requiring the author's ability to build the reader's imagination. Creative writing in English is a rewarding activity that increases students’ creativity, trains their imagination, and improves their English skills. To improve creative writing skills, students should read diverse literary works, practice regular writing, explore different language styles, use writing prompts, and accept feedback from friends or teachers. Mastering these skills in English can lead to self-expression, imagination, language and vocabulary improvement, and effectively conveying messages. Techniques to improve creative writing skills include reading diverse literary works, practicing regular writing, exploring different language styles, using writing prompts, and being open to feedback from friends or mentors.

Saikaku's Evanescence

Abstract: This essay explores how Ihara Saikaku's new form of fiction— ukiyo-zoshi —both adapts and adopts traditional Japanese aesthetics. Saikaku's Five Women Who Loved Love (1686) is a paradigmatic example of the modern conception of ukiyo , which inverts the traditional Buddhist sense of ukiyo , written with a different character, to express the ephemeral, often erotic pleasures of the floating world, rather than sadness in the face of its transience. I argue that, though the modern pleasures of ukiyo are the drivers of the plot, the imagery and the traditional aesthetic pleasures associated with the Buddhist sense of the transience of a floating world run throughout the stories. Saikaku's characters are often presented as avatars of classical characters and in turn they often end up generating additional stories. Characters and stories alike are nodes in a cycle of infectious stories, versions of earlier stories that seed further stories and so transmit the evanescent pleasures of love in a self-conscious circulation of stories. The older resonance of the floating world sounds through its modern meaning. Saikaku ironically invokes the Buddhist significance of the floating world, but he may also ironically suggest the limitations of its modern pleasures. Saikaku's modernity inheres in this double irony.

Что такое фикшен? Фреймы в мультсериале «Подозрительная сова»

Explore the intricate relationship between reality and fiction in a thought-provoking examination of how we perceive and interact with fictional forms. Delve into the fascinating complexities of human experience through cinema, theater, and video games, and witness how they reflect and imitate our own reality. Understand the sociological underpinnings as illustrated by the American sociologist of everyday life Erving Goffman and embodied in the Suspicious Owl animated series. This exploration unravels the layers of perception and interpretation, demonstrating how our engagement with fiction influences our understanding of the real world. Whether you’re a fan of literature, film, or simply intrigued by the mechanics of the human mind, this perspective on the interplay between the real and unreal offers a compelling lens through which to view our daily lives. It’s a journey into the essence of our very being, a reflection of how we see ourselves, and a challenge to our assumptions about what is truly real.

ОБРАЗ ЧЕХОВА ПОД МАСКОЙ ГЕРОЯ В РОМАНЕ А. С. СУВОРИНА «В КОНЦЕ ВЕКА. ЛЮБОВЬ»

The article is devoted to the phenomenon of creative controversy, realized in a fictional form. One of the most active interlocutors of Chekhov was the publisher, journalist and writer Alexei Sergeevich Suvorin. He knew his younger colleague well and left few but valuable testimonies about him. The loss of Suvorin’s letters to Chekhov causes serious semantic gaps. They can be filled by the analysis of other sources, with a lower level of verification. These include Suvorin’s novel “At the end of the century. Love “(1893), in which the author created the image of Chekhov, hiding him under the mask of one of the main characters. The novelist, like a painter, used Chekhov as a sitter for his work. Some details of the literary image of Vidalin, which is “written off” from Anton Pavlovich. They find confirmation in documentary evidence. The novel image of the hero and the real person cannot be identical to each other. The character functions within the framework of the created artistic world, in interconnection with other characters, so he obeys the author’s intentions. The significance of the reflection of Chekhov’s personality in a literary text is due to the fact that it provided Suvorin with a large degree of freedom to express his opinion about a colleague. The results of the study can be used in the analysis of Chekhov’s interaction with an influential contemporary, as well as in biographical works.

Ambivalence de la mémoire dans les écrits de prison au Maroc : cas de Tazmamart

"The Ambivalence of Memory in Moroccan Prison Writings: The Case of Tazmamart. The prison literature produced by survivors of the Tazmamart prison in Morocco is a moving testimony to the dehumanizing conditions of imprisonment. Whether in the form of testimony or fiction, this literature, which liberates speech and breaks the silence on a dark page of human rights in Morocco, reserves a special place for individual and collective memory. In this article, we propose to analyze the ambivalence of prisoners' memories. Firstly, we show that memory is represented as a source of mortifying pain that must be got rid of. Secondly, we show how memory played an important role, and constituted the vital space for resistance and survival. Keywords: Tazmamart, literature, memory, pain, resistance, testament."

Analisis Struktural dan Nilai Moral dalam Cerpen “Rembulan Di Mata Ibu” Karya Asma Nadia

This article aims to analyze the structural and moral values in the short story Rembulan in the Eyes of Mother by Asma Nadia. Short stories are a form of fiction that usually focus on one event, have a single plot, and have a relatively short and limited time scope. The type of research used is structural study. This study focuses on the coherence between the intrinsic elements of short stories. Theme, setting, plot, point of view and characters must have a reciprocal relationship, determine and influence each other so that they form a complete short story and the researcher will research and explain the moral values that the short story writer wants to convey to the reader.

Sliders

'Sliders' are a speculative introspection-enhancing future technology allowing humans with cybernetic brain implants to precisely and voluntarily modulate moods and other mental states that vary along a one-dimensional scale. Such future humans may, for example, use the Sliders interface to temporarily present a COWARDLY–COURAGEOUS 'slider' in their visual field, and with a mere act of will change their level of courage from a 60 to a 65 on the 100-point scale. The present article discusses the implications of such a technology in the form of an epistolary fiction in which the author's future persona warns the reader of the dire consequences and hardearned insights arising from widespread Slider use and abuse.

Penggemar K-Pop sebagai Digital Author dalam Menulis Fan Fiction di Twitter

The development of technology in this globalization era has led to the creation of digital fandom. Along with the presence of fandom, it is balanced with the development of forms of support from fans for their idols, one of which is fan fiction. The creation of fan fiction itself has various stages and processes, before finally being uploaded for readers to enjoy. Most writers in the fan fiction genre started as fans. This research uses a qualitative approach and descriptive research type. The determination of informants was carried out using purposive sampling technique. To assist the research, in-depth interviews were conducted by reviewing fan culture in fan studies. Documentation and in-depth interviews were supplemented with various literatures to strengthen the research. The results show that text production is the author's activity in creating fan fiction works. In producing the text, the author performs various stages starting from the visualization stage, creative process, writing process, and editing & posting process. The author's purpose in writing fan fiction is because the author has ideas related to boy band Seventeen that they want to pour in the form of fan fiction.
 Keywords: Text production, fans, K-Pop, fan fiction