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This essay studies the cultural consequences that the spread of paper money had in late nineteenth-century Brazil. First, I examine how these tensions are called into question through the analysis of a political scandal that took place in Rio de Janeiro, in 1900, concerning a two thousand reales banknote. Second, I offer a close reading of Machado de Assis' "Anedota pecuniária", a short-story included in Histórias sem data (1884). My goal is to interrogate the relation between paper money and the economy of credit work, and the narrative devices of literary fiction. [ABSTRACT FROM AUTHOR]

In Keiser's words, "each work depicts, in a knowingly ridiculous manner, a natural philosopher digging into brain matter in the hope of exposing the mechanisms that make the mind tick" (pp. 143-144). Keiser's focus is not on how the nerves and various brain structures appear during a dissection, which is straightforward and verifiable. Locke did not partake in the kinds of fictions Willis, Cavendish, and others were promoting about the nerve spirits. [Extracted from the article]

Chapter 3 focuses on Euhemerus of Messene, following recent scholarly interest in the topic (including Marek Winiarczyk's 2002 monograph, republished in 2013, when Whitmarsh's book first appeared). The book contains four previously unpublished studies: Chapter 2, "The Romance of Genre", Chapter 3, "Belief in Fiction: Euhemerus of Messene and the I Sacred Inscription i ", Chapter 11, "Lucianic Paratragedy", and Chapter 14, "Adventures of the Solymoi", preceded by a brief Introduction. Tim Whitmarsh's collection of essays has seen the light of day at a time when the academic world is again reconsidering "classicism" and modernity's relationship to the "classical.". [Extracted from the article]

This essay reconsiders literary engagements with the figure of the newsboy in terms of their own ambivalences, critiques, and calls for social reform. Taking Horatio Alger's dime novels as a primary case study, this piece explores Alger's sense that the growth of literary business relied too heavily on the exploitation of poverty conditions produced by and disseminated through the medium of popular print. [ABSTRACT FROM AUTHOR]

Though modeled on the insistent factuality that had defined prefatory material in fiction a century earlier (what scholars have called the pseudofactual mode), the narrative frame of the found manuscript utilized in early American novels like Unca Eliza Winkfield's The Female American (1767) and Susanna Rowson's Reuben and Rachel (1798) had long been recognized as a "fiction" in itself. Linking this trope to current debates over the "archive" and the "hermeneutics of suspicion" this essay argues that the endurance of the "found manuscript" convention can be traced to the interpretive methodologies of early American antiquarianism and the growing effort to find "among the papers" of the dead and the living a materially stable canon of American letters. Pointing to emerging archives both literally and figuratively, writers of historical fiction such as Washington Irving, Catharine Maria Sedgwick, and John Neal were engaged with an ongoing recovery and reprinting of colonial documents that was coincident with the rise of American historical and antiquarian societies. In dramatizing antiquarian excavation and serendipitous "finds" while also conspicuously citing new histories based on such finds, historical fictions of the early nineteenth century registered the tension between perceiving old "papers" as a body of enduring source material and as a haphazard hoard of mutable ephemera that demanded imaginative reconstruction. Reading historical fictions as an outgrowth of antiquarian research also invites us to reevaluate the legacy of the pseudofactual, and its relationship with emergent discourses of fictionality, by questioning long-standing historicist approaches to early American fiction. [ABSTRACT FROM AUTHOR]

This article reads Salvador Plascencia's The People of Paper (2005) in dialogue with Édouard Glissant's concept of "opacity", an ethical and esthetic stance that values impeding comprehension. This novel's opacity arises from various limiting mechanisms – linguistic, translational, and formal – which both invite and inhibit interpretation, and in so doing open up a space in which readers can think with the text. Bringing The People of Paper and Glissant's thought together shows how Plascencia's text thickens and complicates readerly engagement, and so increases the esthetic purchase of the novel. The People of Paper both invites and deflects the idea that esthetic experience might offer a route to understanding the social or that it provides the foundation of a more ethical relation with others. In parallel, Plascencia's innovative use of the page and his invocation of an intertextual history of such innovation expands the scope of Glissant's theory, by incorporating the physical medium of the book and the workings of genre history as components of an opaque poetics. [ABSTRACT FROM AUTHOR]

Ronald Bogue, Distinguished Research Professor of Comparative Literature and the Josiah Meigs Distinguished Teaching Professor at the University of Georgia, has compiled many of his previously published journal articles and chapters on Gilles Deleuze in this book. Thinking with Deleuze: by Ronald Bogue, Edinburgh, Edinburgh University Press, 2019, xvii + 450 pp., $33.95/£25.99 (paper) The comprehensive nature of Bogue's analysis and application of Deleuze's ideas make the volume valuable to anyone who wants to learn more about Deleuze. [Extracted from the article]

This paper looks at the possibilities of fiction in understanding intelligence, taking two female 20th century writers as case studies, Barbara Pym, and Muriel Spark. It considers how they did or did not draw on their wartime experience in their fiction. It asks why fiction still matters in an era of ever-more accessible archives and public records. It concludes that authorial choice, self-censorship, redacting and editing by others suppressed Barbara Pym's official wartime experience as an Examiner or censor. It suggests that the role was undervalued both at the time and subsequently as a source of intelligence. The paper concludes that Muriel Spark exploited to the full a short exposure to black propaganda, highlighting how three of her works of fiction offer readers insights into ethical questions of deception, manipulation, and surveillance. [ABSTRACT FROM AUTHOR]

The article discusses the papers by novelist J. M. Coetzee which were acquired by the Harry Ransom Center at the University of Texas at Austin. The collection includes correspondence, speeches, awards, citations, research materials assembled by Coetzee for his fiction and nonfiction, and draft of the novels from "Dusklands" to "Elizabeth Costello." Also described are the manuscript entries and revisions and surprises in the papers.

A call for papers for special issues of "Modern Fiction Studies" on "Literature and Extraction" and "Memory, Migration, and Modern Fiction" is presented.

Analyzes the originality of intention observed in the book 'The Papers,' by Henry James in reference to the book 'As You Like It,' by William Shakespeare. Characteristics of the hero Howard Bight in the work of James; Scenes in 'The Papers' providing connection between the story and Shakespeare's; Certain tags in 'The Papers' echoed from 'As You Like It.'

Examines the distinction between fact and fiction in the book "The Private Papers of Henry Ryecroft," by George Gissing. Relationship between the character of Ryecroft and Gissing according to Jackson I. Cope; Essential factors identified by Philippe Lejeune which distinguish an autobiography from fiction; Complications which obstruct a reader for identifying a resemblance between Ryecroft and Gissing.

When parents pursue transnational labour migration, challenges arise around ensuring the social belonging of children, especially ‘gift children’ who are conceived or born abroad as a result of out-of-wedlock relationships or sexual assault. Families we interviewed in Lombok, Indonesia, displayed complex social ingenuity to ensure the gift child’s social belonging. Caregivers described how they address discrimination by manipulating and falsifying family histories in identity documents, including census forms and birth registration. These family strategies drive home the local role of identity documents as a tool to enhance belonging rather than as proof of legal identity. We spotlight the time lag between birth and obtaining an official birth record as a crucial space in creating ‘citizenship from below’ in communities with high out-migration and low birth registration rates. [ABSTRACT FROM AUTHOR]

The miniseries When They See Us constitutes an example of how a based-on-real-events fiction work can add to its poetic role the ability to participate in shaping democracy. Although journalism is not its central issue, this Netflix series makes a representation of the press in which it shows how the media failed in fulfilling its democratic role and tries to make amends for it. By analyzing 21 scenes dedicated to the media from a narrative perspective, this paper shows how the series represents the press' failure in acting as watchdog during this case. Moreover, it also shows how this representation of the press turns the series into a watchdog itself. [ABSTRACT FROM AUTHOR]

It is widely agreed that living kidney donation is permitted but living kidney sales are not. Call this the Received View. One way to support the Received View is to appeal to a particular understanding of the conditions under which living kidney transplantation is permissible. It is often claimed that donors must act altruistically, without the expectation of payment and for the sake of another. Call this the Altruism Requirement. On the conventional interpretation, the Altruism Requirement is a moral fact. It states a legitimate constraint on permissible transplantation and is accepted on the basis of cogent argument. The present paper offers an alternative interpretation. I suggest the Altruism Requirement is a moral fiction—a kind of motivated falsehood. It is false that transplantation requires altruism. But the Requirement serves a purpose. Accepting it allows kidney donation but not kidney sale. It, in short, rationalizes the Received View. [ABSTRACT FROM AUTHOR]

This article explores the depiction of letters, epigraphs, and other texts in Iamblichus’ fragmentary Babyloniaka, primarily preserved by the ninth-century writer Photius in his Bibliotheca, and argues that they act as evidence for the novel’s own cultural and literary positioning. These texts, while superficially unconventional in their form and mode of transmission, in practice reiterate traditional anxieties about written texts found throughout Greek literary history. As such, this paper argues that these embedded texts act as mirrors to the novel’s own framing as a self-proclaimed Babylonian fiction constructed through imperial Greek linguistic and literary models. By considering the hitherto neglected depictions of letters and other texts within Photius’ summary of the Babyloniaka, this approach sheds new light on the literary allusivity and cultural framing of the now-lost novel and its later reception. [ABSTRACT FROM AUTHOR]

Responding to David Zeitlyn's introduction, the paper considers implications of different conceptions or gamuts of time. Flows and connections between pasts and futures are considered in the light of Huw Price's work on the philosophy of time and by thinking seriously about how science fiction writers have considered the paradoxes of time travel. [ABSTRACT FROM AUTHOR]

Herstoriography is a feminist tool that explores the voicing of women who were silenced by literary historiographic discourses. As a herstoriographic metafiction, Stevie Davies' Impassioned Clay (1999) has diverse narratives about the same historical events. The herstoriographic metafictional moments in the novel doubt and question the concept of the indisputable universal truth endorsed by patriarchy. The paper draws mainly on the "Arachne" paradigm in the light of feminist and postmodern theories of Nancy Miller, Judith Butler, Patricia Waugh, Linda Hutcheon, Elaine Showalter, Teresa De Lauretis and others to offer a herstoriographic reading in opposition to patriarchal historiography that fixes women as menial or monstrous beings, or as objects of sexual gaze. Three moments of subversion or blurring can be elicited in this metafictional novel that constitute herstoriography: political and religious, gender, and literary and historical. The paper seeks to focus on those moments that establish a dialogue between fiction and history/ herstory, present and past, and voice and silence. Thus, the female voicing that has been silenced by the androcentric historiographic discourse is rescued and reframed in herstoriography. [ABSTRACT FROM AUTHOR]

Post-independent India has witnessed several horrific incidents of communal violence. The largest communal riot happened in the year 1984, in the capital city of New Delhi. But after the occurrence of the Anti-Sikh Riots of 1984, there was silence surrounding the incident. The silence was primarily caused by the trauma inflicted from the incident. There are reasons to believe that the silence was politically motivated too. However, the role fictional writings have played in communicating the traumatic memory of the incident was significant. This paper studies the novel Amu written by Shonali Bose to understand the representation of traumatic memory of the community. The paper attempts to problematize the decades-long silence surrounding the incident and the novel's role along with other similar fictional accounts in unravelling the truth of the incident. [ABSTRACT FROM AUTHOR]

This paper argues for an account of fictional force, the central characteristic of the kind of non-assertoric speech act that authors of fictions are engaged in. A distinction is drawn between what is true in a fiction and the fictional record comprising what the audience has been told. The papers argues that to utter a sentence with fictional force is to intend that its content be added to a fictional record. It is shown that this view accounts for phenomena such as conversational implicatures in fictional discourse. Moreover, the view is seen to provide an attractive way of distinguishing fictional utterances from assertoric utterances. As a consequence, this account of fictional force offers a satisfactory way of distinguishing fiction from lying. [ABSTRACT FROM AUTHOR]

Women have been deemed mad for centuries. Such a diagnosis leads them to two paths: they either die within themselves, or, more advantageously, they ascend to a different level of freedom. In this paper, focusing on three texts produced in the late nineteenth century, Charlotte Perkins Gilman's "The Yellow Wall-Paper" (1892), and Kate Chopin's "The Story of An Hour" (1894) and The awakening (1899), we argue that, with a Gothic-like morbidity, their self-destructive protagonists, when facing restricting and limited lives, are aroused by a death instinct more satisfying than the unbearable reality they live in. Thus, it is through the annihilation of life, either via madness or death, that they reach liberation. [ABSTRACT FROM AUTHOR]

This article considers the entanglements of art and terrorist violence in Paul Theroux'sThe Family Arsenaland Doris Lessing'sThe Good Terrorist, each of which responds to anxieties about the political power of the novelist in contradistinction with the terrorist-anxieties that Joseph Conrad raises but never fully settles inThe Secret Agent. [ABSTRACT FROM AUTHOR]

Examines the ethical aspects of literary biography in the context of the novel 'The Aspern Papers,' by Henry James. Controversy surrounding the publication of 'Nathaniel Hawthorne and His Wife,' by Hawthorne's son Julian; Invasion of Hawthorne's privacy.

Machery et al.’s 2004 x-phi project has been widely criticised for ambiguities contained in the expression ‘talk about’. Interestingly, although ‘about’ plays a prominent part in the debate, aboutness has not been a topic. This paper discusses this aspect. Alas, it must thereby add a further ambiguity to the list, the ambiguity between aboutness and reference, and thus also between subject matter and referent. It explains the distinction between intra-categorical aboutness which makes no ontological demands, and cross-categorical reference which requires the referent to exist. It then analyses the 4-fold embedding contained in Machery et al.’s study and shows how the aboutness-reference distinction bears on it. [ABSTRACT FROM AUTHOR]

In this paper, the author looks at some central psychoanalytic themes through the lens of literature. In literary criticism, it is clear that we construct a meaning with the help of certain formal principles. In literature, we also know that fiction differs from documentary or scientific prose. The literary critic thinks that, specifically in fiction, one may find new formal principles and, through that, new perspectives on reality. With the help of these literary constructs, the author looks at character, transference, therapeutic change and truth/reality in psychoanalysis. The argument is elaborated in relation to a clinical example. [ABSTRACT FROM AUTHOR]

Researchers of Omani literature unanimously agree that the 1980s and 1990s witnessed the foundational stages of fiction writing in the Sultanate of Oman with the first story collections published in the early 1980s. However, there is no consensus yet on the title of the first published collection5 due to the absence of documentation of the printing history of these collections. The evolution stage as seen by Aziza AlTa’ei took place in the decade subsequent to the 1990s (i.e. 2000- 2010); the first ten years of the second millennium of the twenty-first century. The year 2010 is viewed as a pivotal year for the Omani novel because it witnessed the publication of the “Celestial Bodies”6 novel by novelist and academician Jokha AlHarthi. After this event, history can document a new stage for the Omani novels, one that can be said to be mature enough to start experimenting on creative writing. Thereafter, the Omani literature, started to contribute substantially to the world, reflecting on a deep-rooted history of humankind. In this paper, a comparison is made between the foundational stage and the maturity stage in novel writing by examining two works from each stage. The researchers sought to make selections based on variations of gender and styles so as to objectively examine how elements of structure and narration techniques were leveraged at every stage. This paper raises a very critical question: what are the significant and palpable features that defined and framed the development of narrative writing in the Omani novel? The answer to this question may explain how numerous Omani novelists and writers, from both genders, were successful recipients of prominent pan-Arab and international prizes in novel writing over the past five years. Study Samples From the foundational stage – which is divided by Aziza Al-Ta’ei into two phases –the researchers selected the novel authored by Abdulla Al-Ta’ei “Angels of Al-Jebel Al-Akhdar” which was published in 1956 to set a starting point for the early stages of fiction writing in Oman. Aziza Al-Ta’ei dubbed this novel as ‘the novel of the beginning’, a phase that continued up to 1987. The next stage, which is identified by Aziza as the foundational stage, spans the time between 1989 to 1999, and is represented by the novel “Wandering Around the Burning Wood” – written by Badriya Al-Shihhi and published by the Arabic Institute for Research & Publishing, Beirut. For the maturity stage, the researchers examined “Dilshad – Story of Hunger and Satiety” 7 authored by Bushra Khalfan and released in 2021 by Takween Publishing, along with “Exile of the Water Divider” by Zahran AlQasmi to add diversity to the samples and perspectives. Objectives of the Study The study is intended to achieve several objectives including: To compare between novels of the foundational stage and novels of the maturity stage based on elements of the narrative structure – characters, time and space, narrative techniques in terms of style, perspective and reflection on 7Dilshad was earlier shortlisted for the 2022 International Prize for Arabic Fiction (AKA Arab Booker Prize) and won the 2022 Katara Prize for Arabic Novel alongside the Algerian Ezzedine Jalaouji for his novel “Embrace of Snakes” and history or myths from a special philosophical angle. To identify the features of development and maturity in contemporary novels through the selected samples. To describe the elements of the narrative structure by examining the novels representing the two stages. To illustrate the role of experimentation and mechanisms in the evolution of the narrative structure in light of the models selected for the study. Methodology of the Study The comparative approach is used to compare foundational novels against contemporary novels based on description and analysis of the samples selected for the study. The researcher leveraged the structural studies founded by the Russian formalists toward the study of narration, in particular Gérard Genette’s and the techniques set forth by the narratological studies as feature of post modernity novels and experimentation mechanisms that seemed modern in the contemporary narratives. Conclusions The study draws several conclusions. It found that the narrative structure of the Omani novel evolved and developed significantly compared to the traditional narrative approach. The Omani novel is found to venture into unknow territories, go deeper with experimentation and demonstrate creativity in the narrative techniques that lend the novel a depth and philosophical existential perspective. The study also found that the Omani novel is not confined to a sole protagonist who is typically extravagantly celebrated, but encompassed several divergent voices and overlapping stories in a manner that sets the novel into a philosophical interpretation reflective of the existential time and memory. They further employ civilizational and mythical history in a way that charms the reader with its seamless narrative flow and poetic language. [ABSTRACT FROM AUTHOR]

This paper substantiates a distinction, built out of Gricean resources, between two kinds of communicative act: showing and telling. Where telling that p proceeds by recruiting an addressee's capacity to recognize trustworthy informants, showing does not. Instead, showing proceeds by presenting an addressee with a consideration that provides reason to believe that p (other than the reason provided by an informant's credibility), and so recruits their capacity to respond to those reasons. With this account in place, the paper defends an account of one way in which authors can show their readers that certain moral states of affairs obtain both inside, and outside of, their fictions. It is argued, moreover, that this kind of showing gives addressees access to more than just reasons for moral belief–it also gives them access to the sorts of reasons that enable agents to increase their moral understanding. In virtue of these latter capacities, the showing identified is a way of communicating about morality that is markedly different from the sort of moral testimony that many philosophers have been increasingly interested in of late. [ABSTRACT FROM AUTHOR]

Historical investigation of novel changes over the ages. It demands observations from different dimensions, confronting one another and sometimes presenting opposite views provided by additional studies. Considering literary analysis about the emergence, structure, component, or features of novels somewhat has diffused the discussion. This paper reviewed the comprehensive theory of Mikhail Mikhailovich Bakhtin regarding the novel, the most celebrated discourse of books. The world merges into an open-ended, multi-voiced, dialogic reality as a novel gives way to distributing entirely incompatible parts among different perspectives of equal importance. Bakhtin opposes monologic speech and acknowledges dialogic speech, which determines social relations where the speaker is embedded. The dialogic discourse offers a radical liberalization of both the self and the concept of culture. The present paper traced the implied dialogism or the social relations within the framework of culture and subculture. Thus language which functions in a novel is not "symptomatic" of "persons," but persons are the bearer of the language, with the "specific set of social and ideological valuations" that entails in a novel. [ABSTRACT FROM AUTHOR]

Nick Bostrom's "simulation argument" purports to show that if it is possible to create and run a vast number of computer simulations indistinguishable from the reality we are living in, then it is highly probable that we are already living in a computer simulation. However, the simulation argument requires a modification to escape the undermining implications of the scepticism it implies, as argued by Birch. The present paper shows that, even if the modified simulation argument is valid, still it is unsound since it relies on the indistinguishability assumption that even in principle cannot be tested. To account for the unsoundness of the simulation argument, the present paper draws on John Woods' theory of fiction, to expose structural similarities between general fiction and the simulation argument. Though the simulation argument is unsound, it seems persuasive, because the argument immerses the reader in a fictive world with the help of tacit assumptions, leveraging just enough common sense to remain compelling while covering over an untestable premise. Simultaneously with the critique of Bostrom's argument, Chalmers' argument for the matrix hypothesis is assessed on similar criteria. In either case, both arguments rely on an accumulation of assumptions, both implicit and explicit, hiding the premises that are untestable in principle. [ABSTRACT FROM AUTHOR]

The rhetoric of Emily and Anne Brontës' Diary Papers is closely examined in order to assert that these texts notably fashioned Emily as a speaker, a woman and a writer, creating a blurred ethôs of secrecy, defiance and fiction that prevented any intrusive reader from authorizing her. [ABSTRACT FROM AUTHOR]

The article discusses the form of storytelling known as transmedia. According to Henry Jenkins, professor of communication arts at the University of Southern California, transmedia is a process where integral elements of a fiction get systematically dispersed across many delivery channels for the purpose of creating a unified and coordinated entertainment experience. The author notes that one of the earliest and most successful examples of transmedia is "The Blair Witch Project" in which the producers created a website containing things such as police reports and interviews with the students' parents.

Traditional narratives of sport posit winning as the defining goal in ways that can feel and be exclusionary to young people and result in a lack of enjoyment and subsequent decision to avoid or discontinue involvement in sport. This is particularly true for girls and young women who participate in sport at lower rates and quit at higher rates than boys and young men. Shifting the focus of sport away from winning can open space for a wider range of girls and young women to see themselves as athletes. Scholars have highlighted how story in the form of counter-narratives can play a role in changing readers’ perspectives. However, no attention has been paid to fictional representations of athletes engaging in non-competitive sport and how these depictions might invite girls and young women to imagine themselves differently in sporting spaces. This paper employs thematic inductive analysis to examine three, girl-centric young adult sports novels that work as counter-narratives to examine what happens when winning is not the central goal of participation in sport. Specifically, it explores what fictional young women athletes gain through their participation in non-competitive sport and what young adult readers might gain in their engagement with these titles. Findings reveal how participation in non-competitive sport gives the fictional athletes a sense of full personhood, confidence and pride in what their bodies can do, and connection with something larger than themselves. These titles can show readers that their engagement in sport is desirable, that non-competitive sport is beneficial to them, and that their engagement in sport is possible, that non-competitive sport is for them. The paper suggests that stories of non-competitive sport have the potential to open equitable access by inviting more young people, particularly those who have not seen themselves in stories of sport, to engage as athletes. [ABSTRACT FROM AUTHOR]

The paper aims to contribute to the advancement of the theoretical and conceptual development of the field of media and literary studies, as well as to address the gaps, limitations or controversies in the existing literature. The paper also explores how news genre and fiction format affect the level and quality of interaction between the writers and readers of news stories, as well as the impact and influence of news stories on the Nigerian society. The paper uses a qualitative content analysis to analyse the news articles and fiction books that are selected for this study, according to the criteria of news genres, fiction formats and interaction. The paper finds that the hybrid fiction format is the most consistent and popular among the news genres, as it combines and blends elements from different fiction formats. The paper also finds that the investigative news genre is the most engaging and appealing among the news genres, as it provides in-depth, original and exposé reports of hidden or controversial matters. The paper argues that news stories and journalism genres are not neutral or objective, but rather social and rhetorical constructs that shape and are shaped by the communicative practices and purposes of discourse communities. The paper concludes that news stories and journalism genres are dynamic and evolving, as they respond to the changing social, political and technological contexts. The paper also discusses the implications, limitations and contributions of the research for the field of genre and media studies. [ABSTRACT FROM AUTHOR]

Re-reading Mary Wollstonecraft Shelley's novelette, Mathilda, in the twenty-first century from an ecofeminist perspective sheds a new light on contemporary criticism, opening up multifaceted perspectives. There was a critical moment in British literary history when Elizabeth Nitchie transcribed Mathilda from the microfilm of the manuscript and published it in 1959, which unveiled this piece of revolutionary taboo fiction suppressed for over a century by the author's male relatives, chiefly Shelley's father, William Godwin. Written in 1819-1820, Mathilda is the only work completed during Shelley's lifetime. It is an artfully crafted epistolary work depicting the traumatic confessions and suicidal tendencies of the protagonist, Mathilda, a woman who isolated herself from society by integrating herself with nature due to her father's confession for his incestuous passion towards her. Regarded as an underrated work, Mathilda has often been interpreted from biographical and incest-related perspectives by literary critics, which relegates its literary merits although it is in accordance with feminist and ecological theories and feminine writing. This paper, avoiding biographical accounts and the author's life experiences and with theories consistent with those of ecofeminism, intends to show how nature functions as an effective instrument for the female writer to fictionalize her taboo story. By blending ecofeminism with feminine writing, this paper also investigates the interplay between woman and nature, and navigates how a female character courageously relocates her taboo story on a textual level from a feminist perspective in a natural setting, challenging the male-dominant Romantic tradition of the nineteenth century. [ABSTRACT FROM AUTHOR]

In this article, the author explores the work of fiction writer Joseph Conrad and the marketing of early modernism. The author discusses the observation that Conrad displayed an early resistance to being serialized in mass-market monthlies. In spite of both the approval from critics for the popular press and the concessions that Conrad made with serialization, sales of his book-form publications continued to grow only very steadily. The author recalls the reasons for this sales performance.

One of the great themes of American literature is the self-invented personality, whether it is Scott Fitzgerald's Gatsby or one of Philip Roth's alter egos, such as Nathaniel Zuckerman. This is just one of several approaches which novelists employ. They take a problem from life, perhaps their own, and then embark on solving the problem of the book—which is how to write about this. Sometimes, as in Tobias Wolff's novel Old School, the personality of the narrator is woven into an exploration of the creative process itself. Wolff's novel concerns itself not just with writing but with how to become a writer. I explore how this process is similar to both writing about analysis and becoming an analyst. In doing this I discuss issues of authenticity, fiction, art, the effects of identification, the power of the super-ego, supervision and learning, integrity of life and work, envy and the xenocidal impulse, the regulation of our profession and the loss of trust, and in so doing join in discussion with Plaut, Wharton, Tuckett and others about professional communications, the internal world and the mysteriousness of our relation to our internal objects. [ABSTRACT FROM AUTHOR]

By questions of "canon," we mean questions of what is fictionally true of some character, story, or world. What is canon is treated as authoritative or official, usually by creators and fans alike. But disputes about canon have arisen as storytellers and publishers have sought to capitalize on the popularity of their characters, churning out more and more stories to meet public demand, and at the same time engaging with growing fan bases. As audiences have become more involved, and as fictional worlds have become messier, the authoritative nature of canon—and who authorizes it—has begun to erode. In this paper, we characterize canon as an article in the evolving relation between authors and audiences. More specifically, we characterize canon as an intangible good, subject to a form of cultural negotiation, resting on a power relation between producers and consumers of fictions. In Part I, we consider the author's evolving role, and the rights of the creator to a story, character, or world. In Part II, we discuss the emerging activities of fans, particularly as they weigh on issues of canon. In Part III, we discuss canon as being subject to cultural negotiation, highlighting the importance of power dynamics in this negotiation. [ABSTRACT FROM AUTHOR]

Many want to know what bitcoin is and how it works. But bitcoin is as complex as it is controversial, and relatively few have the technical background to understand it. In this paper, I offer an accessible on-ramp for understanding bitcoin in the form of a model. My model reveals both what bitcoin is and how it works. More specifically, it reveals that bitcoin is a fictional substance in a massively coauthored story on a network that automates and distributes jobs normally entrusted to centralized publishing institutions. My model therefore falsifies a popular view according to which each bitcoin is a chunk of code. [ABSTRACT FROM AUTHOR]

Generally, it is known that the presence of popular novels in the local literary scene is not a new phenomenon. However, the enthusiasm for this genre still persists to this day and continues to dominate the local novel sales market. Nevertheless, popular novels have never been free from criticism due to their tendency to adhere to the same writing formula. Furthermore, they are often accused of placing women in improper positions. Nonetheless, Affifudin Omar succeeded in proving otherwise through his popular novel, Meniti Rindu (2013). The distinctiveness brought about by Affifudin Omar, particularly concerning issues, sets this work apart from other popular novels. Therefore, this paper aims to analyze the materials used in producing popular novels within Meniti Rindu. It is conducted using textual analysis methods on the novel Meniti Rindu, guided by the framework for producing popular novels introduced by Deborah Hale (1999), consisting of seven materials: characters, conflict, a hook, plot, romance, dark moment, and a happy ending. The study found that Affifudin Omar critically and creatively succeeded in utilizing all seven materials in producing Meniti Rindu. Affifudin Omar departed from the conventions of writing popular novels without discarding its seven main materials. Instead, by addressing issues such as identity, apostasy, and more, he continually distinguishes Meniti Rindu as a significantly different popular novel within the market. This study is essential in showcasing the dynamics of authors’ efforts to uplift popular novels towards improvement. [ABSTRACT FROM AUTHOR]

What is the correct way to appreciate art and specifically the art of the pop song? This is the question at the heart of Magnus Mills's 2017 novella The Forensic Records Society which reads like an absurd comic parable of how men (specifically), repeatedly fail to appreciate art and reduce even the most inoffensive acts of creativity to dysfunctional bureaucracies. This paper briefly discusses how the book tackles aesthetics, community, gender and commodity fetishism and outlines its uncanny parallels with Adorno's Sociology of Music (1976). Most significantly, the argument put forward here is that this deceptively brief and simple novella is truly an artfully-constructed postmodern performative text – a work of histiographic metafiction which manipulates time, evades period setting, and questions historical certainty; a concrete-poetry inspired novella that deploys mimetic cover art, musical allusions, numerology, nominal characterization, melodic repetition and affirmative character arcs to replicate, and pay homage to, the subject of the book – the iconic 7-inch three-minute pop single. The conclusion asserts that The Forensic Records Society is an intermedial text that ironically benefits from the perpetual online distractions of the internet and pop music, thus providing a novel 21st century reading experience. [ABSTRACT FROM AUTHOR]

In this paper, I inquire about the phenomena of negating interpersonal narratives that pass for reality but are not reality based, and that result in a distorted intrapsychic fiction about oneself and others. What I propose to contribute to contemporary trauma theory, is that the negating other in the social surround is internalized as an uninscribed, unsymbolized object because it has yet to be thought. It often masquerades as a paradoxically good object—obfuscating its annihilating intention—so that it is not recognized by the sufferer but is felt. [ABSTRACT FROM AUTHOR]

Recent attention to character formation as the key to moral education has also regarded personal and fictional role models as appropriate means to this end. Moreover, while one may have grave reservations about the influence of personal role-models (perhaps upon the young by those they happen to admire), serious fiction has often been considered an inspirational source of moral example. Still, while this paper ultimately mounts a defence of the moral educational potential of literature, it is also concerned to press two significant reservations about any and all attention to fictional character as a means to such education. First, since the ultimate meaning of any fictional character and conduct is largely, if not exclusively, confined to their narrative contexts, we should not suppose them to have any direct role-modelling application to the affairs of human life beyond such contexts. Second, and more significantly, since morality is also ultimately more than and/or not entirely reducible to the contingencies of human character, attention to either fictional or real-life character must anyway fall somewhat short of full moral education. [ABSTRACT FROM AUTHOR]

Christopher Meredith's novel Shifts (1988) is firmly established in the canon of English‐language Welsh literature as one of the most accomplished representatives of (post‐)industrial fiction, a genre this small country has produced in quality and amount 'out of all proportion to its size or population' (Knight, 2004). The aim of this paper is to explore the role of the medieval Mappa Mundi which two characters see in Hereford Cathedral in the context of the novel's circular structure and a rich network of other visual insets. Looking at the map from a variety of perspectives, including Murray Krieger's concept of ekphrasis as the superimposition of spatial relationships on a text by a visual work of art, I propose to read the fictional continuum of the novel as a mirror image of the medieval orbis terrarum on several planes: compositional, visual‐optical and symbolic. This reading is embedded within the broader context of the characteristics of the Welsh industrial novel discussed by Raymond Williams in his essay 'The Welsh industrial novel' (1979). [ABSTRACT FROM AUTHOR]

This paper studies how and why Walter Scott's Waverley Novels remain outside of the canon despite a burgeoning Scott studies subfield on the rise in the literary studies community. The article identifies the disconnect between Scott scholarship and Scott pedagogy as a way into a larger set of problems involving how late nineteenth-century and modernist aesthetics set enduring standards for "good writing." If we take Scott's de-canonization as a test case, we gain insight into how literary interiority—itself a carefully disguised construct—obfuscates and displaces older standards of writerly quality and learn how to find new, twenty-first-century applications for now forgotten novels. [ABSTRACT FROM AUTHOR]

Although there is a large body of research about emotional labour in workplace settings, such as the health professions and the service industry, less is known about the empirical processes through which emotional labour is taught in higher education and professional education. Using medical education as an example, a discursive psychological (DP) approach is used in this paper to detail how the feeling rules of the physician's profession are constructed by students and tutors in fiction, film, and poetry seminars. From a data set of 36 video- and audio-recorded fiction seminars from two medical schools, 29 sequences of discussions about emotional challenges for physicians were found. These examples have been transcribed in detail and analysed using DP. Analysis shows that students and tutors construct feeling rules as fluid, negotiable and changeable. Feeling rules are defined as the calibration of emotion to suit different situations as well as different physicians with different levels of emotionality. Students deploy constructions of feeling rules to manage student identities, and students and tutors construct emotion as a separation between subjective experience and observable behaviours, where the subject-side experience should be managed or controlled in the way it manifests externally. [ABSTRACT FROM AUTHOR]

What can psychoanalysis learn from literary fiction? In this paper, I suggest that Kazuo Ishiguro's novel The Remains of the Day sheds light on what Freud (1900), in The Interpretation of Dreams, calls the 'day‐residues'; those unnoticed memories and fragments of experience that in the dream come to be imbued with psychic significance. Ishiguro's unreliable narrator is the butler Stevens, whose desire for 'dignity' and 'greatness' ensures he has carefully erased any trace of feeling from the account he offers of his life and relationship with Miss Kenton, the housekeeper with whom he once worked. But what readers eventually come to know of Stevens, and what Stevens comes to know about himself, is gleaned less from what he says than from what he does not say. Drawing on Freud, Laplanche, Bollas and Barthes as well as a brief clinical example, I explore parallels between the inarticulate nature of the knowledge embodied in Ishiguro's novel and the tacit kind of knowing exemplified within the psychoanalytic transference. I conclude that literary fiction has the capacity to illuminate how psychoanalysis can accommodate and expand the borders of knowledge that is unspoken or inaccessible. [ABSTRACT FROM AUTHOR]

With the number of television series increasing almost daily and resources becoming increasingly sparse, it is more important than ever for companies to determine which series will have market success or not. This paper attempts to identify the characteristics of television fiction series that cause consumers to perceive them as being of high quality. In a nation-wide survey, we isurveyed 874 television viewers about ten series from four genres to investigate which characteristics of television series predict consumers' perception of their quality. Although in most cases the coherence of the plot and the dialogues have a strong and positive effect on perceived quality, overall, we find that different genres have different predictors of perceived quality. We discuss the implications of our findings and provide recommendations for future research and practice. [ABSTRACT FROM AUTHOR]

Focuses on the influence of the Pickwick Papers on the works of Herman Melville in his novel 'Bartleby the Scrivener.' Comparison of the style with author Charles Dickens; Description of Chancery prisoner; Revelation of the death of Bartleby.