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This paper examines a line of argument in modern historiography that tends to discredit the historical value of the Diodorean narrative of the Sicilian Servile Wars by conceiving its author as resembling a novelist. We critici that perspective by analysing the Diodorean notions of the truth, candour, and accuracy. We show that, although Diodorus is not only interested in factual truth, he is strongly committed to it. On the other hand, the context in which he wrote his account, a period in which there was already a bibliographical production concerning the revolts, makes it difficult to imagine that Diodorus had a wide margin for fictional manoeuvre. Moreover, it is supported by what can be compared with Florus, an author presumably of Livian tradition, whose depiction of Eunus' magical and divinatory qualities is equally negative in terms of fraud. [ABSTRACT FROM AUTHOR]

This paper deals with El samurái de la Graflex, by Daniel Salinas Basave. The analysis focuses on the representation of a historical character of Japanese origin: Kingo Nonaka, whose figure represents the irruption of a culture that contrasts with the attitudes and ideosyncrasy of revolutionary Mexico. Non-aka concentrates elements that form the image of a Japan in transition towards modernity. Between meditation as a method for diving and fluency with a camera, Salinas Basave follows Nonaka in his wanderings and allows the reader to appreciate details of the history of the first half of the twentieth century from a perspective "alien" to the Mexican one, while building a space for reflection on writing and memory. [ABSTRACT FROM AUTHOR]

Over the past few decades of film theory, significant scholars and acclaimed filmmakers have established that documentary, just like fiction, must resort to ambiguous and subjective rhetorical figures to represent the world. This claim has led some scholars to conclude that documentary as a term referring to itself as being non-fictional might be disregarding its inevitable fictional elements. This argument may suggest that documentary, just like fiction, when representing the historical world fictionalizes reality. If we accept this claim as true, we need to ask whether terms such as fiction and non-fiction or documentary make sense when discussing the process of representing reality. Does this claim mean that cinema can only fictionalize reality and therefore we should eradicate from this discussion terms such as non-fiction or documentary?. The questions that this paper intends to answer are: Can the term fiction exist without referring to the term non-fiction or documentary? What roles do documentary and fiction play in representing the historical world? Are these terms necessary to communicate and understand the process of representing reality?. This paper has established that fiction and documentary are necessary terms that emerge in cinema narration as a means to mirror human experience's needs to organize, communicate and understand reality. [ABSTRACT FROM AUTHOR]

The process of recovering the historical memory in biographical and autobiographical writtings is no longer restricted to an exclusive field of research. Authors such as Georges Bataille, John Hersey and Beatriz Sarlo scrutinize the correlations between History and memory in the literature, evaluating ethical matters and issues of social nature. In the light of this studies, this paper comments some excerpts of Assombrações do Recife Velho (1955), work of the sociologist Gilberto Freyre and Baú de ossos (1972), first volume of Pedro Nava's memoirs. The objective is to expose how fictional and historical elements are articulated in both works. [ABSTRACT FROM AUTHOR]

This paper seeks to reflect about the immersive aspects in pervasive games, taking into account elements out of the game play, as interactors of subjective disorders, cognitive skills and spatial and temporal setting, as an inherent part of the immersion experience. Thus, this paper is based in interview realized with players of this genre of game. From this results, we present the concept of ectodiegetic immersion as proposal to encompassing fiction and ordinary as part of the same game experience. [ABSTRACT FROM AUTHOR]

This paper is an advance of a research that problematizes the notion of body in the so-called Jacques Lacan's last teaching. To that end, two reading keys are stated. First, the questioning of the anatomic reality of the body and its relation with the real. Second, the question on the ontological value conferred to the body since it is placed as the mysterious, speaking body that does not deceive. Likewise, it is expected to find resonances and differences between the Lacanian perspective and the Nietzschean proposals on body and corporality. [ABSTRACT FROM AUTHOR]

The relation between testimony and fiction represented, for Latin American writers who defended testimonial literature in the 60-70s, a dilemmatic option, between clearly defined and mutually exclusive terms. However, reconsidered today, the link between testimony and fiction shows to be more complex, thus it can be addressed by literary theory. In such sense, this paper studies the relations between testimony and fiction displayed within a series of Argentine post-dictatorship texts. We argue that the articulation of testimony and fiction in such narratives cannot be merely explained as a rhetorical phenomenon. On the contrary, it derives from the complex characteristics of the social experience of State terrorism, which is represented in these texts. Based on a wide corpus which covers from Souvenir of the death by Miguel Bonasso (1984) to Tucho by Rafael Bielsa (2014), we analyze some socio-historical basis of the integration of testimony and fiction in Argentine post-dictatorship narrative. [ABSTRACT FROM AUTHOR]

In this paper, we propose that fction is not only a false way of referring to the social reality or a ruse for the construction of imaginary worlds. On the contrary, we understand fctions as a human capacity highly productive in the construction and organization of the social world, a capacity widely disseminated in this world. We started giving an overview on some discussions in social sciences on the issue of fctionality. Aler that, we rescue the notions of "real fction" and "fctional expectations" to address the productive character of fction, with special emphasis on its temporary reference. We conclude by studying the social practice of "to act as if the fctional was real" to discuss its implications in one of the most productive uses that has had in contemporary Chile: the notion of "permanent kidnapping" proposed by Judge Guzman to challenge legal order established by 1978 Amnesty Luaw. [ABSTRACT FROM AUTHOR]

The present paper is a study on semantic neology in Harry Potter and the Philosopher's Stone, first volume of the saga by J.K. Rowling (1997). The new meanings appearing in the Spanish translation are studied as a first step for the analysis of these lexical units in the communities of Spanish-speaking fans of Harry Potter (or fandoms), who use the same vocabulary in the large number of websites in which they participate, and in which Spanish is the only language of communication. In particular, we study the nouns used with a neological meaning in the first volume of the saga. As a result, through the analysis and classification of these neologisms, it is observed how they play a special role in the fictional world that they contribute to create, in the sense that they play the role of a continuum between the real and the magical world, a characteristic that has Been highlighted by fans as one of the most appealing aspects of the saga. The study also contributes to the methodology for the study of semantic neology and offers evidence for integrating the neology of fiction within the general theory of neology. [ABSTRACT FROM AUTHOR]

One aspect of literary creation that critics find particularly complex and difficult to define is the relationship between fiction and reality. It is an area that can only be addressed by carefully unravelling fictitious and real-life elements within texts and analysing how they converge, diverge or sometimes even become indistinguishable - a factor crucial to a work's plausibility in the eyes of the reader. This paper examines the degree of verisimilitude to be found in Leopoldo Marechal's first novel, Adán Buenosayres (1948), where contact between fiction and reality is conflictive in terms both of content (alternation between real and fantasy worlds) and form (the articulation of the plot). [ABSTRACT FROM AUTHOR]

In this paper, we describe technopoiesis as the complex dynamics between four levels of an all-encompassing knowledge configuration. The first level corresponds to the interaction with the environment, mediated by representations and material forms. The second level involves the representations, for instance representations of force, which determine the interaction with the environment. The third level involves the use of material forms in the interaction, for instance using a stick to get hold of a piece of fruit. The fourth level is the technological level as such. From a view of Biopoetics that primarily understands technopoiesis as a synergic and dissipative process based on emergence and feedback conditions, our main contribution in this study consists in a dynamicist description of how these four levels interact with each other. Higher levels emerge from the lower ones, in a complex but deterministic process, where lower levels are also constrained by the higher ones. [ABSTRACT FROM AUTHOR]

The historical origin of testimonial literature is related to the Latin American political cultural process in the 60-70s, but testimonial literature as a genre exposes significant particularities when its development in postdictatorial Argentina is considered. Therefore, this paper focuses on Argentine testimonial literature produced during the 1980 decade. Firstly, we present a panoramic approach to the history of Argentine testimonial literature, beginning with its initial boom in the 70s, and taking up to the contemporary period. Secondly, we analyze three works produced by Argentine writers during the 1980 decade: Recuerdo de la muerte by Miguel Bonasso, La Escuelita by Alicia Partnoy and Pasos bajo el agua by Alicia Kozameh. The study shows the different interrelations between testimony and fiction, which are displayed in the texts as peculiar ways of representing the concentrationary experience. [ABSTRACT FROM AUTHOR]

Film stories are usually associated with the evasion narrative or with entertainment genre, as a dramatic formula that eases disconnection with reality. If film was a mere illusion detached from real world we would have to accept the unreal nature of its characters as well as events told in their screenplay. Even though, our experience as spectators remembers us that, in multiple opportunities, films have constituted for us an object of reflection, of passionate debate or of sincere emotions. Because, as film maker and dramaturge David Mamet, "cinema is not a place where you go to forget, but a place where one goes to remember". Following the director of State and Main we have to accept that films, as a narrative, offers to creative persons and spectators a direct reference to reality and the world that we inhabit. That is, the time we spend sited in front of a lightened screen is real time and belongs to our lives, it participates in the continuous formation of our personality and appeals in our vision of the world, originating empathy or rejection. And this would not be this way if behind each story there was a producer or director prone to offer us a story of human drama. In this paper we intend to reflex on films as an outlook of the human person and a reflection or the daily spectacle, because man and its mysteries are the matter from which stories are crafted, from ancient wall paintings to debuts of Chinese Theater from Hollywood. In second place the paper will focus on narrative keys applied by screen writers when treating reality. [ABSTRACT FROM AUTHOR]

The high production costs for most television fiction series means that they must draw a significant audience from the very beginning. It is very important that the audience enjoy the series. However, what factors have a bearing on audience enjoyment? The purpose of this paper is to identify the affective reactions of viewers that may have an impact on their evaluation of a given series. It also examines whether there are differences among viewers depending on their sociodemographic characteristics (sex, age, television consumption habits and genre preferences). The study was conducted for Velvet by conducting personal interviews with 375 viewers of the show. [ABSTRACT FROM AUTHOR]

The high production costs for most television fiction series means that they must draw a significant audience from the very beginning. It is very important that the audience enjoy the series. However, what factors have a bearing on audience enjoyment? The purpose of this paper is to identify the affective reactions of viewers that may have an impact on their evaluation of a given series. It also examines whether there are differences among viewers depending on their sociodemographic characteristics (sex, age, television consumption habits and genre preferences). The study was conducted for Velvet by conducting personal interviews with 375 viewers of the show. [ABSTRACT FROM AUTHOR]

This paper highlights how dystopias projected filmic forms of domination and a set of social tensions in contemporary societies. Blade Runner and Elysium movies are analyzed using four iconographic elements that share: Los Angeles city, abandonment of land by its elites, a multicultural social context, and the presence of social surveillance technologies. The papa explore how these films construct an idea of Latin Amaican, who gives meaning to the futuristic apocalyptic scenarios that draw, while projecting the apocalyptic scenario that Latin Amaica lives today. [ABSTRACT FROM AUTHOR]

This paper attempts to elucidate the meaning of the controversial Platonic statement in relation to the peculiarity in the literary accounts which, in spite of being false, contain at the same time certain truths (R. II 377a6). Furthermore, there seems to be contradiction in the fact that Plato critiques those writings and still proposes using others equally false. I analyze three possibilities to disambiguate the meaning of pseûdos in these contexts --"false" would point to fiction or to a verbal lie or the character of one of the two levels (factual or normative) which would comprise a literary account; and I support the fact that, for Plato, the undesirable falsity is only the one related to the typological core comprised in those accounts. [ABSTRACT FROM AUTHOR]

Recently fiction has been given a central role in the engagement in philosophical thinking, especially within an educational setting. We find many configurations of this intersection of the narrative and the philosophical and the variances among them need noting if we are to critically examine how each form works. But there remains a troubling question: can fiction really offer up philosophical ideas without failing as literature and missing the mark as philosophy? While allegories and analogies have a long and fruitful history of elucidating complex philosophical ideas, philosophers have taken pains to differentiate themselves from the crafter of tales. Philosophers have tended to prefer clear and sustained thinking through rational arguments over imaginative suggestion. Fiction is not philosophy. This paper will explore the different forms that narrative-as-philosophy can take and offer an assessment of the relative merits of these stories as invitations to philosophical thinking. [ABSTRACT FROM AUTHOR]

The latest public health crises have also been media, historical and socio-cultural crises. In this context, many authors have highlighted the importance of fiction narratives in the transformation and transmission of the moral and ideological values involved. In this paper, I exposed a comparative study of two pieces of literary narrative fiction in which the plot is structured around the management of a catastrophic epidemic. These novels have been published and set in different historical scenarios. Therefore I have analyzed how the notions of epidemic and contagion are historically constructed, as well as the social representations of medical science, of public health authorities, and the actions of the political institutions, society and its citizens in front of a severe health risk. These pieces reflect the historical changes in social construction of epidemic disasters, from scientific positivism which framed the Daniel Defoe's chronicle -The Journal of the Plague Year (1772) - to the reflexive criticism against the political use of scientific knowledge implied in Albert Camus' La peste (1947). These novels, largely realists, constitute the literary model for the current epidemic fiction narrative, mainly apocalyptic or post-apocalyptic science fiction, which popularity has grown significantly in the last years. [ABSTRACT FROM AUTHOR]

Fiction series broadcasted by TV channels can be domestically-produced or foreign-made. The former may contribute to the definition of a TV channel's corporate identity. The latter, usually US-made, series tend to have widely recognized quality standards and offer a reasonable guarantee of high audience ratings in the countries to which they are exported. The definition of viewer preferences for home-produced or American-made fiction series is a key issue in this regard. The purpose of this paper is to explore the effect that certain viewer factors may have on preferences for domestically-produced or American-made fiction series in Spain; in specific terms, the variables taken into consideration here are gender, age, educational level, nationality, preferences for TV genres and the perceived quality of television series. [ABSTRACT FROM AUTHOR]

This paper aims to analyse the depiction of IRA female volunteers in Ann Devlin's "Naming the Names" (1986) and Anna Burns' No Bones (2001) and to consider the relationship established between gender and violence in these texts. I investigate the extent to which the female terrorists portrayed conform to the "mother, monster, whore" paradigm identified by Laura Sjoberg and Caron Gentry (2007) in their study of women's violence in global politics and consider what differences, if any, are established with these characters' male counterparts. The ways in which both authors destabilise traditional gender stereotypes is also explored, as is the question of whether these texts might be considered as feminist fictions. [ABSTRACT FROM AUTHOR]

This paper analyzes the fiction serial Amar en tiempos revueltos, broadacasted by TVE1. The research is organized taking in account two complementary perspectives. On one hand, it points to several important dimensions to understand not only historical fiction on television but also the representation of Spanish Civil War in film and television. On the other hand, it analyzes the most important lines of contents of this serial, and the originality of such kind of subject, placed, in this case, in soap opera genre. [ABSTRACT FROM AUTHOR]

Films have been proposed as a method of evasion though audiovisual fictional narratives. The present paper analyses, from an anthropological point of view, what 'fiction' means, and what its proper 'type of reality' is. Secondly, it focuses on its expressive and communicative character of the 'human experience', reason why it is understood and by which it also has a formative and enriching for the human being as 'animal that creates and feeds from stories'. Finally, it focuses on the incidence of films on personal reality, concluding some elements of the non-immediate relation of films with the person's radical life. [ABSTRACT FROM AUTHOR]