The smell of distance: Wallace Stegner’s definition of western non-fiction

2001 ◽  
Vol 38 (4) ◽  
pp. 557-565 ◽  
Author(s):  
Ralph E. Hanson
Keyword(s):  
Non Fiction ◽  
Definition Of

John Henry Newman

2018 ◽  
Author(s):  
Michael D. Hurley
Keyword(s):  
John Henry Newman ◽  
Seminal Work ◽  
Non Fiction ◽  
Prose Style ◽  
Definition Of

Newman has been much vaunted as a ‘master’ of non-fiction prose style, and justly so. His felicity of phrasing is astonishing: so precise, so elegant, so vivid. This chapter admires Newman’s stylistic achievements too, but with a view to explaining why Newman himself baulked at such praise, by insisting instead on the importance of veracity over verbalism. While a number of different writings by Newman are surveyed in the course of the chapter, the argument comes to focus in particular on his seminal work of faith, Grammar of Assent, a book that took him some twenty years to write, which almost killed him, and which best exemplifies his suggestive but enigmatic definition of ‘style’ as ‘a thinking out into language’.

scholarly journals DOCUMENTARY AS A PHANTOM

2020 ◽  
Keyword(s):  
Documentary Film ◽  
Film Studies ◽  
Documentary Films ◽  
Semantic Field ◽  
Ontological Status ◽  
Observer Effect ◽  
Non Fiction ◽  
Mutual Transition ◽  
Definition Of ◽  
Empty Signifier

The aim of the study is to reflect on the problem of the “documentariness” of documentary films based on the refinement of the semantic spectrum of the “documentary” concept. The definitions spectrum of the “documentary” concept in classical and post-non-classical film studies from B. Matushevsky, J. Grierson and D. Vertov to R. M. Barsam, J. Gaines, P. Lorentz, R. D. McKenn, B. Nichols, M. Renov, L. Ward (and others) is analyzed. As a generalization of these definitions, the author’s definition of “documentary” is proposed: the term “documentary” refers to a film not as an affirmative form of a completed film statement, but as an interrogative form of an open film gesture balancing on the verge of “truth” and “fiction”, as the continuity of an implicit mutual transition between non-fiction and fiction methods of cinema narration, a kind of hybrid between the video fixation of authentic facts with documentary value and their cinematic interpretation, which involves a reconfiguration of the reality caused by the “observer effect,” an interpretation of documented facts, and a creative implication of the ideas of the authors of the film. are a kind of hybrid between cinema recording of authentic facts of documentary value and cinematic interpretation of them, which involves reconfiguration of reality caused by the “observer effect”, author's interpretation of documented facts and creative implication of the ideas of movie makers. “Hybrid” genres combining the features of documentary and features of non-fiction film are described: “docudrama”, “mockumentary”, and the “art-dock”. The problem of the “documentariness” of documentary is considered with the help of a number of film cases from L. Riefenstahl, P. Watkins and R. Carmen to V. Mansky, S. Loznitsa and I. Khrzhanovsky. The main conclusion to the study is the assertion that there is sufficient reason to consider “documentary” a very abstracted “empty signifier” – a concept with a “blurred semantic field” and a “weak ontological status”. In general, the “documentariness” of documentary is as much desired as the shaky movie illusion: there are documentary shotings and documentary shots as the primary material of the film, but the “documentary” film as such does not exist, or it is a phantom.

scholarly journals Non-fiction, fiction – or what? A discussion of genre in the writings of K. O. Viderø

2015 ◽  
Vol 60 ◽  
pp. 53
Author(s):  
Bergur Djurhuus Hansen
Keyword(s):  
The Other ◽  
Non Fiction ◽  
Other Hand ◽  
Travel Writings ◽  
Definition Of ◽  
The Way

The writings of the Faroese author, pastor and Bible translator K.O. Viderø (1906­1991) trespass the border between fiction and non­ fiction and are difficult to define in relation to genre. A definition of genre is on the other hand crucial for the way we read them. K.O. Viderø wrote about himself and about travels, events and people, he experienced, but he did so in his own imaginative way. The article discusses relevant theories of genre and the problems connected to at final definition of K.O. Viderø“s writings. The publication <em>Á Suðurlandið </em>(1990) is analyzed and used as an example of how Viderø found it hard to adjust himself to the limitations of traditional genres and indirectly wrote about it. The article finally argues that most of the writings, where Viderø writes about himself, are to be read as literary travel writings.

scholarly journals STRUCTURAL AND FUNCTIONAL ORGANIZATION OF PERSONALITY REFLEXIVE COMPETENCE IN MODERN PSYCHOLOGY

10.23856/4620 ◽  
2021 ◽  
Vol 46 (3) ◽  
pp. 154-159
Author(s):  
Serhii Illiuschenko
Keyword(s):  
Personal Growth ◽  
Professional Growth ◽  
Professional Competence ◽  
Functional Organization ◽  
Armed Forces ◽  
Non Fiction ◽  
Modern Psychology ◽  
Primary Activity ◽  
The Subject ◽  
Definition Of

This article is a theoretical study of the “reflexive competence” concept and other related notions in the context of psychological science. Reflexive competence is viewed as an important component of professional competence and a separate formation of mind that determines the resultant aspect of reflexive activity. The study is based on the analysis of non-fiction works on the subject matter written by Ukrainian and foreign authors. It shows the diversity of approaches to definition of the “reflexive competence” concept and to detailing of the aspects of its structure. The article describes the types of reflection and examines every single component of reflexive competence, including cooperative, communicative, personal and intellectual reflection. It also looks at the models of reflexive competence and its individual structural components, such as informational, instrumental, judgmental and motivational, and behavioral. The article explains why we need to study reflexive competence as a complex formation – a meta-concept, a personal meta-competence that integrates knowledge, abilities and skills acquired in the course of personal growth and associated with the realization of why people do what they do, with identification and resolution of problems that arise in the course of our primary activity, and with the setting of goals and prioritization of personal growth areas. The work also proves the importance of reflexive competence as a professional growth driver for the officers of Ukraine armed forces and an aspect that facilitates development of other kinds of personality competence.

scholarly journals “The Very Highest Level of Mythic Resonance.” Angela Carter and the Trope of Recognition

Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 63
Author(s):  
Dominika Oramus
Keyword(s):  
Charlotte Bronte ◽  
Edgar Allan Poe ◽  
Literary Texts ◽  
Jane Eyre ◽  
Angela Carter ◽  
Keen Interest ◽  
Reading Experience ◽  
Cultural Importance ◽  
Non Fiction ◽  
Definition Of

This essay aims at adding to the critical debate on Angela Carter and myths from a more technical perspective and discusses her keen interest in the “lo and behold” moment of recognition. I claim that for Carter myths “work” in literary texts by producing a sudden illumination. At that moment, an image reveals itself to be interposed from an older story that has, or used to have, some cultural importance. In order to describe this phenomenon, I am going to refer to Aristotle’s definition of recognition in his Poetics and essays of C.G. Jung, for whom myths are instances of revelation. To prove that Carter was very much interested in the technicalities of recognition, I analyse her non-fiction devoted to Edgar Allan Poe and Charlotte Brontë. Carter’s sample mythic reading of Jane Eyre (1847) and her plans to re-write the last chapter of this novel provide me with enough material to risk a hypothesis regarding how, in her opinion, myths might intertextually enrich the reading experience.

scholarly journals Semantic Limits of the Concept “Non-Fiction Book”

2015 ◽  
pp. 62-73
Author(s):  
Anastasiia Zelinska
Keyword(s):  
Research Methods ◽  
Conceptual Analysis ◽  
Academic Research ◽  
Narrow Sense ◽  
Semantic Framework ◽  
Non Fiction ◽  
Fields Of Study ◽  
Analysis And Synthesis ◽  
Scientific Discourses ◽  
Definition Of

In this study, the author proposed a terminologisation of the concept “non-fiction book” in the framework of Ukrainian theory of publishing. The relevance of the study is stipulated by the emergence in Ukrainian publishing space of the concept “non-fiction book”, which is widely used by publishers, authors, booksellers, literary managers and readers, while the term “non-fiction book” is not clearly defined in Ukrainian academic sphere and is absent in Ukrainian dictionaries. The main objectives of the study are: to summarize results of interdisciplinary discussions over the concept “non-fiction” in Ukrainian and foreign scientific discourses; to clarify the features and peculiarities of different professional approaches; and to define the semantic framework for interpretation of the concept “non-fiction book” in Ukrainian publishing. In the study, the author applied the following research methods: bibliographical method (to study the literature sources); conceptual analysis (to work out the basic terms and concepts); analysis and synthesis (to study the nature of the usage of terms and to identify their features); synthesis (to shape the own definition of the concept “non-fiction”). Having considered the various foreign definitions of the term “non-fiction”, the author came to the conclusions that it is predominantly used in two major senses – a broad and a narrow. In a broader sense, “non-fiction” is a literature that does not contain an artistic fiction. In this sense the term is widely used by the booksellers, authors and readers. In a narrow sense, ‘non-fiction” is a literature that is based on real events, documents, facts and biographies, interpreted by the author through artistic means without distorting the actual events of the story. The concept “non-fiction book” refers to the publications, the content of which is based not only on documents and facts, but also includes the author’s interpretation. The proposed terminologisation of the concept “non-fiction book” in the framework of Ukrainian theory of publishing can be used in further academic research in the relevant fields of study.

scholarly journals The Linguistic Structural Conceptual Framework Of Literary Nonfiction

wisdom ◽  
2019 ◽  
Vol 13 (2) ◽  
pp. 23-29
Author(s):  
Ashot Galstyan
Keyword(s):  
Conceptual Framework ◽  
Aesthetic Value ◽  
Linguistic Complexity ◽  
Literary Nonfiction ◽  
Word Structure ◽  
Non Fiction ◽  
The Social ◽  
The Common ◽  
Definition Of ◽  
Structural Methods

This  paper is an attempt to study the linguistic layer of the memoir-writing genre  primarily as exploration of  linguistic mentality of a person (linguistic person, character), through which both the human being and the social environment become recognizable. This research describes the conceptual framework of the linguistic structure of the literary nonfiction by employing the following two principles: definition of the linguistic complexity of text-writing techniques  and presentation of aesthetic value of these texts. A number of descriptive, stylistic and structural methods employed in the study  show that memoir writing undergoes significant changes and enriches itself  through various linguistic forms and internal conceptual frameworks. The author’s presence in the text is often manifested through its original word structure essentially expressed in the common stylistic system of the work.  References to time and places in texts present  non-fiction character in a new light. The writer’s primary goal is not enriching the literary language, but ensuring the composition’s linguistic authenticity and individuality.   Flexibility of the genre is enhanced by intertextual manifestations. Lastly,  memoir-writing may have a therapeutic effect on the author.

scholarly journals PHRASEOLOGISMS AS A MEANS OF STYLISTIC EXPRESSION

2021 ◽  
Vol 1 (193) ◽  
pp. 265-272
Author(s):  
Tetyana Tokaryeva ◽  
Keyword(s):  
Effective Means ◽  
German Language ◽  
Connotative Meaning ◽  
Personal Attitude ◽  
Non Fiction ◽  
Processed Material ◽  
Artistic Representation ◽  
Emotional Assessment ◽  
Definition Of ◽  
Written Speech

The article considers and summarizes the main groups of phraseology in view of their ability to create a stylistic effect in the texts of different functional styles of the German language/ Attention is focused on such types of phraseological inversions as phraseologies that have the feature of a group of words, which include idioms, double forms, and inversions that have the characteristics of sentences, which include proverbs, sayings, aphorisms, winged expressions, sentences and slogans. It is emphasized, that, mainly, phraseology serves in the stylistic arrangement of texts of certain functional styles to express the image-emotional assessment of objects and phenomena. An important aspect is the definition of stylistic functions of phraseology, as they depend on various factors. By areas of use, functional-colored phraseology (phraseology of scientific style, non-terminological phraseology, official-business phraseology) is distinguished. According to the functional style, type of text, stylistic color and other connotations, phraseology can have the following functions: 1) enhancement of clarity and emotionality; 2) expression of personal attitude; 3) strengthening pragmatic influence; 4) euphemistic function. Emotionally expressively colored phraseological units are widely used on oral and written speech, in all functional styles. Phraseology is an effective means of artistic representation. The ability of phraseological units to perform one or another pictorial function is based on their connotative meaning. Phraseologisms are characterized by great imagery, emotionality, expressiveness, stylistic color, potential ability to modify. All this contributes to the dynamism of phraseology, defines them a certain place in the texts of fiction. As a result of the processed material it was found, that neutral phraseology is used in different functional styles, and a group of expressive-phraseological units is used mainly in everyday speech, as well as in texts of fiction and non-fiction.

Uncommon criticism: Reading Ivan Vladislavić’s collected work as art criticism

2017 ◽  
Vol 52 (1) ◽  
pp. 11-26
Author(s):  
Sean William O’Toole
Keyword(s):  
Art Criticism ◽  
Art World ◽  
Fiction Writing ◽  
Missing Persons ◽  
Non Fiction ◽  
Critical Resource ◽  
Ivan Vladislavic ◽  
Definition Of ◽  
Literary Output

Johannesburg author, essayist, and editor Ivan Vladislavić has a longstanding interest in art, an interest richly recorded in his literary corpus. Since publishing his debut work of fiction, Missing Persons (1989), Vladislavić has repeatedly dwelled on artworks in his fiction and non-fiction writing. His literary corpus is studded with descriptions of paintings, sculptures, photographs, ceremonial statues, murals, and other, more obscure pieces of urban flotsam given their own artistic agency in his fecund imagination. This article discusses his interest and entanglement in art from a threefold perspective: thematically, biographically, and theoretically. It argues that the art world has consistently functioned as a laboratory for the author to refine his thoughts, albeit as a literary writer, not an art critic. While Vladislavić does not identify as an art critic, this article argues that his writing on art and broader literary output represent a valuable critical resource and an important intervention in fervid and unresolved debates around the definition of art criticism. The article begins by identifying thematic constellations that recur throughout Vladislavić’s work, placing these in conversation with salient aspects of the author’s early professional biography. It concludes by proposing that Vladislavić’s oeuvre can be read as a historically mindful, crisis-orientated form of art criticism.

Television documentary production in France

2018 ◽  
Vol 13 (2) ◽  
pp. 227-243
Author(s):  
Ana Vinuela
Keyword(s):  
Support System ◽  
Political History ◽  
Quality Criteria ◽  
Regulatory Framework ◽  
Policy Interventions ◽  
Non Fiction ◽  
Television Documentary ◽  
History Of ◽  
Definition Of ◽  
Production Industry

This article discusses the regulatory framework within which the television documentary production industry operates in France, and how public policies have created and then adapted a support system in response to the active agency of professionals. I give particular attention to the reform of the support system implemented between 2014 and 2017, which has privileged certain categories of non-fiction programmes and affected the patterns of production. I will look at the definition of quality criteria in documentary funding, focusing on the pivotal, though controversial, notion of ‘creative documentary’, and on the diverse approaches that inform French audiovisual policy. By focusing on policy interventions, the article will address the economic and political history of television documentary in France between 1986 and 2017.

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