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This paper shows how a significant, but short-lived, episode in Scotland's educational history--the rise and decline of Socialist Sunday Schools (SSSs) in the first half of the twentieth century--provoked controversial debates about issues that continue to have relevance today. The first half of the paper explains the origins of SSSs, their links to adult political groups, the form and content of their meetings, and publications designed to advance their agenda. It also describes the criticisms they received from religious leaders and Conservative politicians, on the grounds that they undermined faith and preached revolution. This leads into the second part, which considers whether SSSs might be regarded as agencies of indoctrination, promoting a version of citizenship that sought to subvert existing institutions and disrupt the social order. It is argued that complete neutrality in educational systems is not possible and that a study of the SSS movement has considerable potential as an educational resource, particularly for teachers of history, politics and social studies.

Purpose: This paper aims to examine the reading of a book-length fiction or non-fiction text in one disciplinary literacy (DL) teacher education course. This paper considers how the assignment may help pre- and in-service teachers understand literacy as multifaceted and connected within and beyond their content areas (Moje, 2015). The research explores how reading a book-length text may help support DL, equity-oriented curricula that consider literacy as empowerment and connected to lived and communal experiences (González et al., 2005; Muhammad, 2020). Design/methodology/approach: This work is grounded in a qualitative, humanizing methodology and thematic analysis approach (Braun and Clarke, 2006; Paris and Winn, 2014). This approach examines student work in one DL course, considering how teachers within and beyond English language arts (ELA) respond to the task of reading a book-length text. Findings: First, the assignment offered space for participants to redefine literacy as empowerment and enjoyment. Second, the assignment helped participants connect literacy within and beyond their content areas and to see literacy as active and interdisciplinary. Third, the assignment includes clear limitations for a DL approach, particularly when participants focus mainly on connections to their content area. This sometimes obfuscated participants' enjoyment of reading. Originality/value: The study offers a new perspective on a task that is often seen as specifically "ELA": reading a book-length text. This project offers space for ELA educators to consider literacy from a DL, equity-oriented framework focused on enjoyment in literature within and beyond ELA classrooms.

This manuscript explores the power of using inquiry in a second-grade classroom to make students' understanding of citizenship more complex. It describes an inquiry unit in which students studied primary sources, engaged with fiction and nonfiction children's literature, and participated in interdisciplinary learning to further understand the Civil Rights Movement and the Underground Railroad. Through their understanding of these powerful historic events they came to new conceptions of what it means to be a good citizen. The paper not only describes the unit and how it played out in the classroom it also explores the tensions between teacher directed and student directed inquiry, the ways in which teachers can, and often must integrate English Language Arts into their inquiry in order to find time for it, and the necessity of trusting both students and teachers in their ability to guide their own learning in community. In addition, it describes ways of discussing racism with young learners in both a historical and contemporary context.

Purpose: Mental illness has become an important public health issue in society, and media are the most common sources of information about mental illnesses. Thus, it is important to review research on mental illnesses and media. The purpose of this paper is to provide a narrative review of studies on mental illnesses in the media and identifies important research gaps. Design/methodology/approach: A combination of searching key databases and examining reference lists of selected articles was used to identify relevant articles. In total, 41 empirical studies published in the last 12 years were reviewed. Findings: The review found that substantial research had been done to investigate media portrayals of mental illnesses and the effects of such portrayals might have on the public. Media still portray mental illnesses negatively in general, which contributes to the ongoing mental illness stigmatization. Nonetheless, discussions of mental illnesses in direct-to-consumer advertisements and social media tend to be more objective and informative. These objective portrayals could help improve mental health literacy and reduce stigma. More importantly, media can also reduce the stigma if used strategically. Research has found that entertainment-education programs and web-based media have strong potential in reducing mental illness stigma. Recommendations for future research are also discussed. Practical implications: Findings can guide future efforts to use media to educate the public about mental illnesses and reduce mental illness stigma. Originality/value: This study reviews the most recent research on mental illnesses in the media and provides important references on the media representation of mental illnesses, media effects of such representation, and using media to reduce stigma.

Extensive reading has long been considered as a potent means for facilitating language acquisition for second language learners, especially in the contexts of primary and secondary schools where students are elementary or intermediate learners. In one of the universities in Hong Kong where English is used as a medium of instruction, the development of reading and writing skills has been designated as one of the major objectives of the curriculum reform. This paper reports a small-scale action research study on implementing guided reading sessions in an independent language learning centre of the university, which aims at helping university students who are second language learners of English develop interest and ability to access extensive reading materials targeted at general first language readers. Students were guided to read a short extract from popular fiction or non-fiction materials and responded to comprehension questions. They then had a short discussion to make use of ideas they gained, and reflected about their learning experience. Results seemed to indicate potential for these reading sessions to develop students' ability and interest in extensive reading, according to the data collected from both student and teacher participants.

Biologist and graphic novelist Jay Hosler has long been introducing young readers to biological subjects through entertaining narratives combining strongly fictional elements with nonfictional ones. Extensive application of fiction to nonfictional subject matter is uncommon, even in graphic novels, but Hosler's "The Sandwalk Adventures" (2003) makes an illuminating case study in the pedagogical benefits of entwining fact and fiction. The book, an introduction to the basic concepts of evolutionary theory, revolves around conversations between Darwin and a pair of young follicle mites residing in his eyebrow. Two competing tales of origins, theistic and scientific, emerge in the telling. In the first section of the paper, I show how Hosler deploys their rivalry to cast doubt on the factuality of received "facts" and to cultivate openness to verifiable ones. In the second and third sections, I analyze the functions of "Sandwalk's" literary form, a simulation of conversational storytelling: it helps Hosler illustrate selection pressures and processes, and engage readers in a scientific mode of thought.

In this article, the authors provide a synopsis of the 2014 Children's Literature Assembly (CLA) Workshop. The Workshop explored how fiction and nonfiction children's and young adult's literature create opportunities for in-depth learning in the content areas. Participants had the opportunity to hear the stories of authors and illustrators of fiction and nonfiction children's literature as they talked about creating books that explore science and mathematics concepts. The panel of presenters (Jennifer Brown, Kate Messner, Jon Scieszka, Jason Chin, Susan Stockdale, Melissa Stewart, Leslie Bulion, and Emily Jenkins) led participants on informative and entertaining excursions through their creative, inventive, and ingenious processes. Two master teachers (Kendall Donald and Emily Whitecotton) also shared curricular invitations for bringing these kinds of texts into practice in their fourth- and fifth-grade classrooms. Participants at the 2014 CLA Workshop were inspired by the work of these gifted authors and illustrators. While the audience learned about their unique approaches to creating books, they also came to see persistent themes shared in the writing. By the end of the workshop, audience members were able to walk away knowing more about a number of outstanding fiction and nonfiction K-8 titles. The teachers also introduced the audience to curricular invitations and offered valuable classroom strategies for gathering information and inspiration through these beautifully and thoughtfully crafted books.

This paper sets out to analyze Kaikō Takeshi's travelogue "Kako to mirai no kuniguni - Chūgoku to Tōō" ("Countries of Past and Future - China and Eastern Europe"), which describes Kaikō's first experience of Eastern Europe and China. As a writer who got to be well-recognized for his reportage writing and novels based on his own experience, Kaikō's initial struggle abroad turned out to be the opportunity that lit his inner desire to continue searching for the truth, leading him towards the exploration of the boundaries between fiction and non-fiction, which is the writing he is still most well remembered for today. [ABSTRACT FROM AUTHOR]

Werner Herzog avers that cinema reveals a truth beyond mere fact, a truth he calls 'ecstatic truth'. The film that offers the clearest view of this conception, the mockumentary Incident at Loch Ness (2004), remains understudied and obscure. In Incident, Herzog plays a fictionalized version of himself who is making a documentary about the Loch Ness monster. This fictional version of Herzog shares the real Herzog's filmmaking philosophy, a philosophy Incident lays bare for study: namely, Incident reveals how the pursuit of ecstatic truth takes us to the limits of human understanding. While Incident helps us explore the concept of ecstatic truth, I argue it also helps us understand much of Herzog's oeuvre, including 2005's Grizzly Man. In this paper, therefore, I analyze ecstatic truth as presented in Incident and apply that understanding to Grizzly Man and its controversial tape scene. Examining said scene through the lens of the ecstatic truth will, I argue, not only garner us fuller insight into Herzog's films, but will also shed light on the effects of Herzog's controversial choice to not play the tape of Timothy Treadwell's death in Grizzly Man. [ABSTRACT FROM AUTHOR]

This paper establishes the motif of 'child spectators' within the self-reflexive tradition of modern European cinema since the 1940s and within discourses on the affinity of childhood and cinema, dating back to the beginning of the twentieth century. Through a close reading of The spirit of the beehive (Víctor Erice, 1973) and Jacquot de Nantes (Agnès Varda, 1991) that deals with the impact of the cinema experience on a child's life, I analyze how this motif stages spectatorship, cinephilia, and filmmaking. First, I show how these films reflect on the impact of film experience and the process of film education as based on the existential being described by phenomenology. Second, I argue that this motif implies specific aesthetic strategies that are often linked to childhood and cinema. The child spectator calls for the understanding of childhood as a film aesthetical category and invites us to engage in a distinctive form of spectatorship. If the children in these films represent and address the phenomenological dimension of film experience, they also invite us, third, to reconsider aspects rarely addressed by phenomenology, especially the integration of imagination and materiality in film experience, and the interdependence of film experience and education. [ABSTRACT FROM AUTHOR]

It is the beginning of the new millennium. Globalization is picking up the pace, and Marxist media theorists warn about affective and 'immaterial' modes of extraction, as well as the rise of the attention economy. It is within this web of post-Fordist anxieties and chameleonic, flexible mechanisms of control that Thomas Elsaesser first charts the rise of the mind-game phenomenon, in his 2009 article 'The Mind-Game Film'. Elsaesser and his successors perceptively trace the mind-game film back to a range of global conditions and technological innovations which marked the passage from the twentieth to twenty-first centuries, from interactive VCR and DVD technology to confrontations with post-colonial Others. However, little-to-no mind-game scholarship thus far has centered the rise of Web 2.0 and the concurrent privatization of the Internet; furthermore, with the obvious exception of the Matrix trilogy, the mind-bending hacker films of the 1980s and 1990s (e.g. WarGames, Sneakers, The Net) have been largely overlooked as mind-game and mind-game-adjacent films. Accordingly, this paper examines whether and how the hacker film might be folded into the broader field of mind-game scholarship. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Disability Studies is the property of Canadian Disability Studies Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mainstream media is a common source of information on mental health, and its portrayal of mental disorders can influence public perceptions and stigmatisation. Recently, autism has received increased attention in mainstream media. This scoping review aims to contribute to the existing literature on the portrayal of autism and its stigmatising effect by mapping the characteristics and range of records that describe the representation of autism in mainstream media with a focus on non-fiction media (newspapers and social media) and fiction media (movies & TV, and literature). We extracted 31 articles from PubMed and PsychInfo, as well as conducting secondary searches, covering articles published between 2010 and 2022, with a time frame of media from 1988 to 2022. Most of the articles focused on newspapers and movies & TV. Our findings suggest that while the portrayal of autism in media varies, stigmatisation is most prominent in newspapers and movies & TV, often with a negative tone and stereotypical portrayal such as savantism. One possible reason for this could be the lack of representation of experts by experience in these media outlets. In contrast, our review found that literature often has a more diverse and positive representation, and social media tends to have a more supportive tone. Our recommendation is that autistic individuals should be included in the content creation process. Furthermore, future research should focus on newer forms of media, particularly social media, where self-representation is more common, and investigate how this affects the portrayal and stigmatisation of autism. [ABSTRACT FROM AUTHOR]

Copyright of Icono 14 is the property of Grupo Icono 14 and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1999 John Minford and Tong Man proposed a model for a contemporary English languagebijithat possessed the same qualities as the ancient Chinese equivalent in a paper titled ‘Whose Strange Stories? P'u Sung-ling (1640–1715), Herbert Giles (1845–1935), and theLiao-chai chih-yi.’ This paper will examine Minford and Tong's model, and use it to evaluate two texts by Douglas Coupland:Survivor, a creative non-fiction hybrid that appeared in an anthology of new takes on old forms titledVikings, Monks, Philosophers, Whores: Old Forms, Unearthed, and the book-length work developed from it,Worst. Person. Ever. In the paper accompanying their re-rendering of ‘Miss Lien-hsiang, the Fox-girl’ (as titled in Giles' translation) Minford proposes: ‘This literary vivi-section attempts to recreate some of the features of an unusual reading experience, to build a new environment that approximates the richness of the original’. This paper evaluates that attempt, and examines two other texts against the model established by Minford and Tong. [ABSTRACT FROM AUTHOR]

Sarah Broadie writes on ‘The Knowledge Unacknowledged in the Theaetetus’ for Oxford Studies in Ancient Philosophy. Her paper makes two main claims: first, that Plato in the Theaetetus rejects the ‘additive’ picture for knowledge, namely, that knowledge is true judgement with something else (e.g. an account); and second, that in the Theaetetus true judgement relies on prior knowledge, especially if that knowledge is arrived at methodically. Thus, true judgement is not necessary for knowledge and sometimes knowledge is necessary for true judgement. Broadie's argument, roughly, is that, in the Theaetetus, true judgement is already a high-level epistemic achievement. She has a number of pieces of evidence for this. The first is Theaetetus 189e4–190a6, where Socrates stresses that a judgement is an assertion that results from a soul having a silent, internal debate. Broadie infers from this that a judgement involves reasons even if those reasons are not good reasons; judgement, for Plato, is more than a mere doxastic attitude (95–6). This already looks unfriendly to the additive picture. Once I have a judgement I have reasons, and when I have a true judgement, I have good reasons. If I have good reasons then what I have is reliable and secure. So, what more could I add to upgrade this cognitive achievement to make it knowledge? Broadie goes on to explore the alternative to the additive picture given in the Sophist and the Statesman. There it turns out that there may be topics that simply cannot be captured by the additive picture: cases where there must be knowledge of an object in the absence of true judgements about that object. This is Broadie's knowledge unacknowledged. [ABSTRACT FROM PUBLISHER]

The relevance of the study of productive and creative exchange between literature and journalism is determined by the problematic relation between the two paradigms of the interpretation of reality. The paper covers the opposition and diffusion of literature and journalism. With polarising initiatives, these forms of verbal interpretation of reality have achieved the synergistic effect of their creative integration during their long genesis. The purpose of the study is to identify the conditions for achieving a fruitful synthesis of literary cyclicality and journalistic linearity, which achieves a synergistic effect. Furthermore, the purpose of the study is to clarify the contrast between the cyclicality of the literary image and the linearity of journalistic fact, which underlie the correlation between fiction and non-fiction. The methodological framework of the research includes the principles of historicism, objectivity, consistency, concreteness, methods of source analysis, methods of historical deduction and induction. Based on the results of the study, new scientific data were obtained on the historical specifics of the mutual influence of fine literature on public logos and the reverse interaction of journalistic topicality on the literary canon. The conclusions of the research can be used in the development of new humanitarian solutions in effective dialogue between artistic and literary fiction and actual journalistic factuality. [ABSTRACT FROM AUTHOR]

I argue that virtual reality (VR) documentaries mandate that users employ a fictional attitude toward their presence in a virtual environment (VE) for the purpose of engaging with nonfictional content. The most salient feature of VR is that VR users typically feel as though their bodies were present in a VE. This paper explores presence in VR as a perceptual illusion facilitated by certain technological features. Drawing on Kendall Walton's concept of fiction, I argue that the illusion of presence in VR also requires a fictional attitude that VR users employ when imagining themselves in a VE. In the case of VR documentaries, while users' attitude in regards to the feeling of presence is best characterized as make-belief, they nevertheless employ an attitude of belief in regards to the content of the documentary and accept this content as nonfictional. [ABSTRACT FROM AUTHOR]

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that they presuppose a cognitive infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. [ABSTRACT FROM AUTHOR]

The practice of reading aloud to children is ubiquitous in early childhood classrooms. Teachers read aloud to young children to entertain, to build early literacy skills, to develop domain specific content knowledge and vocabulary, to promote social and emotional development and well-being, and to draw children into community with each other and the world. The types of texts teachers decide to immerse children in matters: children need opportunities to examine fiction and nonfiction texts, to learn from and about history, to wonder about phenomena in their natural, physical, and social worlds. This study explores the range of titles that 445 early childhood teachers reported reading with their students at a single timepoint. It describes the variety of fiction and nonfiction texts teachers reported reading and surfaces rich culturally relevant literature selections use with young children. [ABSTRACT FROM AUTHOR]

This paper is a critique of narratology's generality thesis and especially focused on a corollary of that thesis, the "sameness premise". It says that all objects designated by the noun "narrative", whether actual, possible, or fictional, are defined by some basic intrinsic properties. This goes for ordinary informative telling of events as well as for literary art, such as novels and short stories. The latter assumption is rejected by me and theorists taking up a "difference premise" instead. Literary art should not be included within a general category of narrative. It would be more correct to regard it as sui generis, since it manifests a system quite different from and incompatible with narrative as this system is defined by standard narratology. For example, ordinary narrative accounts display logically a two-place relation between the denoting signs and the denoted contents (events); while the artistic representations produced by literary art and other art-forms do not denote anything outside themselves– the relation between signs and content is one-place. I discuss this theoretic problem from two sources: modern narratology in conflict with artistic/aesthetic theory and the mimesis-debate in Greek antiquity between Plato and Aristotle, where Plato is advocating a sameness and Aristotle a difference premise. [ABSTRACT FROM AUTHOR]

Literature and journalism are two field of study that has been a never-ending discussion throughout the history. The two fields, regardless of being considered as separate entity, has its association in the course. This paper dwells into the two fields together, that is, on literary journalism and how literary journalism examines the blurring of boundaries between narrative writing and factual reporting through comparison of select works of narrative nonfiction. The text analysed is a novelistic piece, “The Yoga Store Murder” (2013) by Dan Morse. The study confronts the reluctance to acknowledge this form of reportage as authentic and reliable because its literariness is misconstrued as compromising the objectivity of the piece. The authors also examine how literary journalism fits within the rubric of both literature and journalism. The study addresses the following research questions: where do fact and fiction meet in literary journalistic narratives? how do we navigate questions of authenticity, reliability and journalistic integrity in narrative journalism? The questions will be attempted to be answered with a detailed analysis of a text of investigative journalism that is also nonfiction writing, though literary in nature.

Purpose The purpose of this paper is to provide an overview of recent philosophical argument concerning the distinction between fiction and non-fiction.Design/methodology/approach A critical view of the literature.Findings A consensus that had emerged that defined fiction in terms of the imagination, and imagination in terms of its functional role, has recently been questioned.Research limitations/implications The overview was written by a contributor to the field, and so may be considered partial.Practical implications There might be some implications regarding the ways books are classified.Originality/value The paper is not original, in that it puts forward points made elsewhere, however it is a completely up-to-date review of the field. [ABSTRACT FROM AUTHOR]

In India there has been a debate about whether the two primary epics of Hindu mythology - Ramayana and Mahabharata - are facts or fiction. In parallel, a body of nonfiction seeking inspiration from mythology has emerged from India and a new trend of drawing management lessons from Indian myths has become very popular. An author, who has resorted to this practice in his writing is Devdutt Pattanaik who has produced works in this genre for the past 20 years. By analysing Pattanaik's five management related books and varied articles, this paper examines the feasibility of applying mythology to deriving management lessons, thus determining whether this has added value to the texts and the genre, or rather resulted in their devaluation. [ABSTRACT FROM AUTHOR]

L iterature and F ine A rts Kuzmic, Tatiana. Adulterous Nations: Family Politics and National Anxiety in the European Novel. Evanston: Northwestern University Press, 2016. xvi + 229 pp. $34.95 (paper). ISBN 978-0-8101-3397-6. Reyfman, Irina. How Russia Learned to Write: Literature and the Imperial Table of Ranks. Publications of the Wisconsin Center for Pushkin Studies. Madison: University of Wisconsin Press, 2016. ix + 237 pp. $65.00. ISBN 978-0-299-30830-8. Tolstoy, Leo. The Death of Ivan Ilyich and Other Stories. Edited and translated by Kirsten Lodge. Peterborough: Broadview Press, 2017. 184 pp. $12.95 (paper). ISBN 978-1-5448-13223. Panova, Lada. Mnimoe sirotstvo: Khlebnikov i Kharms v kontekste russkogo i evropeiskogo modernizma. Issledovaniia kul'tury. Moscow: Izdatel'skii dom Vysshei shkoly ekonomiki, 2017. 608 pp. R601.00. ISBN 978-5-7598-1509-9. Kharms, Daniil. Russian Absurd: Selected Writings. Northwestern World Classics. Translated by Alex Cigale. 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Internationale strafgerichtsbarkeit unter sowjetischem Einfluss: Der Beitrag der UdSSR zum Nürnberger Hauptkriegsverbrecherprozess. Studies in International and European Criminal Law and Procedure 27. Berlin: Duncker and Humblot, 2016. 580 pp. €107.90. ISBN 978-3-428-14867-7. Burgess, John P. Holy Rus': The Rebirth of Orthodoxy in the New Russia. New Haven: Yale University Press, 2017. xiv + 264 pp. $30.00. ISBN 978-0-300-22224-1. Kurilla, Ivan, and Victoria I. Zhuravleva, eds. Russian/Soviet Studies in the United States, Amerikanistika in Russia: Mutual Representations in Academic Projects. Lanham: Lexington Books, 2016. xix + 286 pp. $95.00. ISBN 978-1-4895-1798-0. Marchenia, P. P., and S. Iu. Razin, eds. Rossiiskaia mnogopartiinost' i rossiiskie krizisy XX-XXI vv: Sbornik nauchnykh statei i materialov kruglykh stolov. Narod i vlast' v rossiiskoi smute. Narod i vlast': Istoriia Rossii i ee fal'sifikatsii, Vol. 6. Moscow: Izdatel'stvo Ippolitova, 2016. 948 pp. ISBN 978-5-90363-102-5. Reisinger, William M., and Bryon J. Moraski. The Regional Roots of Russia's Political Regime. Ann Arbor: University of Michigan Press, 2017. xii + 268 pp. $75.00. ISBN 978-0-472-13018-4. Tönsmann, Susanne. What Is Citizenship For? Berlin: Berliner Wissenschafts-Verlag, 2017. 218 pp. €49.00. ISBN 978-3-8305-3595-9. Gabowitsch, Mischa. Protest in Putin's Russia. Cambridge: Polity, 2016. 300 pp. $69.95. ISBN 978-0-7456-9625-6. Trenin, Dmitri. Should We Fear Russia? Cambridge: Polity, 2016. 144 pp. $45.00. ISBN 978-1-5095-1090-0. Raikhel, Eugene. Governing Habits: Treating Alcoholism in the Post-Soviet Clinic. Expertise: Cultures and Technologies of Knowledge. Ithaca: Cornell University Press, 2016. xiv + 232 pp. $26.95 (paper). ISBN 978-105017-0313-3. Pallot, Judith, and Elena Katz. Waiting at the Prison Gate: Women, Identity and the Russian Penal System. London: I. B. Tauris, 2017. xx + 252 pp. $110.00. ISBN 978-1-78453-660-2. [ABSTRACT FROM AUTHOR]

The orthodox view in analytical film theory is that the difference between fiction and nonfiction is anchored in communicative practice. Whereas the creator of nonfiction can be seen as asserting something as true, the creator of fiction merely asks of its spectators that they imagine the work's content. This could be labelled an intention-response theory of the difference between fiction and nonfiction. While watching Supersize Me I am as a spectator very much aware of director Morgan Spurlock making an argument about the state of affairs in the real world, and I assess the truth-value of this argument. While watching Avatar I imagine that there is a population of humanoids, the Na'vi, on the planet Pandora, fighting for survival: I assess what is fictional (true in the fiction). However, when it comes to truth claims the difference between the many varieties of fiction and nonfiction is not as straightforward as this. For example, one may argue that the spectator can and commonly does perceive even a prototypical fiction film such as Avatar as laying claims to truth in the sense that she may read the film allegorically, and search for the filmmaker's agenda. Is not Avatar a critique of Western imperialism, and our non-environmental lifestyle, for example? It is not fully accurate to claim that fiction film does not make truth claims - there are several ways in which fiction films are taken as asserting something that the spectator is asked to believe. Among the many difficult issues this counterargument raises, I will concentrate on only one here, namely on the case of social realism in fiction. Social realism arguably asserts that something is true in our actual world and asks its spectators to believe this - although works of social realism are also classified as fiction. The solution is not to dismiss the basic theory, but to make finer distinctions. I argue that one difference between prototypical nonfiction and social realist fiction is that nonfiction asserts that its contents (characters and events) are true as tokens, e.g., this person experienced this. As fiction, a work of social realism calls for imagining. However, such a work also asserts that its contents are true as types, e.g., these types of persons experience these types of events. I argue that this can explain what the difference is between the truth claims made in the nonfictional The Corner and The Wire as social realist fiction, respectively. Creator David Simon emphasizes that The Wire's portrayal of Baltimore city life is true, and is to be taken as making assertions about American inner city decay. The background for the show is found in Simons and co-author Ed Burns's nonfiction book The Corner, written after extensive ethnographic observation of a group of drug dealers in Baltimore. Their intention to assert something as true is reflected in the academic reception of the series, in which it is celebrated for its authenticity and realism. Studying the style, narration and content of The Wire carefully further illustrates how these truth-telling intentions are communicated to the spectator. Its documentary-like style mimics observational nonfiction film, and its cyclical narrative structure, focused on an ensemble cast of characters typically marginalized in mainstream popular culture by virtue of status and ethnicity, is typical of works of social realism. The spectator picks up on these clues and expects a certain accuracy and authenticity in the type representations in The Wire, although she is aware that the depictions of these token characters and these token events are not true, but only to be imagined. In conclusion, the theory presented in this paper may not be able to neatly categorize any given film as either fiction or nonfiction, as some nonfiction films make type claims and some fictions make token claims. I do not claim that the difference between type and token claims is sufficient for categorizing any given work as either fiction or nonfiction. More work is needed in order to categorize and describe the various types of fiction and nonfiction, paying special attention to the particular blend of imagining and belief prescribed by each, as evident in what the creators say about their intentions, textual features of the work itself, and critical reception. However, difficult borderline cases such as social realism in fiction do not collapse the distinction between fiction and nonfiction, as demarcated by the intention-response theory. Rather, such difficult cases should compel us to investigate more closely the communicative intentions and conventions at work. In the case of social realism, it is still correct to say that the spectator merely imagines that these fictional characters experience various events; however, she also perceives a double invitation to believe that these events and experiences are typical, and as such representative, of a larger group about which the work intends to assert something as true. [ABSTRACT FROM AUTHOR]

Life-long reading has positive effects on our lives and health. This study examines the ways in which adult library patrons read today. Using circulation statistics from four public libraries in the north suburbs of Chicago, Illinois, we explore the differences in reader preferences between traditional print reading (print book checkouts) and e-reading (eBook downloads). This data analysis provides insights on adult patrons' use of public libraries today (i.e. the most likely genre to be checked out are fiction and the preferred reading method is print). This paper also offers some practical suggestion on libraries' collection development, as well as readers' engagement and retention as they relate to technological advancements on book format. [ABSTRACT FROM AUTHOR]

The article discusses the use of English freewriting in literature for secondary level English language learners which introduce them to be open-ended thinkers. It cites on the potential benefits of freewriting in the literacy classroom and encourages the teachers and students to try freewriting about poetry, prose and fiction or non-fiction.

In this paper, I shall demonstrate the value of the concept of literary thickness - i.e. form-content inseparability - as a tool of literary appreciation. I set out the relationships between non-fiction, fiction, literature, and poetry in Section 1 and sketch a preliminary definition of literary thickness in Section 2. I argue that a convincing account of reference in literary fictions can be provided by means of literary thickness in Sections 3 and 4. I argue that the match between authorial intention and reader response characteristic of the experience of literary works is explained by literary thickness in Section 5. In Section 6, I test the usefulness of the concept of literary thickness against Peter Carey's True History of the Kelly Gang. [ABSTRACT FROM AUTHOR]

This article re-examines Rod Serling's career as he transitioned from writing live anthology teleplays to his famous series, The Twilight Zone (1959–1964), in service of investigating the changing definitions of authorship as the television industry changed. It does so in order to show that the techniques many critics agree Serling used to subvert corporate sponsors may have been rooted in pragmatic compromise engendered by the need to remain working within the shifting world of TV. These techniques include using science fiction and fantasy on television and becoming a writer-producer and the face of The Twilight Zone. Serling's transition to science fiction and fantasy, this article argues, could also be seen as a retreat from early TV's dominant mode of storytelling: social realism. His becoming the face of The Twilight Zone may have been a way to assuage producers' fears in supporting another anthology series without a consistent cast. This leads to the conflation of Serling the writer with Serling the salesman. Ultimately, these compromises result in the blurring of the line between commercial and series, as well as between writer and salesman. [ABSTRACT FROM AUTHOR]

This article explores the work of the critic V.F. Perkins in the light of the concept of description, and vice versa. It argues that a range of distinct senses of description come together in Perkins's work, and uses that work to assist in the construction of some proposals about the function and value of description in films and film criticism. Perkins had, it is argued, a particular interest in films that explore what might be referred to as 'failures of redescription', including Max Ophüls's Letter from an Unknown Woman and Elia Kazan's America, America. His writings on these films are explored with a view to demonstrating the ways in which the descriptive practices Perkins used in his writing can bring out rich and fascinating connections between criticism as an ethical practice with affinities to moral philosophy (via a concern with appropriate act descriptions) and the descriptions that are traced by films themselves. [ABSTRACT FROM AUTHOR]

In his work of non-fiction The Great Derangement (2016), Amitav Ghosh examines the inability of the present generation to grasp the scale of climate change in the spheres of Literature, History and Politics. The central premise in this work of non-fiction is based on the statement that literature will one day be accused of its complicity with the great derangement and of blind acceptance of the climate crisis. This paper will study how Ghosh’s fictional and non-fictional enterprise voices a call for more imaginative and cultural forms of fiction that articulate resistance against materialism that can destroy our planet. We shall see how Ghosh’s fictional enterprise falls within the sphere of postcolonial eco-criticism that considers the phenomenon of “material eco-criticism”. I shall also reveal Ghosh’s environmental advocacy in his works of fiction, The Ibis Trilogy and The Hungry Tide. This paper will analyze how the Ibis Trilogy is not just an exploration of the particularly heinous operation of imperial power leading up to the Opium Wars but is also an eco-critical narrative that articulates resistance against the violence of climate change. A study of The Hungry Tide will also reveal how this hybrid literary text is both a historical account of the Marichjhapi massacre and a plea to preserve the eco-system of our time. I shall thus consider the challenges that climate change poses for the postcolonial writer and the evolving grid of literary forms that shape the narrative imagination. [ABSTRACT FROM AUTHOR]

Purpose This paper aims to provide insights into the characteristics of avid non-fiction book readers, exploring their typical demographic characteristics in relation to reading volume and frequency. It also investigates their comparative library usage in relation to avid fiction readers, as well as their motivation to read, and barriers to reading. Findings from the subset of self-identified avid non-fiction readers from the 2015 International Study of Avid Book Readers are interrogated to provide insights into this under-researched group.Design/methodology/approach The authors have used a single-stage mixed-methods approach, using data from both qualitative and quantitative items in an international survey.Findings The quantitative data analysis of this study suggests that avid non-fiction book readers were more likely to be men and older than avid fiction readers, and that they also tended to read less frequently, though avid non-fiction readers tended to read a greater volume of books. Avid fiction readers reported greater library usage, and thus unsurprisingly were found to have a greater borrowing tendency than non-fiction readers. Our qualitative findings around reading motivation identified a range of recurrent themes. The authors also found three key barriers to reading: time, book access and concentration.Originality/value The findings of this study provide unique insights into the characteristics, preferences and motivation of avid non-fiction readers, with the relationship between pleasure and the reading of non-fiction of particular interest. [ABSTRACT FROM AUTHOR]

The article presents several fiction and nonfiction books including 'The Night flowers' by Sara Herchenroether, 'In the Footsteps of Audubon' by Denis Clavreul and 'The Storyteller: Tales of Life & Music by Dave Grohl.

This study investigated readers' experiences of critical thinking and reading, comparing fiction and nonfiction. As previous research has shown links between fiction reading and increased social and cognitive capacities, and such capacities are argued to be necessary for critical thinking, this study sought to explore a potentially unique relationship between reading fiction and critical thinking, as distinct from nonfiction. In depth interviews were conducted with participants who self-identified as readers (N = 12). Each reader was interviewed twice, first in a general discussion of their reading and critical thinking experiences, and secondly with reference to a text they selected to read. An open, iterative coding process yielded 10 codes from the data, forming five categories. These show links between reading experiences and critical thinking, the integration of critical thought into the reading experience through transportation into the text, and also differentiate fiction from nonfiction influences. Nonfiction was valued for its directness, assessable authorship, and questioning. Fiction was found to uniquely drive critical evaluations through the subtle and circuitous way it presented ideas, its complication of veracity, as well as giving rich and deep understandings of the real world. These findings suggest fiction reading experiences are connected with critical thinking in ways distinct to nonfiction, and as such could be an avenue for promoting critical thinking across society through public library provision. [ABSTRACT FROM AUTHOR]

An introduction is presented wherein the editor discusses various reports in the issue on topics including John D'Agata's controversial stance on the line between fiction and nonfiction, a history of Iowa Writers' Workshop and a look at the work of Morten Sabroe.

This paper draws upon an explanation of the proleptic, an understanding of time as being socially constructed within specific contexts, to interpret a series of dramatic sequences enacted in ethnodramatic pedagogy. The authors present two major arguments: (1) teachers can help students analyze the processes that influence and shape their identities by adopting a proleptic framework; (2) ethnodrama, a dramatic and dialogic approach to interpreting texts, creates an opportunity for students to evaluate the social forces that shape identity construction as they situate and reflect on texts within multiple contexts. The authors delineate the ways in which teachers can use ethnodrama to help students revise their understandings of the personal and cultural implications of texts by situating these understandings in different configurations of place, space, and time. [ABSTRACT FROM AUTHOR]

We present two experiments examining the effects of reading narrative fiction (vs. narrative non-fiction vs. expository non-fiction) on social and moral cognition, using a battery of self-report, explicit and implicit indicators. Experiment 1 (N = 340) implemented a pre-registered, randomized between-groups design, and assessed multiple outcomes after a short reading assignment. Results failed to reveal any differences between the three reading conditions on either social or moral cognition. Experiment 2 employed a longitudinal design. N = 104 participants were randomly assigned to read an entire book over seven days. Outcome variables were assessed before and after the reading assignment as well as at a one-week follow-up. Results did not show any differential development between the three reading conditions over time. The present results do not support the claim that reading narrative fiction is apt to improve our general social and moral cognition. [ABSTRACT FROM AUTHOR]

The development of the miniseries as a TV genre during the 1970s became central to American television's dramatization of the nation's history through stories that combined fact and fiction to relate the past to contemporary US culture. Rarely considered, however, is the ways in which increasing slippages between the screen and real-world events might work to presage the culture and politics of the future, illuminating historical connections that move beyond a television drama's moment of production. This article explores the 1977 ABC miniseries Washington Behind Closed Doors, an adaptation of John Ehrlichman's novel The Company and its fictional tale of a Nixon-like president, drawing on the author's experiences as part of the Nixon administration. Emerging in the contexts of the historical miniseries and various screen depictions of Watergate, the show became part of a blurring of the boundaries between fiction and non-fiction in the re-telling of Richard Nixon's doomed tenure as president. At the same time, the article contends, the explicit fictionalization of the nation's recent political history in Washington Behind Closed Doors provides a space in which to read the show as a prescient imagining of the United States' political future later realized in the presidency of Donald Trump. [ABSTRACT FROM AUTHOR]

This article compares the differences between Carrie Hagen's nonfiction reconstruction of the 1874 kidnapping of Charley Ross and Mark Graham's use of this event in his historical mystery. The main emphasis is how details of the actual event are altered to fit the requirements of each narrative form. [ABSTRACT FROM AUTHOR]

Since the 1970s, feminist scholars have undertaken important critical work on Australian women's writing of earlier eras, profiling and promoting their fiction. Less attention has been afforded to the popular non-fiction produced by Australian women writers and, in particular, to that produced before the Second World War. Yet this writing is important for several reasons. First, the non-fiction writing of Australian women was voluminous and popular with readers. Second, this popular work critically engaged with a tumultuous political, social and moral landscape in which, as women's rights were increasingly realized through legislation, the subjectivity of women themselves was fluid and contested. Third, as many of these women were also, or principally, fiction writers, their non-fiction can be shown to have informed and influenced many of their fictional interests, themes and characters. Lastly, and critically, popular non-fiction publication helped to financially sustain many of these writers. In proposing a conceptual framework informed by the work of Pierre Bourdieu to analyse examples of this body of work, this article not only suggests that important connections exist between popular and mainstream non-fiction works – newspaper and magazine articles, essays, pamphlets and speeches – and the fictional publications of Australian women writers of the early twentieth century but also suggests that these connections may represent an Australian literary habitus where writing across genre, form and audience was a professional approach that built and sustained literary careers. [ABSTRACT FROM AUTHOR]

Even though the importance of extensive reading practice is well documented, as are students' changing leisure-time reading habits, knowledge of how much students read at school is still limited. Therefore, this study investigates how many pages of continuous text, nonfiction as well as fiction, students in middle (Grades 4–6) and lower secondary (Grades 7–9) school read during an ordinary school day. Comparing data from two large-scale surveys, in 2007 and 2017, our analyses indicate that the proportion of students who read one full page or more has decreased significantly. More students in middle school compared to lower secondary still read nonfiction, whereas the reading of fiction is now equally low. We conclude that the growing achievement gap among Swedish students on reading literacy tests is mirrored in the widening divide between students who still read extensively at school and those who do not read at all. [ABSTRACT FROM AUTHOR]

University–industry interaction has many supporters and some detractors in the scholarly literature. Science, Technology and Innovation (STI) policy frameworks emphasise interactions between universities and stakeholders other than industry, and the contribution made by these interactions to a range of goals such as environmental sustainability. Given the significance of discourse to shape public opinion, it is important that academic and policy actors convey positive views of university interaction. We investigate whether this is happening by examining representations of university interactions in popular culture. Since public opinion can shape science, our investigation could also suggest new research questions. Our sample includes science fiction novels that won prestigious awards (Hugo, Nebula and Locus) for the genre, from the 1970s to the 2010s. The use of an objective corpus of the literature increases external validity, a methodological novelty in representations of science studies. We show how science fiction, predominantly, is critical of university interactions, reflecting a lack of convincing institutional narratives on their benefits. The apprehensions expressed about interactions with industry or other stakeholders are equivalent. We offer some recommendations for research on STI policy frameworks to incorporate critical views of university–society interaction, including threats to sustainability, and new research questions related to defence of non-disclosure of information for political reasons and conflicts of equity due to the lack of career progression for 'disengaged' academics. [ABSTRACT FROM AUTHOR]

Do people comprehend texts differently based on genre expectation, i.e. whether they are instructed to read a text as fiction or nonfiction? In earlier studies conducted before the prevalence of digital and online reading, texts labeled as nonfiction demonstrated greater situational-model comprehension (gist), while the same text labeled as fiction demonstrated greater surface-level comprehension (word memory). Here we report three online experiments that examine the influence of genre expectations on comprehension today. In none of our studies do we record a difference in text comprehension based on genre expectation. We also collected data on self-reported reading habits and our analyses of these data do not show that individual prevalence of online reading directly moderates effects of genre expectations. Nevertheless, overall, the genres of fiction and nonfiction do not appear to exert universal effects on reading comprehension, especially in the world of digital and online reading. [ABSTRACT FROM AUTHOR]

The increase in the number of godmen is due to the support they received from people, the devotees and followers, in the society. Naturally, godmen as a theme attracted writers and scholars, leading to the increasing number of fiction and non-fiction. In addition, the godmen themselves showed great interest in promoting a saintly image themselves through media. The present project attempts to study these different modes of representations of godmen - Nonfiction, Fiction, and in the Spiritual Discourse - which form a good corpus of Indian writing. The introduction talks about the increase in the emergence of god men, the devotion to godmen, a trend that can be linked to the increasing need for spiritual guidance. This chapter tries to read "The Grand Inquisitor", a section of the novel, The Brothers Karamazov, by Fyodor Doestoevsky and use it as a method of approaching the function of these different modes of godmen in Indian Writing. Chapter II analyses two nonfiction works, namely Richard Dawkins' God Delusion and Khushwant Singh's Gods and Godmen of India to highlight the nonfictional mode which allows a direct and critical depictions wherein the writers could afford to completely denounce religion and godmen. Richard Dawkins goes to an extent of debunking the very basis of devotion and Faith. Khushwant Singh confronts issues related to religion, faith, blind faith and the rise of new cults in India. Chapter III focuses on the fictions of R.K. Narayan and G. V. Desani, who while condemning godmen, implicitly discuss the faith of the devotees and their continuous support. R. K Narayan adopts a passive approach to highlight the blind faith of devotees despite the controversies. Desani brilliantly posits his attack in an indirect manner and takes a jab at the spiritual gurus. Chapter IV discusses godmen's selfrepresentation through their spiritual discourse and the impact it creates on the devotees. A focus on the performative nature of these discourses reveals the godmen's conscious creation of their self-image. The Conclusion sums up the arguments of the previous chapters. It will also show how Dostoevsky's "Grand Inquisitor" acts as a cornerstone to understand the rampant rise in the number of godmen in the Indian society. It also shows how the modes of representation decide the image of godmen in fiction, non-fiction and in spiritual discourse. [ABSTRACT FROM AUTHOR]