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

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

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 The book contains four previously unpublished studies: Chapter 2, "The Romance of Genre", Chapter 3, "Belief in Fiction: Euhemerus of Messene and the I Sacred Inscription i ", Chapter 11, "Lucianic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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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