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The"True Story Project"WeChat account, fueled by the rising popularity of non-fiction writing, has witnessed rapid growth. While it features works showcasing the vibrancy of young lives, negative portrayals cannot be overlooked. The creative community often exhibits a sense of insecurity and a tendency towards a"playful"approach to life, which manifests in the narratives. These negative representations, gaining considerable traction on the platform, highlight the importance of examining how young people are portrayed in non-fiction writing and the broader context of China's youth development. This paper analyzes the"True Story Project"platform, examining its creative community dynamics and narrative representations through a sample of its non-fiction works. It investigates the underlying causes of these narratives, revealing a strong correlation between narrative representations, topic selection, emotional dissemination, and the generation of online traffic. The study concludes by recommending that media platforms engage in critical self-reflection and shoulder responsibility, while young people should cultivate rationality, embrace self-reliance, and strive for personal growth. [ABSTRACT FROM AUTHOR]

The lyric essay has emerged from a long tradition of life writing that draws on a changing world to forge new forms and ways of expressing selfhood. This paper explores the trajectory of the lyric essay and the way its bricolage form allows writers to draw from our information-saturated lives to represent unique identity. In the context of care work, my research into and construction of my own extended lyric essay was undertaken to help make sense of parenting, caring for family members with disabilities, and navigating climate anxiety in order to see how the multimodal, complex layering of textual forms and sources could reflect the multilayered, complex responsibilities of my life. Since its inception, the lyric essay has been known for its experimental style and transmutability. This allows my research to not only create new understanding of care work in my creative artifact but to examine the scope and potential of the genre itself, having significant theoretical implications on the field of modern life writing. Through practice led research, my writing echoes the symbiotic relationship that the lyric essay has with the environment it draws from: my experiences shape my writing which influences my research. The fluidity of this connection is reflected in the segmentary form; literary research, social media posts, images, quizzes, and memoir are all incorporated to represent a multifaceted life. Here, we see that exploration with the form allows for experimentation with representation of the self, and the scope of possibility for this representation is broad. [ABSTRACT FROM AUTHOR]

This study describes the initial implementation of the writing component of the Write to Read (W2R) literacy intervention in eight low-SES (socio-economically disadvantaged) elementary-level urban schools. Through customised onsite professional development provided by coaches, the writing component sought to build teachers' capacity to design and implement a writing workshop framework infused with research-informed practices for writing suitable for their school and classroom contexts, including attention to cognitive, social and affective dimensions. The paper draws on quantitative and qualitative questionnaire data gathered from classroom teachers in the eight schools in Year 1 (n = 66) and Year 3 (n = 62) of implementation, and semi-structured interviews with randomly selected teachers in each school in Year 4 (n = 18). In general, teachers succeeded in implementing a writing workshop approach to teaching writing, within the broader W2R literacy framework, including the allocation of more time to writing instruction. Professional development, including observation, feedback and demonstration by W2R literacy coaches, contributed to high levels of teacher confidence in such areas as planning and teaching fiction and non-fiction writing genres, and analysing writing samples to inform mini-lessons. By Year 3, teachers noted marked or good improvements in students' attitudes towards writing, volume of writing produced, knowledge of writing genres, and language of response to writing. Areas in need of further support included aspects of the craft of writing, including writing vocabulary, supporting pupils to set goals for writing, selecting mentor texts to teach writing genres, and using a rubric to assess writing development. [ABSTRACT FROM AUTHOR]

In recent years, delivery riders have been deeply involved in people's daily lives. The writing about food delivery riders is increasing day by day and has repeatedly attracted widespread attention from society. The writing around food delivery riders presents their real-life experiences, showcasing their specific ways of working and their struggles and traumas. On the other hand, it also subtly showcases the dissemination effect of non fiction writing. Through experiential feelings and participation, writers not only acquire materials for speech and creation, but also have opportunities for self reflection. The participation and narration of the group of selling riders to the public is an effective practice for writers to rebuild their connection with real life. [ABSTRACT FROM AUTHOR]

Contemporary writing increasingly emphasizes truth-seeking and creative literacy to adapt to the rapidly changing social needs and cultural environment. The concept of nonfiction writing emphasizes the balance between authenticity and literature, that is, the creative combination of truth-seeking and literary narrative, subjective truth and objective truth. Creative writing, on the other hand, is a creative activity in the form of written expression, which emphasizes that everyone can create and is cross-border in nature. Therefore, we take nonfiction as a method, apply the concept of nonfiction writing to creative writing, analyze the cross-disciplinary drive and cross-disciplinary experiments of the concept of nonfiction writing on creative writing, put forward the implementation strategy of the concept of nonfiction writing in the teaching of creative writing, and provide new perspectives for the development of Chineseization and localization of creative writing. The study will provide new perspectives for the development of Chinese and localized creative writing. [ABSTRACT FROM AUTHOR]

Ding Yan is one of the representative writers of the "post -70s" in China. During the interview, she started from her own literary road. In the early days, she mainly created poetry and novels. In 2010, Ding Yan left Xinjiang and moved to Guangdong. Here she created two representative nonfiction works such as "Factory Girl" and "Factory Boys". She believes that the writer should not have a limit on nim or herself. Although there is a boundary between fiction and nonfiction, they can learn from each other. China's nonfiction writing has just begun, and there are still many areas that can be expanded. From the interview, we can clearly see the growth of the writer, her writing habits, her writing experience, and her understanding and thinking about nonfiction writing. [ABSTRACT FROM AUTHOR]

Elizabeth Bowen's Collected Impressions (1950), out of print since soon after its initial appearance , has been wrongly disregarded by Bowen's readers and critics. The volume, comprising over fifty pieces of criticism, models Bowen's distinctive critical process—a process that is characterized by self-reflection, by deliberate and artful arrangement of her essays, and by her strategic revisionary return to a decade's worth of her nonfiction. Archival research at the Harry Ransom Center at the University of Texas at Austin reveals that Bowen develops a "scrap screen" approach to writing criticism in an effort to make of her literary impressions something permanent. Besides re-envisioning nostalgia as part of her critical process, Bowen composes a text that serves as a unifying record of her development as a literary critic, despite her self-doubt regarding her legacy as a critic. [ABSTRACT FROM AUTHOR]

Researching nonfiction writing about where you call home is one way of appreciating conservation challenges. Living at the edge of the Great North Woods in Maine, I have found this work to be enriched by daily dog walks that cumulatively mark changes across time. Structured as a seasonal cycle, this essay ponders an idiosyncratic collection of evidence of more-than-human comings and goings, witnessed on two feet, accompanied by four more, in the first two decades of the twenty-first century. By writing about encounters with wildlife at close range, I reflect on specific ways in which my reading and dog walking practices together inspire extensions of empathy toward the ineffable relations that structure nature-culture borderlands. Becoming attuned to the critters within and without, betwixt and between house and home through extensions of kinaesthetic empathy, my hope is to model the development of a posthuman ethos through developing a storied appreciation for the elusive, unnamed intimacies of nonhuman neighbourliness that include, but are not limited to, witnessing dying and death. [ABSTRACT FROM AUTHOR]

Li Yunlei, who is a young scholar, writer and editor of a journal, has many unique thoughts on the trend of Non-fiction Writing in China in the 21st century. In the written remarks, he pointed out that Non-fiction is an open concept, and many of the current names of Non-fiction do not really capture the concerns of the literary world. He said that an excellent Non-fiction work should have both authenticity, thought and literature, and the construction of the critical theory system of Non-fiction should start from "reality", this is also the biggest problem encountered by Non-fiction theory. He believes that any creator should have full confidence and gradually discover and experience the differences between himself and others in his own way around his most authentic life experience or the social issues which he is most concerned about. At the same time, it also reminds Non-fiction writers to maintain an appropriate distance from consumer society and capital in order to solve the current dilemma. [ABSTRACT FROM AUTHOR]

The article analyses how trust is constituted and disrupted – ›(un)done‹ – through literary and geological form. Practices of trust, I contend, are expressed in the ritualised use of established modes of narration that may negotiate states of crises and (slow) disasters. I consider dystopia and the Gothic as crisis modes that are relied upon on an extraliterary level, while, paradoxically, their narrative composition undermines reliability. In the British context, the historicity of the two modes connects them to a sense of the nation;anation that istroubled by the xenophobia present in the Brexit debates and decision and by an increasingly eroding environment as the climate crisis catalyses the loss of the identity-relevant shorelines. The two novels chosen for scrutiny are both set on this porous and precarious site and may be read in the wider context of the Brexit discourse. In Helen Oyeyemi’s Gothic novel White is for Witching (2009), form is eroding when the famous white cliffs of Dover are indeed ›being eaten‹. In John Lanchester’s dystopic novelThe Wall (2019), form literally becomes concrete as the eponymous wall structures lives and livelihoods in a vision of Britain post erosion. The aim of the article is to contribute to a discussion of form as practices and containers of trust in a world in which geological and environmental forms are radically altered. [ABSTRACT FROM AUTHOR]

This contribution reconsiders the relation between marginalized communities and the hegemonic U.S. American nation through a focus on crisis and an affective perspective on trust. I propose that mutual distrust between the nation and its citizens is a structural affective component of America’s »cultural politics of emotion« (Ahmed 2004) that (re)surfaces particularly in moments of crisis. Against this backdrop, I examine how Black Americans and Asian Americans have expressed their fundamental distrust in the promises of the American nation, and thus challenge, subvert, and even disengage from »cruel optimism« and the fantasy of »the good life« (Berlant 2011).In five case studies – ranging from Nina Simone’s »Mississippi Goddam«, to excerpts from James Baldwin’s and Audre Lorde’s talks and nonfiction, to John Okada’s No-No Boy and Cathy Park Hong’s Minor Feelings – I will show that these expressions not only illustrate how the (un)doing of trust shapes the racialized experiences of living in the affective economy of the United States by delineating the coordinates of belonging in and to the nation, but also how strategic distrust can be used as a form of empowerment and resistance. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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.)

Dorothy Richardson is often posited as one of the originators of stream-of-consciousness style. However, she is less known for her non-fiction writing. This article examines a "comment" from Richardson's column, "Comments by a Layman", in the journal, The Dental Record. I argue that in the piece "A Liberal Education", Richardson articulates a reformist socialism and sets herself apart from other modernists on the issue of education in that she wanted to reform actually existing institutions rather than conceive of new forms of education. In looking at Richardson's writings as a form of what Pierre Bourdieu called "position-taking", I seek to show the importance of her socialist non-fiction. [ABSTRACT FROM AUTHOR]

This article examines the Japanese wartime discourse on the construction of Greater East Asia as an instrument of racialization by looking at the writings of Ibuse Masuji, Jinbo Kotaro, and Nakajima Kenzo; Japanese writers and literary critics who served with the military propaganda unit in Singapore under Japanese rule (1942--1945). The nonfiction writings on Japanese language education by Nakajima and Jinbo and the interethnic romance written by Ibuse each take part in multilayered modes of racialization -- (in)visibilization, infantilization, re-ethnicization, and feminization. I argue that these different modes of racialization collectively provide the language and content for the narcissistic fantasy of the Greater East Asia Co-Prosperity Sphere, thereby displacing the brutal reality of Japanese occupation. [ABSTRACT FROM AUTHOR]

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University 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.)

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University 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.)

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University 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.)

This article explores Abdulrahman Munif 's nonfiction Arabic writings on American oil relations in the Middle East. It begins by outlining his historiography of the US oil presence and its periodization from the start of the 20th century to the early 1970s. It then focuses on his analysis of contemporaneous developments during the 1970s, a period which he saw as historically defining in realigning global relations. The article argues that he employs a unique historiographical approach, one that draws on Marxist, dependency theory, and Arab Nationalist influences. In particular, it embodies a form of conjunctural analysis avant la lettre, which pivots around analyzing the condensation of social forces at periods of critical crises at the international, national, and subnational levels. In this manner, Munif aimed to historicize the 1970s conjuncture from within, anticipating and critiquing much of what later became the standard narratives of the international relations of oil. [ABSTRACT FROM AUTHOR]

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University 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.)

The activity of writing thus always arises I in the margins i of clinical work. For me, I guess, writing is rooted in long sittings with I Pinocchio i when I was a child, which my mother and I took turns reading aloud. Roland Barthes by Roland Barthes, transl. Phillips A.New York: Hill & Wang, 2010. [Extracted from the article]

Whether or not non-fiction writing can be fictional has always been a theoretical proposition debated in academia. In fact, non-fiction writing is not only fictional in the creative process: but also, it needs to be fictional. It has important theoretical significance in manifesting the authenticity, literature, and thoughtfulness of non-fiction writing. In essence, fiction in non-fiction writing is not only a matter of "how to write" a methodological issue about rhetorical expression, narrative strategy and soon; it is more a matter of reflecting the depth of thought in non-fiction writing, reflecting the writer's deep understanding of the world, so it is also a question of epistemology. To deal with fiction in non-fiction writing, it is important to learn the technical methods, but it is more important to improve the fictional ability. The five abilities of learning, thinking, acting, creativity and expression are particularly important for the fictional ability of non-fiction writers. [ABSTRACT FROM AUTHOR]

As an important part of nonfiction writing, local nonfiction literature is limited by the writer’s dual identity of “countryman”and“intellectuals”. Therefor, it often falls into the narrative pattern of“return and return”in Lu Xun’s style. Taking China in Liangzhuang as an example, when Liang Hong returned hometown, he was a countryman of Liangzhuang with memories of his hometown, but when he left home, he was an intellectual who examined rural problems with rational eyes. Between“return”and“departure”, her emotion and rationality are inclined and out of control in the blending, which makes the text lack the strength of rationality in the concentrated emotion, while the rational content itself crosses the fields of social science. The dilemma of modelized narration in China in Liangzhuang shows the defects of local nonfictional literature itself, and also reflects the difficulties of local nonfictional literature in breaking through the local literature of the May 4th movement. [ABSTRACT FROM AUTHOR]

This article examines the representations of the modern Malay in Katherine Sim's Malacca Boy (1957), which is set against the backdrop of historical events in British Malaya, including the Japanese Occupation. An important historical commentary on Malay life and modernising Malaya, the novel invites us to revisit the ingrained scholarly views about colonial writers as well as the contemporary racial discourse about the Malay. Using a new historicist approach, this article has a two-fold aim: first, to analyse how Malacca Boy engages the critical issues of race and modernity in its portrayal of Malay identity through the protagonist, Hassan; and second, to examine the relevance of Sim's portrayal in relation to the contemporary political narrative of the Malay in Mahathir Mohamad's The Malay Dilemma (1970). Indeed, very little research has been done to consider how the trajectories of fiction and non-fiction intersect in the discussion of race and modernity, and therein lies the novelty and strength of our study. Although it is uncommon to compare literary fiction and non-fiction writing, we contend that such an unconventional approach to literary analysis will yield important insights to the narration of Malaysian history, both in the colonial past and postcolonial present, and the place of the modern Malay in it. [ABSTRACT FROM AUTHOR]

This study investigates the ways in which first graders utilised a variety of semiotic resources when authoring nonfiction compositions during a nonfiction genre writing unit of study. Grounded in social semiotics and multimodality theories, the study uses a case study approach to explore the text, image and design resources used in students' multimodal compositions as a group followed by an in‐depth examination of two students' compositions. The data collection includes student compositions, video of classroom interactions and video recorded student composition/artefact elicitation interviews in which students discussed their composition process, authorial decision making and final composition. A multimodal approach to data analysis examines the semiotic resources used by the children, their meaning potential and purposes for inclusion in their nonfiction compositions. Findings suggest students drew upon a range of modalities, including visual images, graphic design features and movable text, in addition to written language to share their ideas and present their information through multimodal compositions. Implications include a need for curricular and instructional advancements with a greater focus on multimodal composing techniques to create inclusive spaces where students can more fully represent what they want to communicate. [ABSTRACT FROM AUTHOR]

This paper critically analyses how Mohsin Hamid in 'Discontent and Its Civilizations' delineates the rupture lines prompted by a decade and a half of tectonic change, from the 'war on terror' to the struggles of individuals to maintain humanity in the inflexible physiognomy of repressive ideology, or the apathetic face of globalization. Whether he is discussing ritual love affairs or pop culture, drones or the pattern of day-to-day life in an extended family, he carries us beyond the doomsayer headlines of a perturbed West and a turbulent East and helps to bring a dazzling manifold world within spiritual and intellectual reach. The classifications under which the essays are congregated: Life, Art, and Politics may be considered universal, as the themes of these segments are wide-ranging. Hamid's nonfiction pieces of writings are deep-rooted in the shifting nature of his homeland. He talks about the way in which Pakistan "plays a recurring role as villain in the horror sub-industry within the news business" (Hamid, 2014). He believes that in Pakistan, Islam has been as a binding force for developing unity for strengthening nationhood. Although Pakistan; "a test bed for pluralism on a globalising planet" (Hamid, 2014), is still struggling for "more pluralism" (Hamid, 2014). American drone attacks have had a deeply detrimental effect by refusing the sovereignty of Pakistan and Pakistani society, and by demanding 'do more' to accost the problem of extremists who tyrannize Pakistanis/Muslims or non-Pakistanis/non-Muslims in the same way. Such social misrepresentations, for some selfish self-interests, neither only shatter the image of a nation in the world, but also play a vital role in transformation of the nation alike with the help of such vague reflections. Pakistan and Islam both need to be reviewed without any "makeup and plastic fangs" (Hamid, 2014) or else future generations will look back at our era and think of us with the same perplexity that we think of those who lived in societies that legalized slavery. [ABSTRACT FROM AUTHOR]

In the context of the rise of the novel in eighteenth-century Britain, this article examines the understudied production of Elizabeth Helme (c. 1743-1814), who enjoyed a long and successful career as a translator, essayist, and writer of novels. Special attention will be paid to Helme’s reception in the English press and the translations of her novels into Spanish and French. It will further argue that Helme’s own practice as author, translator, and translated author configured a synergy of knowledge-building that allowed her to articulate her own style as a writer and posed a critical reflection about the art of writing in her non-fiction pieces, particularly in The Fruits of Reflection (1809) that remains largely unexplored. More generally, Helme’s eclectic approach is indicative of the ways in which eighteenth-century translation and writing practice can foster reflection on literary theory and criticism by confronting the author with the function of her own work. [ABSTRACT FROM AUTHOR]

This article focuses on the influences of pop culture on literary phenomena in the context of the Romanian post-communist period, explaining the cultural-aesthetic differences. Starting from several studies that have influenced the Romanian literary works, the paper presents the contemporary direction in the study of literature published in the past 32 years: starting with the predilection for non-fiction writings in the first years after the 1989 Romanian Revolution, continuing with the ”2000 generation”, which was based on a new style – caustic language, defiance of literary customs or prosaic formulas –, and concluding with the work of the post-2000 generation, where we notice new codes of behavior and sensitivity, new sensibilities, where feelings and anxieties are created and poured into the online environment, while global contexts are becoming more popular (human rights, global warming, pollution, mental health). [ABSTRACT FROM AUTHOR]

An interview with Lance Weiler, renowned innovator of storytelling forms, is presented. Topics include projects often blending technology and live events and blurring fiction and nonfiction worlds; and qualities of an escape room mixed with elements of an alternate reality game fused with immersive theater combined with cinematic qualities and interactive documentary with fiction and nonfiction storytelling.

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]

Philip Roth made no secret of his great admiration for the work of Franz Kafka, which ultimately brought him to Prague in the 1970s and fostered his interest in Czech culture. This contribution focuses on the reception of the personality and work of Franz Kafka in Philip Roth's non-fiction writing. The first section focuses on Roth's essential Kafkaesque essay '"I Always Wanted You to Admire My Fasting"; or Looking at Kafka' from 1973, in which Roth combines an empathetic portrait of his favourite author with a counterfactual vision of Kafka's life, in which the author of the Trial and the Castle did not die of tuberculosis and instead fled from the Holocaust to the United States, where he became Roth's uncle. In the second section, based on Roth's dialogue with Ivan Klíma from 1990, we document how Kafka serves Roth in his reflections on the position and role of the writer in society. [ABSTRACT FROM AUTHOR]

While many celebrate Mae West as a sex symbol and feminist icon, she wrote herself into a mentoring role during the Great Depression as well. Few remember that West wrote or cowrote most of her own scripts, and in those parts—as well as in other nonfiction writing—she counseled women, young people, even a congregation. Among the messages in her themes, characterizations, plotlines, and dialogue emerged a pastoral one in which her character instructed others in a manner that might—in today's parlance—be termed life coach. [ABSTRACT FROM AUTHOR]

As "writers of a larger reality", Virginia Woolf (1882 - 1941) and Ursula K. Le Guin (1929 - 2018) were, each in their own time, novelists and essayists who were not limited to seeing words and their meanings as closed correspondences, watertight. Understanding the art of writing through the lens of the collective and of multiplicity, both wrote fiction as if to expand the reach of words and amplify the metaphors that could arise from them. This essay intends to investigate some of the points of contact between Woolf and Le Guin, thinking in particular the dialogue between the non-fiction writings, "Mr. Bennett and Mrs. Brown" (1924), written by Woolf, and Le Guin's posthumous response in the text "Science Fiction and Mrs. Brown" (1986). The second part of the essay develops on Woolf and Le Guin's criticisms of the concept of heroism, as well as proposals for reformulating the "primordial" narrative of the hero in terms of a fundamental interdependence for life in society, for the valuing of difference (BUTLER, 2020; BRAIDOTTI, 2011). [ABSTRACT FROM AUTHOR]

Copyright of L'Ospite Ingrato is the property of Quodlibet S.r.l. 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.)

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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.)

The study examines author style within underlying patterns of variation in nonfiction essays. The study employs corpus linguistic methodology, building on research on style in fiction (Biber & Finegan, 1994; Biber, 2008b; Egbert, 2012), applies a multidimensional analysis to a corpus of nonfiction essays written by modern authors, a previously unexplored domain, and identifies four unique but interrelated dimensions of variation based on linguistic co-occurrence: Interactive vs. Informational Style, Abstract Expository vs. Concrete Descriptive Style, Immediate vs. Removed Style, and Hypothetical Style. Authors' works are then plotted along these dimensions, revealing stylistic tendencies with relation to the observed patterns of variation. The study also observes that considerable within-author variation along a given dimension results from differences in situational characteristics of individual texts rather than simply idiosyncratic preferences for certain language. The study contributes to the field of corpus stylistics and has practical implications for creative writing, literary analysis, and translation. [ABSTRACT FROM AUTHOR]

This contribution explores the meanings and literary influences behind the "fallen leaves" motif and the "old man" pose in the writings of Nagai Kafū (1879-1959). Starting from two short essays published in the first half of the 1940s, a number of fiction and non-fiction works written from 1908 through 1937 will be analysed in order to demonstrate that the theme of ageing has much deeper connotations than one could expect and that the author resorted to it with a view to criticising Japan's path modern society. [ABSTRACT FROM AUTHOR]

This study aims to present a sociocultural analysis of the linguistic experience of South Asian women who immigrate to Taiwan to marry Taiwanese men. In Taiwan, foreign wives and their husbands and children have gradually become a new multicultural, multi-ethnic social group. We argue that because of the power gap between the narrators (who write in Chinese) and the narrative subjects (who are unable to 'write back' in Chinese), language has powerfully impacted the patterns of prejudice and the construction of subjects' identities. Marriage immigrants are often subjected to the negative stereotypes created and exaggerated by language standardisation within a dominant ideology. Learning Chinese empowers them to gradually engage in social participation outside of their families in the public space. Written in Chinese, their nonfiction works represent a narrative turn in Taiwan. In this manner, a range of voices are actively resisting discriminatory acts. The foreign wives ask not only for basic rights such as legal residency and work permits but also for the right to enjoy equal and shared cultural interaction in Taiwan. This study shows that language acquisition and writing is an effective means of promoting equal exchange and dialogue between cultures within the broader transformations of globalisation. [ABSTRACT FROM AUTHOR]