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Resumen: El cómic de no-ficción se ha incorporado con éxito a la práctica educativa debido, entre otros factores, a su potencial para la transmisión de información de forma objetiva al receptor, unido a su riqueza y diversidad estilística y temática. No obstante, su tradición e historia no ha sido abordada de forma específica en la investigación en cómic, dada la complejidad de establecer límites precisos entre las concreciones de no ficción desarrolladas y, por tanto, para la definición de diferentes taxonomías. Por este motivo, los investigadores analizamos, desde las definiciones más representativas del género, su evolución a partir de las distintas formas de representación de la realidad desde la expresión dibujada, con el objetivo de la búsqueda cronológica de una genealogía que identifique los orígenes del cómic de no ficción como parte de la producción artística y cultural. La investigación aquí realizada permite conectar desde las primeras formas de narración dibujada hasta el cómic documental actual, identificando diferentes ejemplos claves en su evolución desde las primeras expresiones en la Edad Media a los primeros cómics de divulgación del mediados del siglo XX, creando vínculos y relaciones que permiten su inclusión en el aula desde diferentes perspectivas. Abstract: Non-fiction comics have successfully integrated into educational practice, taking advantage of their increased relevance and thematic diversity. However, it is essential for their proper treatment to understand the connection of this form of comics with its tradition and history. In this work, the evolution of this form of comics from various representations of reality through drawn expression is analyzed, starting from taxonomic definitions of the genre. The objective is to chronologically trace a genealogy that identifies the origins of non-fiction comics as part of artistic and cultural production. This research, conducted broadly in its criteria, allows for connecting from the earliest forms of drawn narration to contemporary documentary comics, identifying different key examples in their evolution from the first expressions in the Middle Ages to the early 20th-century educational comics. This establishes links and relationships that facilitate their inclusion in the classroom as a didactic tool from various perspectives.

Contemporary non-fiction picturebooks for children are often fictionalised in one way or another. Many non-fiction picturebooks for children are thus hybrids between fiction and non-fiction but labelled as non-fiction for children and presented to children as non-fiction. Their purpose is to inform and teach, and at the same time entertain and elicit affective responses. To succeed in achieving this dual purpose, this study assumes that designed teaching can create opportunities to separate combined depictions in fictionalised non-fiction. The purpose of this study is to explore children's responses to imaginary constructs in designed reading activities, and to answer what opens up for children when combined depictions in fictionalised non-fiction are separated and made discernible. This is studied in four reading activities with a teacher and six five-year-olds in a preschool setting, reading and discussing picturebooks about dinosaurs and their extinction. The analysis shows that when combined depictions in fictionalised non-fiction are separated by contrast, and thus made discernible as established knowledge and imaginary constructs, this opens up for the children's interpretation, appreciation, and creation of imaginary constructs. [ABSTRACT FROM AUTHOR]

Depuis la première édition de 1957, Operación masacre de Rodolfo Walsh, texte précurseur de la non-fiction, suscite des interrogations quant au genre auquel appartient ce récit qui précède De sang froid de Truman Capote. Au-delà des polémiques sur lesquelles il ne s’agit pas de s’attarder, Operación masacre se définirait en opposition à la fiction et donc aux synonymes que sont « récit », « roman », ce qui pose d’emblée la question de l’association de ces termes –récit de non-fiction– et celle de la perméabilité entre ces termes. Il s’agit donc dans cet article d’analyser les particularités de ce texte / récit qui a évolué au fil des différentes rééditions et de l’évolution politique du pays jusqu’à sa transposition à l’écran, autrement dit à une autre forme de récit, dans le film éponyme du réalisateur Jorge « Tigre » Cedrón.

Compte tenu de l’importance de l’écrivain et journaliste Rodolfo Walsh dans la culture mémorielle argentine, il est surprenant qu’il n’y ait pas eu de bande dessinée sur sa vie. Cette lacune est désormais comblée par l’ouvrage RW. Rodolfo Walsh en historietas (2016) de Gonzalo Peña et CJ Camba. Le présent article soutient que l’ouvrage parvient à esquisser une image “authentique” et polyédrique de l’individu, du journaliste et de l’auteur en se basant sur les événements clés de sa vie. En même temps, il montre que le lecteur est invité, par le choix du mode non-fictionnel, à une analyse critique du “mythe” Walsh à travers l’utilisation de modes et de structures narratives et à l’élaboration de la catégorie “authenticité” aux multiples facettes, spécifiques à la bande dessinée.

Cet article a pour double objet d’étudier le récit Operación masacre (1957) et la mini-série Carmel:¿Quién mató a María Marta? (2020), deux œuvres qui se situent aux extrémités d’une ligne argentine de non-fiction, allant de la création d’un genre à l’un de ses plus récents représentants. La comparaison des deux œuvres, qui permet de repérer leurs points de convergence tout comme leurs points de divergence, fait apparaître comment la série à succès, sortie en 2020, est l’héritière d’une esthétique contemporaine créée par Rodolfo Walsh.

Cet article vise à analyser les points d’inflexion entre le récit de recherche non fictionnel et le récit littéraire dans trois lettres de Rodolfo Walsh : « Carta abierta a la Junta Militar » (« Lettre ouverte à la junte militaire »), « Carta a Vicki » (« Lettre à Vicki ») et « Carta a mis amigos » (« Lettre à mes amis »). Pour cela, nous examinerons les différents procédés narratifs utilisés dans ces textes pour souligner le caractère documentaire des événements et des situations racontées ou bien pour en offrir une vision littéraire. Notre hypothèse est que, grâce à l’imagination critique, l’accumulation de données et de détails factuels permet à l’écrivain d’émettre des hypothèses et des conjectures sur la réalité sans pour autant renoncer à l’imagination. En ce sens, nous tenterons de préciser dans quel sens et avec quels objectifs l’écriture littéraire comble les lacunes, là où les frontières entre les « faits bruts » et les interprétations personnelles commencent à devenir opaques.

There is no consensus on the definition of participatory or collaborative practices in relation to audiovisual media. The same term has been used to name a range of similar practices although they have important differences that should be described. Moreover, different terms have been used to refer to the same practice. The present article provides a conceptual proposal for this mode of creation, which originated and has been essentially developed in the field of non-fiction. We first conducted a systematic review of the literature, which corroborated the starting premise and allowed us to propose the concept 'collaborative modes of audiovisual media' compared with other terms that are currently employed. We then explored the characterisation of the object of study and the historical uses of the different concepts that are applied to this type of audiovisual creation. The definition obtained recognises the plurality of the concept and reveals its basic characteristics. Then, we have compared this notion with recent contributions on collaborative creation in the context of digital communication. In conclusion, this article offers a theoretical model to further research this object of study, acknowledging the differences among practices and facilitating a deeper insight into the productive connections that they share. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to present the history of translation of Polish non-fiction in mainland China from the 1980s to the present. The article divides the translations into three broad categories: anti-fascist literature, exemplified by Tadeusz Borowski and Zofia Nałkowska; reportages, represented by Ryszard Kapuściński; and biographies, diaries and correspondence of renowned Polish artists. The paper includes descriptions of the motives behind the publication of these translations, their reception and information about the translators. It notes that most of the Chinese translations of Polish non-fiction were produced under the influence of significant commemorative events or promotional activities organized by official cultural institutions of both countries. [ABSTRACT FROM AUTHOR]

Why is animation such a central aesthetic in today's epistemic environment and when did viewers begin to accept animation's veracity, despite looking nothing like photorealism or anything one would witness directly? This article explores the techno-cultural reasons for the rise of animated non-fiction in the last 15 years. The article covers animated non-fiction's relation to image production technologies and image manipulation; documentary and surveillance culture; the information age and big data; machine vision, machine perception and AI; and finally, the virtualization of culture. [ABSTRACT FROM AUTHOR]

Julia Wedgwood (1833–1913) was a non-fiction writer who chose an unusually wide range of subjects, including theology, the Classical world and German Biblical criticism. She was also a leading feminist who wrote several influential pieces on female enfranchisement, campaigned in the 1870 elections to the London School Board and taught informally at what became Girton College. She was the niece of Charles Darwin, the great scientist, and had a short but intense relationship with Robert Browning, the poet. She was also close to many other leading Victorian cultural figures. Yet her achievements as a writer are now largely forgotten as is her role as a feminist. This article re-examines her life and career before considering why she has fallen out of the record and what that suggests about the influence of misleading stereotypes in our approach to nineteenth century women's non-fiction writing and the study of first wave feminism. [ABSTRACT FROM AUTHOR]

Many in recent years have been seeking solace and illumination due to trying circumstances by various means including reading. McLuhan's broad pursuits in literature and into other written materials played an important part in the origins of media studies. This article reviews various sources to confirm as well as advocate further celebration and extension of these literary roots. Moreover, it highlights a recent translation of Machado de Assis's classic Brazilian novel Brás Cubas as a gateway to increased use of world literature and other diverse sources. To advance McLuhan's and other foundational works, those involved with media ecology should consider incorporating different recently available fiction and non-fiction more extensively. Such a widening of references could help broaden perspectives, foster additional insights, and help in spiralling the field forward and upward in our times. [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]

Copyright of Postscriptum Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego 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 Postscriptum Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego 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 Postscriptum Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego 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 Études de Stylistique Anglaise is the property of Societe de Stylistique Anglaise 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.)

Najnowsze wydanie czasopisma zawiera przede wszystkim teksty poświęcone szerokiemu spektrum zagadnień związanych z polską literaturą non fiction, które są pokłosiem VIII Międzynarodowej Konferencji „Literatura polska w świecie. Polska literatura non fiction – perspektywa nadawcy i odbiorcy”, zorganizowanej przez Uniwersytet Śląski w Katowicach. Autorzy wzięli na warsztat takie gatunki jak biografia, autobiografia, reportaż czy bedeker, wskazując na przesunięcie tych gatunków w stronę literackiego centrum zarówno ze względu na preferencje czytelników, jak i strategie pisarskie. Pomieszczone w niniejszym numerze artykuły poddają naukowej refleksji obecność polskiej literatury non fiction poza granicami Polski, poszerzając tym samym stan badań nad mechanizmami recepcji literatury oraz strategii translatorskich.

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 case study investigates the overlapping categories of animated documentary, useful animation, and fiction inspired by real events. It analyzes a training video for adults who work with child soldiers that was created by IoM Media and the Dallaire Institute for Children, Peace, and Security. This video incorporates elements of animated narrative fiction, children's television animation, reenactment, and photographic and auditory indexicality. Ultimately, no one form has a greater claim to the truth than the others; rather, truth is constructed through the interrelation of disparate elements, and the video's pedagogical and activist ends are served by abstraction and anti-realism as much as by indexicality. The video also prompts wider questions about temporality and degrees of abstraction in different modes of documentary. The arguments this article presents about the case study are more broadly applicable to non-fiction animated film and to both live-action and animated documentary. [ABSTRACT FROM AUTHOR]

Celem artykułu jest interpretacja wspomnień wojennych Róży Nowotarskiej zebranych w tomie zatytułowanym Tryptyk wojenny. Rozważania ogniskują się wokół problemów konstrukcji tego tekstu w kontekście faction i fiction oraz obranej przez Nowotarską metody opisu. Zagadnienia te omówiono, uwzględniając kategorię egodokumentu. Z przeprowadzonych badań wynika, że droga do wolności Nowotarskiej była też drogą całego jej pokolenia, a dokumentarność przeżyć poświadczają rzeczywiste miejsca i autentyczni, przywoływani na kartach Tryptyku wojennego ludzie. Nie udało się wszak poprowadzić narracji z perspektywy ówczesnego czasu (obrana metoda). Wspomnienia w naturalny sposób obrosły dodatkową tkanką lat przyszłych. Uruchomione autorefleksje, akty pamięci, które podkreślają ciągłość odniesienia do przeszłości, są przejawem indywidulanego sposobu pamiętania o przeszłości Nowotarskiej, ale stają się także pamiętaną przeszłością cywila wplątanego w wojnę.

Copyright of Revista Colombiana de Educación is the property of Universidad Pedaggica Nacional 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.)

Audiovisual co-creation has always had a pedagogical nature, which has been maintained in its adaptation to digital communication, although it is applied in different ways. This study analyses the pedagogical proposals in collaborative interactive non-fiction in the digital environment, and compares them with previous projects of participatory practices. As case studies we selected five interactive audiovisual projects that stand out for their educational intent and their preparation of teaching resources, and analyzed their pedagogical proposals. First, we looked at pedagogy in pre-digital or analogical collaborative creation, which was used to develop an original analytical table. We used this table to study the five collaborative projects through three identified categories. The results show that these categories continue in initiatives today, although the findings show a shift in the pedagogy about audiovisuals, particularly concerning the technical aspects, as well as a weakening of the connection between learning and participation in the collective production. Finally, we can highlight that combining educational practices with collaborative production on the Internet is important to increase citizen participation and give a social perspective to this audiovisual modality. [ABSTRACT FROM AUTHOR]

Copyright of Postscriptum Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego 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.)

La « narcolittérature » représenterait aujourd’hui l’un des media privilégiés de la mise en récit de la violence au Mexique. Scrutée par la critique universitaire qui en dégage les spécificités génériques, cette tendance littéraire a pourtant fait l’objet d’évaluations négatives dénonçant ses apories politiques et esthétiques. Il s’agit d’identifier les lignes de rupture des discours critiques qui ont accompagné la réception des œuvres rattachées à la « narcolittérature » au Mexique ces quinze dernières années. L’article rend ainsi compte des conflits auxquels donne lieu l’emploi du préfixe « narco » comme mode de classification et de désignation d’une littérature du crime au Mexique.

Le mythe du « nouveauisme », c’est-à-dire celui d’une mafia et d’une camorra des origines honorables qui ont dégénéré seulement plus tard en criminalité odieuse, est l’un des topoi les plus répandus dans les représentations des deux organisations criminelles et est à la base d’un dangereux sentiment d’identification, reconnu par d’importants auteurs comme un obstacle décisif à l’anéantissement des mafias. D’où la nécessité, à laquelle cet article se propose de répondre, d’une déconstruction de ce mythe qui illustre sa genèse, son fonctionnement et son caractère fallacieux, à travers l’analyse des narrations de la fin du XIXe siècle et du début du XXe siècle qui l’ont légitimé. En particulier, l’article examine les textes non fictionnels de certains écrivains du Sud de l’Italie - Luigi Capuana, Giuseppe Pitrè, Ferdinando Russo et Ernesto Serao - qui se présentent comme une réponse à d’autres essais, rapports et enquêtes sur la prétendue « mafiosité » anthropologique du Sud, en montrant comment le mythe du « nouveauisme » contenu dans ces textes, puis transféré dans les représentations littéraires contemporaines et populaires, n’est rien d’autre qu’une réaction à l’image trompeuse et infamante d’un Sud forgée par la Nouvelle Italie : une renégociation qui, pour être comprise, doit être revue dans la dialectique entre les représentations hétéronomes et autonomes du Sud développée dans la période post-unification.

Pour analyser le phénomène transmédial Gomorra, caractérisé par la représentation réaliste de la mafia, il reste nécessaire de revenir aux racines des polémiques nées du livre. Certains faits peu examinés comme les révélations de M. Moyhinan sur Extra-pure nous conduisent à nous interroger sur l’entreprise journalistique et littéraire de Saviano depuis ses origines. L’auto légitimation de l’auteur comme écrivain authentique, créateur d’une œuvre dont la dimension littéraire était revendiquée et soulignée, a été fondamentale : une grande partie de la critique universitaire s’y rattacha, sans toutefois que les autres livres de Saviano consacrés à la mafia ne jouissent d’une même considération.

As Julie Bates claims, “the most exciting new writing in Ireland is happening in the field of nonfiction” (2020: 228-229) and, more particularly, in the form of the essay. Sinéad Gleeson uses the confessional mode in her essay collection Constellations: Reflections from Life (2019) to recount her experiences of two deadly illnesses and to challenge ideas that readers might have about themselves or the world. She contemplates her body and life as an Irishwoman in her roles as daughter and patient, and in a variety of social and familial roles. Gleeson also explores the female body in pain, in sexuality, and in the struggle for recovery and change both in the Irish context and universally. This courageous example of essayism crosses many borders: the geographical and social, theory and practice, and thinking and creating. Border Poetics De-limited, edited by Johan Schimanski and Stephen Wolfe (2007), examines the role of art and culture in constructing and tracing borders, focusing on narratives and other symbolic forms, and on the important subjective dimension which cultural forms mediate in the public sphere. This article explores how and to what effect the devices proposed by the authors of this collection can be used to relate Gleeson’s essayism to several concepts of border crossing, such as how the border crosser and border-crossing narrative work from a feminist perspective.

Introduction: Recent research has demonstrated how reflections on serious literature can challenge dominant social-deficit views of autism. This method enables autistic readers to explore social realities more slowly and carefully, encouraging detail-focused considerations. Previous research has also shown that autistic and non-autistic readers reflecting on serious literature together are able to achieve mutuality in a way that enables them to overcome the double empathy problem. However, the advantages of reading aloud designs have yet to be explored with autistic and non-autistic readers due to previous concerns amongst autistic people on the issue of being read aloud to. The present study aimed to explore how an adapted shared reading design that compared serious literature and non-fiction would enable autistic and non-autistic readers to imaginatively engage in the reading experience. Methods: Seven autistic and six non-autistic participants read 8 short text extracts alone while listening to pre-recorded audio of an experienced reader reading each text aloud. Participants completed a reflective questionnaire for each text and a follow-up interview where moving parts of the text were then re-read aloud before discussion. Half of these texts were serious literature, while the other half were non-fiction. Similarly, half of the texts explored fictional social realities that depicted a lack of mutuality, or non-fiction accounts of autism; while the other half explored broader emotional experiences. Results: Thematic and literary analysis of participant reflections and follow-up interviews revealed three main themes: (1) From Surface Reading to Intuitive Engagement, (2) Imaginative Feeling and (3) Going Forward from the Reading Experience. Discussion: The findings showed that autistic readers were better able to hold onto the detailed complexity of serious literature, while non-autistic readers tended to reduce information down to key ideas and understandings for later generalization. Findings are discussed in relation to future shared reading designs. [ABSTRACT FROM AUTHOR]

The article discusses how the increasing number of self-help books for single mothers is meeting the demand for positive narratives about their experiences, which are often stereotyped in the media. The books offer a powerful tool for self-reflection, and content analysis reveals semantic strategies that authors use to construct, negotiate, and reframe single motherhood. The authors aim to challenge societal expectations and redefine what constitutes a family. There are still conflicting messages that perpetuate negative stereotypes and stigmas about single mothers, propelling identity negotiation. The seven principal semantic strategies applied in the texts include reframing, renaming, normalization, direct or indirect confrontations, distinctions, self-labelling, and vernacular. By using semantic strategies, authors aim to empower single mothers, challenge negative stereotypes, and create a sense of community. While there are limitations to the self-help genre, it remains a powerful tool for self-reflection, self-empowerment, and the construction of identity.

The article discusses how the increasing number of self-help books for single mothers is meeting the demand for positive narratives about their experiences, which are often stereotyped in the media. The books offer a powerful tool for self-reflection, and critical discourse analysis reveals semantic strategies that authors use to construct, negotiate, and reframe single motherhood. The authors aim to challenge societal expectations and redefine what constitutes a family. There are still conflicting messages that perpetuate negative stereotypes and stigmas about single mothers, creating an identity crisis. The seven principal semantic strategies applied in the texts include reframing, renaming, normalization, direct or indirect confrontations, distinctions, self-labelling, and vernacular. By using semantic strategies, authors aim to empower single mothers, challenge negative stereotypes, and create a sense of community. While there are limitations to the self-help genre, it remains a powerful tool for self-reflection, self-empowerment, and the construction of identity.

Audiovisual co-creation has always had a pedagogical nature, which has been maintained in its adaptation to digital communication, although it is applied in different ways. This study analyses the pedagogical proposals in collaborative interactive non-fiction in the digital environment, and compares them with previous projects of participatory practices. As case studies we selected five interactive audiovisual projects that stand out for their educational intent and their preparation of teaching resources, and analyzed their pedagogical proposals. First, we looked at pedagogy in pre-digital or analogical collaborative creation, which was used to develop an original analytical table. We used this table to study the five collaborative projects through three identified categories. The results show that these categories continue in initiatives today, although the findings show a shift in the pedagogy about audiovisuals, particularly concerning the technical aspects, as well as a weakening of the connection between learning and participation in the collective production. Finally, we can highlight that combining educational practices with collaborative production on the Internet is important to increase citizen participation and give a social perspective to this audiovisual modality.

IntroductionRecent research has demonstrated how reflections on serious literature can challenge dominant social-deficit views of autism. This method enables autistic readers to explore social realities more slowly and carefully, encouraging detail-focused considerations. Previous research has also shown that autistic and non-autistic readers reflecting on serious literature together are able to achieve mutuality in a way that enables them to overcome the double empathy problem. However, the advantages of reading aloud designs have yet to be explored with autistic and non-autistic readers due to previous concerns amongst autistic people on the issue of being read aloud to. The present study aimed to explore how an adapted shared reading design that compared serious literature and non-fiction would enable autistic and non-autistic readers to imaginatively engage in the reading experience.MethodsSeven autistic and six non-autistic participants read 8 short text extracts alone while listening to pre-recorded audio of an experienced reader reading each text aloud. Participants completed a reflective questionnaire for each text and a follow-up interview where moving parts of the text were then re-read aloud before discussion. Half of these texts were serious literature, while the other half were non-fiction. Similarly, half of the texts explored fictional social realities that depicted a lack of mutuality, or non-fiction accounts of autism; while the other half explored broader emotional experiences.ResultsThematic and literary analysis of participant reflections and follow-up interviews revealed three main themes: (1) From Surface Reading to Intuitive Engagement, (2) Imaginative Feeling and (3) Going Forward from the Reading Experience.DiscussionThe findings showed that autistic readers were better able to hold onto the detailed complexity of serious literature, while non-autistic readers tended to reduce information down to key ideas and understandings for later generalization. Findings are discussed in relation to future shared reading designs.

Artykuł jest próbą zastosowania teorii trójkąta autobiograficznego Małgorzaty Czermińskiej do analizy tekstów reporterskich, w których wizerunek świata jest wypadkową wierności faktowi, doświadczenia autora i literackiej reprezentacji. W zależności od dominanty można wyróżnić reportaże będące przede wszystkim świadectwem, głównie wyznaniem lub pierwszoplanowo wyzwaniem. Autorka przedstawia koncepcję na przykładzie wybranych współczesnych reportaży o utopii (Eksperyment Utopia Dylana Evansa, Światy wzniesiemy nowe Urszuli Jabłońskiej, Auroville. Miasto z marzeń Katarzyny Boni i Niedźwiedzią przysługę Matthew Hongoltza-Hetlinga). Temat wspólnot intencjonalnych uwypukla wagę przyjętego punktu widzenia i intersubiektywizacji, a zarazem zapewnia pożądaną nadwyżkę reporterską, ułatwiając literacką uniwersalizację.

This feature article consists of an overview of the history and practices to date of the Proverse Prize, a literary prize for unpublished fiction, non-fiction, or poetry, submitted in English (but which may be in translation), which was founded in 2008. It discusses the rationale for the Prize's creation, including the provision of a literary prize open to all aged 18 years old or above, the background and writing experience of the writers at the time of submission, the genre of works submitted, the support and attention received for the prize and winning works, and the continuing progress in the literary careers of winning writers. There is also some discussion of the impact of COVID-19 on the participation of writers and the flexible evolution in response to pandemic protocols of the biannual promotional events which have been regularly held by the publishers in a heritage building in central Hong Kong. [ABSTRACT FROM AUTHOR]

The extensive presence of names and toponyms in Alberto Arbasino's works makes it an ideal case study for exploring the significance of proper names and lists of names in literature. This paper aims to examine the role of names in Arbasino's work, starting with an analysis of the names found in the paratexts, such as titles, intertitles, indexes, and indexes of names. These names serve as structural elements that reflect the author's inclination towards classification and combination. Moving forward, I examine the role of names within the main text itself. By comparing them to the works of Proust, Flaubert, and Auden, it becomes evident that names in Arbasino's writing take on a dual nature, encompassing both seriousness and facetiousness. This duality allows his prose to oscillate between memoir and biting satire, as well as between self-portrayal and self-parody. This applies to various forms of his writing, whether it be prose, non-fiction, or hybrid works like Fratelli d'Italia. In conclusion, I offer some observations on the use of homonyms and synonyms in Arbasino's work, employing semiotic tools to analyze their significance. [ABSTRACT FROM AUTHOR]

Assessing women's role in the audiovisual industry provides us with negative data regarding the number of women in the industry, which are also confirmed when factors such as their prominence or leadership in these audiovisual projects are considered. A quantitative and qualitative analysis was thus undertaken based on the need to examine this problem in depth to determine what is happening in the documentary or nonfiction genre, which has exhibited significant growth thanks to the demand for content from subscription video-on-demand (SVoD) streaming platforms. This research analyzes data on the number, prominence, and leadership of women through a review of the 35 Spanish productions in this genre that were produced and/or distributed exclusively on the three leading platforms in Spain between 2016 and 2021. Accordingly, the 2,099 jobs created by these productions have been evaluated, providing data on the occupations and level of responsibility that women had. The research findings confirm the overall data. In addition, they allow us to determine why, although the documentary genre has been associated with greater opportunities for women, this has not held true within the streaming market, where this genre has achieved a greater impact. This underrepresentation of women is especially prominent in the area of leadership. [ABSTRACT FROM AUTHOR]

This article explores UK bookselling in terms of the retail buying functions, promotional activity, merchandising, and stock management processes commonly adopted. The business structures and mechanisms that dictate organizational book buying in the UK market are also explored in terms of the time allowed for titles to succeed or fail. These very practical and logistical aspects of retailing are brought to life by the qualitative data obtained through seven semi-structured interviews in 2018–2019. The sample represented actors across the UK publishing industry supply chain but focused predominantly on the book buyer function. This research finds that the sale-or-return purchasing model, prevalent in the UK book trade, plays a crucial role in dictating the window of opportunity for books to succeed or fail; the book-buyer gatekeeper function is pivotal and highly sensitive to local demand; and that local demand is fulfilled through the curation of predictable or proven products in combination with novel or speculative products – the level of purchasing risk is dependent on retail location and footfall. These findings are aligned with organizational buyer behaviour, retail location theory, and buyer behaviour theory. [ABSTRACT FROM AUTHOR]

Iwona Chmielewska's picturebook abc.de published in 2015 has been called a 'dictionary', 'primer', 'ABC book' and it has been compared to an encyclopaedia. Early-concept or concept books have been mentioned in its context, as well as the title of other books by Chmielewska, 'thinking ABC', this time as a specific name for a particular type of work. The terms 'rebus', 'puzzle', 'riddle', 'intellectual game' also appear frequently. All this together suggests how complex and multi-layered the book is and how much it draws on various forms. The aim of this article, therefore, is to look at what forms, in what way and for what purpose Iwona Chmielewska uses in abc.de and how it all relates to contemporary trends in the development of non-fiction picturebooks. [ABSTRACT FROM AUTHOR]

The article analyses Ukrainian prose works published after the Russian aggression against Ukraine on 24 February 2022. Generally, the newest Ukrainian prose gravitates more towards the non-fiction genre framework. It is represented by numerous anthologies, mainly with pieces by famous writers, literary critics, and public figures. The authors record personal experiences and reflect on the history of the Russian-Ukrainian confrontation in historical retrospect. Today, the non-fiction format is more popular because it allows essayists to talk about painful topics from a more moderate position and broadcast the situation of Ukrainians to the international community through the mobile genre of short journalistic prose. At the same time, the revaluation of values experienced currently by millions of Ukrainians is manifested in the tendency to cancel everything Russian, which affects the course of the literary process and the distribution of roles among its players, as well as causes the appearance of texts whose style is dominated by hatred of the enemy of the occupier. [ABSTRACT FROM AUTHOR]

Copyright of IC: Revista Científica de Información y Comunicación is the property of Universidad de Sevilla, Departamento de Periodismo 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 aim of this article is to examine how a selection of Scandinavian children's books, spanning from the 1970s up until today, have addressed questions concerning where children come from. Previous research has shown that various forms of humor have been used in the dissemination of information on intercourse and conception. In our article, we examine how and why humor is used when presenting adult sexuality in books for children. We consider humor to be a strategy to take the edge off a challenging topic. However, this strategy does not come without a cost. With the help of critical theory and humor theory, we problematize the strategic use of humor, as it may contribute to the reproduction of heteronormative notions and patterns. In the article, we map several recurring tactics, which we have categorized into five humoristic expressions: transgression of taboos, humorous recognition, absurd humor, naivistic humor, and anthropomorphic humor. [ABSTRACT FROM AUTHOR]

Copyright of Fabrica Litterarum Polono-Italica is the property of Wydawnictwo Uniwersytetu Slaskiego 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.)

'1 Question 10 answers' is a didactic exercise, designed to investigate the notion of interpretation in communication design, and to reflect upon issues that arise in the creation of non-fiction narratives. In particular, this research analyses the relationship between the interviewer and the interviewee, as well as the poetic devices of collection, tabulation and repetition in storytelling. The exercises discussed in this project were applied in various educational contexts: initially from 2017-2019 on the Typography module of the BA in Design at the Universidade da Madeira (Madeira, Portugal), and subsequently in February 2021 during an intensive workshop with MA Communication students in the School of Design at the Politecnico di Milano (Milan, Italy). The exercise consisted of posing a question to ten people and collecting their narrative responses, before exploring how these might be interpreted as texts and translated into artefacts. The results produced by the students at the Universidade da Madeira were small books, while the students at Politecnico di Milano invented communication systems within several different types of media. This article discusses ‘the rules of the game’ applied during the exercises, describes the learning process, and analyses various works made by the students reflecting on delicate balance that exists between a work of interpretation and the processes of dialogue and active listening. The exercises discussed in this project were applied in various educational contexts: initially from 2017-2019 on the Typography module of the BA in Design at the Universidade da Madeira (Madeira, Portugal), and subsequently in February 2021 during an intensive workshop with MA Communication students in the School of Design at the Politecnico di Milano (Milan, Italy). The exercise consisted of posing a question to ten people and collecting their narrative responses, before exploring how these might be interpreted as texts and translated into artefacts. The results produced by the students at the Universidade da Madeira were small books, while the students at Politecnico di Milano invented communication systems within several different types of media. This article will discuss ‘the rules of the game’ that were applied during the exercise: it will describe the learning process, analyse various works made by the students and reflect upon the potentialities of the method in future contexts.