Relations: A Narrative Fiction

alien in science fiction could be understood in three overlapping senses. It could refer to startlingly different beings, sometimes from other planets; it could refer to social estrangement […]; or again, it could refer to a quality of the narrative itself” (Seed 27). Alien invasions, sympathetic aliens, and languages are topics of alien encounter theme. “Alien invasion narratives” (Seed 31) often focus on the idea: “conquer or be conquered” (Seed 32, 42). The subtlety of these fictions was the appearance

surrounding the production of fiction. This thesis has attempted to compare the use of metafiction in modern and postmodern novels. The current study has focused attention on the techniques used to evoke metafiction as well as maintaining it throughout narrative structure. It had the aim of fore fronting the role of metafiction in demonstrating the mechanisms governing the production and reception of narrative. It has embarked on the significance of its usage in relation to the conditions surrounding

A narrative is constructed to elicit a particular response from its audience. In the form of a written story, authors use specific narrative strategies to position the ‘ideal reader’ to attain the intended understanding of the meanings in the text. Oliver Sacks’ short story The Man Who Mistook His Wife for a Hat is an unusual short story because it does not display conventional plot development; the story does not contain conflict or resolution of conflict. The genre of the story is also difficult

In this essay I will be discussing, in relation to their narratives, the movies Pulp Fiction (1994) and A Clockwork Orange (1971). I will be looking at how each film conforms and subverts typical narrative conventions and I will be studying in depth the intended effect of these narratives on an audience (the message and execution of the message being crucial aspects of the films that I will pay close attention to in my analysis). A broad overview of both films would be that they are both rather typical

Narrative and Genre Features in the Opening Sequence of Pulp Fiction A narrative is the story itself and generic features are elements expected to be contained within a certain category of film. Pulp Fiction is labeled as a gangster film; however gangster films follow very precise generic elements such a death, contraband’s, violence, wealth and strong family loyalties. Pulp Fiction doe follow the above mentioned elements but the locations of the action are unorthodox

choice or reading fiction had any relationship with empathy and transportation. Based on prior research I predicted that fiction and good character choice would increase empathy and transportation; while those who read the Eveline bad choice narrative will have less empathy and transportation levels. I did not find a significant correlation between reading fiction, character choice, empathy and transportation. Similarly, there was no significant relationship between reading non-fiction and empathic growth

the cognitivist view that there is something to learn from fiction. In this conversation, there are generally two lines of thought: the “world-to-fiction relation” and the “fiction-to-world relation” (Carroll 1). Carroll begins his piece by breaking down one strand of the first. The world-to-fiction relation has to do with whether or not and to what extent we ought to bring outside information from the “real” world into the worlds of fiction. Because Carroll is interested in what we can learn from

book to be described as detective fiction there must be a central mystery and one that by the end of the book is solved satisfactorily and logically, not by good luck or intuition, but by intelligent deduction from clues honestly if deceptively presented.” (James. 2009: 16). This is traditionally conducted via a detective; a figure deployed within the narrative structure ‘whose occupation is to investigate crimes’ (Oxford. 2006: 202). Therefore detective fiction represents an enigma, a puzzle to

descriptive narratives produce knowledge, is the same true of fiction? Can fictional narratives such as novels produce knowledge, and if so, what kind? Consider this question in relation to Ian McEwan’s novel Atonement. It would be very difficult for anyone to find a person who stated that historical or descriptive narratives did not produce knowledge. Can the same thing be said for the genre of historical fiction? In an analysis between historical narratives and historical fiction, we will see

Motives behind a character are convoluted and the relations to their past and to other characters are intricate and interwoven. Causality is also strongly emphasized so character’s actions and ethical choices drive the narrative, which detours quite far from the common plot-oriented devices of the traditional novel. In fact, Realism had done away with the common plot structure, that being