What Is A Fiction?

The short story has been an intricate part of literature going back as far as it’s actual “writing down” was invented. Perhaps two of the most intriguing and somewhat tragic short stories is that of D.H. Lawrence’s, “The Rocking-Horse Winner” and Shirley Jackson’s, “The Lottery”. With the classic theme of “luck” and what that means in each story, we see two very different meanings as these two stories unfold. In “The Rocking-Horse Winner”, we see the protagonist, Paul, who endlessly searches and somewhat attains luck in his search for his mother’s monetary desire. Within the lines of “The Lottery”, however, we see a quaint satirical setting of towns’ folk who gather

The shimmering sunlight lies on the dusty dirt road. Colorful leaves fall from oak trees as a crisp breeze passes by. I had to win today, no matter what happened. It is 7:30 in the morning and time for the Texas Marathon. I tie my purple laces and jog through the forest until I find my two friends, Maddie and Mackenzie.

In today’s America it is becoming harder and harder to know what is truth and what is fiction. The best way to have a complete understanding is to look at the facts and the statistics about whatever you want to know more about. For example when people look at Islam there are numerous misconceptions that people hold with or without knowing it.

Cinlat’s faceplate remained motionless while she studied the plan laid out before her. Finally, she nodded. “Works for me. Verin and I brought the heavy guns.”

John woke up to his screeching alarm at 5:30, slamming his hand down on the snooze button subsequently. “Fuck”, he bellowed in anger. He arose from his bed and rubbed his eyes as he entered his bathroom. John winced as he turned the bright light on, he grabbed a towel then hopped in his morning shower. He lathered up then rinsed off, doing the same to his hair. He dried off then headed downstairs and poured himself a cup of coffee. He turned on the tv, the news channel was showing live footage of a bus crash on the highway. He let out a snide laugh, “sucks to suck!”

“Alright then, go find some weapons if you can. We’re gonna need ‘em if we’re gonna hold out here," Rex says. With that Sharp was put down by some crates to sit on. Hevy and Rogue started looking for weapons. Then Rex contacted the RUS.

The significance of the title of episode 20 “A Necessary Fiction” is that there is a lot of dishonesty and false pretenses displayed throughout the episode. For example in the beginning of the episode Octavian is giving a speech to a group of patrician women discussing their importance in the world, and thanks them for all they do. He goes on to discuss how he will in the future reward those who are faithful in their marriage and punish those who commit adultery. However, not knowing he is making a mockery of himself because his mother Atia is still having relations with Antony which is now her new son-in-law and Octavia is still sleeping with Agrippa. The significance of this is that neither Octavia nor Antony loved or even liked each other

The general speaking into the voice activated comm system in the Bio Hazard suit "Colonel are you ready"?

This paper examines the relation between philosophy and literature through an analysis of claims made by Martha Nussbaum regarding the contribution novels can make to moral philosophy. Perhaps her most controversial assertion is that some novels are themselves works of moral philosophy. I contrast Nussbaum’s view with that of Iris Murdoch. I discuss three claims which are fundamental to Nussbaum’s position: the relation between writing style and content; philosophy’s inadequacy in preparing agents for moral life because of its reliance on rules; and the usefulness of the moral work engaged in by readers of novels. The evaluation of these claims requires a discussion of the nature of philosophy. I find that Murdoch and Nussbaum agree on the

Jonathan arrived home, dropped his bag on the ground, his shoulders sore from carrying it around all day, and began scanning his surroundings for signs of disturbance caused by his wonderful ol’ demon pal. To his surprise, he found nothing, or at least not anything that he could see at the moment. He walked to the kitchen to grab something to eat, and glanced around the room, and again found nothing that would show that Sock had been up to something while he was gone. As this was highly unusual, he guessed that the kid had probably done something in and/or to his room.

He sits beside the pool both feet in the cool water; the same place Oliver sat all those weeks ago. The scene is so similar to that day, ironically so, the weather, Elio's fretting. Is it really better to speak than to die? His mother thought so, he did to, but now he realizes his feelings don’t just affect him anymore. He pulls at the collar of his, no Oliver's shirt and breathes in the scent that is beginning to fade.

If we come to have an understanding that fictional objects have existence that is only minimal existence, then following from this we can explain that fictional objects cannot be physical objects even when having causal effects. The effects that fictional objects can have are never purely physical and thus any fictional object cannot be upgraded to a state of existence greater than the minimal existence that it is currently at. So how does this viewpoint relate to theories that we have? We discussed characters of classic literature that were easily understood to be classical fiction characters. But when you begin addressing topics such as god as a fiction, how do you stop at this point and not consider any sort of theory of knowledge a fiction. If a theory does not have any physical evidence then how do we consider it to be anything but a fiction?

In nonfiction writing, which is primarily strict and methodological, “loose” forms of writing, or informal writing, are seldom found. Therefore, by using that irregularity to not only draw attention to the importance, but to show deeper meaning can greatly enhance the rhetorical properties of the piece. For example, idioms, or in this example, “More than half of the world’s ocean waters are in the same boat,” the phrase “in the same boat” shows a familiarity to the audience which not only draws them in, but makes them feel more comfortable with the piece. Also, another example is “There are few rules and no sheriff,” which is a metaphor that draws relation to the lawless days of America’s “Wild West,” and by doing so the author creates a familiar

Fiction is the classification for any setting or story that is derived from imagination in other words, not based strictly on history. Fact Fiction can be expressed in a variety of formats, including writings, performances, films, television programs, animations, video games, and role-playing games. Psychology researchers have long ignored fiction literature because its only role seems to be entertainment, with no compatible connection validity. We argue that literary narratives have a more important purpose. Literary narratives offer simulations of the social world via abstraction, compression, and simplification. This simulation facilitates the communication and understanding of social information and makes it more compelling, achieving a form of learning through experience. Participating in the simulative experiences of fiction literature can facilitate the understanding of others who are different from us and can argue our capacity for social inference and empathy.

Fictional works of art are something that is very popular in our culture and draw a large audience, but why is that when the audience knows that what they are watching is solely a made up story? The Paradox of Fiction highlights the problem of experiencing emotions about fictional stories. I think what causes the most questioning is that the audience knows it is purely fictional and in no way real, but we still feel particularly strong emotions nonetheless. The emotions experienced are in fact genuine to the viewer, although they are not genuine in a sense of being how one might respond if they were actually placed in the situation of the characters. I believe that most people use fictional stories to escape their daily lives and focus on something that they can relate to that doesn’t actually affect their life.