Prof. Álvaro Pina Arrabal
Section Collection Information
Dear colleagues,
Due to the wide range of semiotic features that exist, the concept of fiction has become more relevant than ever in understanding not only a significant number of constantly evolving arts (such as literature, theatre, comics, painting, music, cinema, or video games), but also the structure and events of everyday life. Despite its importance, there is still no consensus on what fiction exactly is, what its limits are, or how it relates to reality and to the problematic notion—textual or not—of non-fiction. Genres like historical fiction or documentaries, and even fields such as historiography, reveal a coexistence, if not a confusion, of factual and imagined elements, be it for creative purposes or out of the sheer impossibility to ascertain if a fact is true or not. Various artists have experimented with the creative possibilities of fiction and have even assimilated certain attitudes and behaviors according to fictional depictions, thereby suggesting the impact of the latter in social terms. Similarly, throughout history, there have been—and still are—groups of power (e.g., the Inquisition) consecrated to systematically persecute and/or censor fiction as corruptive and morally pernicious, which, again, underscores its importance.
Since, in one way or another, fiction has been intertwined with humanity from time immemorial, this section is not restricted to any particular period or place. Rather, it aims to explore how this concept has been interpreted over time by focusing on the critical thinking conveyed by theorists, philosophers, and artists. Additionally, any significant system of thought regarding the conceptualization of fiction is open to discussion, such as the Possible Worlds Theory, Structuralism, or the Reception Theory, to mention just a few possible examples. Artistic works that reflect on the essence of fiction through fiction itself (metaliterature, metacinema, or metacomic, for instance) will, needless to say, be considered as well. The recent emergence of artificial intelligence also raises questions about the nature and potential of fiction, the understanding of which can enhance the former in the same way that it can foster the latter.
In short, this section collection welcomes new articles and reviews related to the theoretical understanding of fiction from multiple critical perspectives, both diachronically and synchronically. Given that semiotic possibilities are now more extensive, theory must confront new challenges to conceptualize the all-pervasive phenomenon of fiction as a whole.
Looking forward to your contributions.
Prof. Álvaro Pina Arrabal
Section Editor