nonfictional


Also found in: Thesaurus, Wikipedia.

non·fic·tion

 (nŏn-fĭk′shən)
n.
1. The category of literature, drama, film, or other creative work, including essays, expository prose, and documentaries, whose content is based on fact and is not imagined.
2.
a. Works in this category: I've read her novels but not her nonfiction.
b. A work in this category: the nonfictions of V.S. Naipaul.

non·fic′tion, non·fic′tion·al adj.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Adj.1.nonfictional - not fictional
fictional - related to or involving literary fiction; "clever fictional devices"; "a fictional treatment of the train robbery"
References in periodicals archive ?
Critique: It is interesting to note that in "Celestial Mechanics" novelist William Heat-Moon deftly draws upon nonfictional devices to create his fictional story--one that successfully crosses traditional boundaries between the two categories.
Using a life story interview as our test case we identify signposts of fictionality, analyze how they function in a nonfictional environment and try to point out issues requiring further theoretical modification.
Under examination are over 30 fictional and nonfictional literary texts, including novels and short stories, biographies and memoirs, plays, poetry, and travel writings that have "the border between Haiti and the Dominican Republic at their core" (p.
Double Cross covers the definition and application of deceptive tactics over time, using both fictional and nonfictional examples to illustrate strategies used in battles.
The diary novel never loses the nonfictional diary from view, and the nonfictional diary has seen different uses and taken different forms.
Even when Duhamel samples nonfictional texts her words are not mirrors or lamps but doors, opening both ways, between actual and possible worlds.
Postirony: The Nonfictional Literature of David Foster Wallace and Dave Eggers
Home of Jack the Ripper and Sweeney Todd, London has produced some of the scariest fictional and nonfictional characters of all time.
He maintains that docudramas are important sources for international relations research for three reasons: (1) television productions reach millions of people and tremendously affect public discourses on the legitimacy of military action, especially in cases in which knowledge is incomplete, limited, or even contested; (2) documentary films in general and docudramas in particular can contribute to the collective memory by rendering audiovisual narratives and interpretations of the represented military operations; and (3) docudramas deconstruct reality by assembling fictional and nonfictional elements.
In fact, the strength of his readings, as with a later chapter on Dickinson that rethinks the final poem in Fascicle 24 as an analogy for dead bodies on a Civil War burial ground (160), is his consideration of poems, essays, and other fictional and nonfictional works as distinctly commenting upon the political, historical and social realm, ranging from such diverse events as the eruption of Mount Vesuvius (Dickinson) to the French "Sunday Revolution" of 1848 (Melville).
It is important to note that Allen seems to sustain his signature gestures and bodily expressions beyond his films, which further strengthens the viewer's association of his roles on the screen with his nonfictional persona.
Suicide in the media: a quantitative review of studies based on nonfictional stories.