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Abstract Mainstream media is a common source of information on mental health, and its portrayal of mental disorders can influence public perceptions and stigmatisation. Recently, autism has received increased attention in mainstream media. This scoping review aims to contribute to the existing literature on the portrayal of autism and its stigmatising effect by mapping the characteristics and range of records that describe the representation of autism in mainstream media with a focus on non-fiction media (newspapers and social media) and fiction media (movies & TV, and literature). We extracted 31 articles from PubMed and PsychInfo, as well as conducting secondary searches, covering articles published between 2010 and 2022, with a time frame of media from 1988 to 2022. Most of the articles focused on newspapers and movies & TV. Our findings suggest that while the portrayal of autism in media varies, stigmatisation is most prominent in newspapers and movies & TV, often with a negative tone and stereotypical portrayal such as savantism. One possible reason for this could be the lack of representation of experts by experience in these media outlets. In contrast, our review found that literature often has a more diverse and positive representation, and social media tends to have a more supportive tone. Our recommendation is that autistic individuals should be included in the content creation process. Furthermore, future research should focus on newer forms of media, particularly social media, where self-representation is more common, and investigate how this affects the portrayal and stigmatisation of autism.

Trevor Ponech has written a serious and pathbreaking study of how to define non-fiction cinema. Working from the position that no cinematic representation is wholly factual, Ponech argues that what determines whether a film is fiction or non-fiction is the filmmakers intention. Persuasively defending this unique position, the author provides a philosophically rigorous analysis of the communicative practices of filmmakers. In What Is Non-Fiction Cinema? Trevor Ponech has written a serious and pathbreaking study of how to define non-fiction cinema. Working from the position that no cinematic representation is wholly factual, Ponech argues that what determines whether a film is fiction or non-fiction is the filmmakers intention. Persuasively defending this unique position, the author provides a philosophically rigorous analysis of the communicative practices of filmmakers. In making his case, Ponech cogently presents the other major theoretical positions regarding documentary cinema and shows why each is incomplete. The result is a cutting-edge philosophical inquiry into purposiveness in film.

Abstract This chapter attempts to define 'films of presumptive assertion'. This is the proposed label for the field of film studies that has been typically labeled as documentary and non-fiction. The chapter further labels the analysis of films of presumptive assertion in stages by drawing a distinction between fiction and non-fiction. Then it exploits what has been said about it. The chapter goes further by proposing an analysis of films of presumptive assertion as a subcategory of the non-fiction film. Finally, the chapter contemplates a series of problems and questions that the proposed theory is likely to raise. The chapter claims that this concept, presumptive assertion, captures what people mean to talk about when they speak informally of documentaries and non-fiction films.

The boundary has been a profound presence in South African writing as it has been in its history, yet in conceptual terms it has often been misconstrued as denoting an absolute limit. This essay, written as a contribution to a debate on fiction and non-fiction in South Africa, argues for a different construction. Here the boundary is a space—a space of crossing, navigation, danger, creation—and the essay explores its construction in one of its seminal moments of contention, the debates around Gordimer and Coetzee in the 1980s. Taking a personal tack, I challenge Coetzee’s view, as expressed in ‘The Novel Today’, that historical criticism of the time saw literature only as a ‘supplement’ to history. Equally, in views dominant today, there is a disregard for certain forms of writing that are construed as only ‘secondary’, a version of ‘non-fiction’. Either-or binaries such as this, however, produce self-defeating category errors: that history equals non-fiction, that non-fiction equals history, that fiction equals non-history. Rather, I argue for a more expansive view—a view that might engage with the fact that both Gordimer and Coetzee produced their most resounding work at overlapping times in the 1970s and 1980s. Writing of many different kinds has disrupted the surface of the real in South Africa, just as the real has disrupted the surface of its writing. In the current period, this might explain some of the energies and exchanges between fiction and non-fiction, whether in the work of Steinberg, Vladislavić, or van Niekerk. South Africa criticism too should be concerned with writing spaces—its intricacies, complexities, possibilities.

Since 2010, we have witnessed an exponential increase worldwide in the number of non-fiction books for children. Not only has the number of non-fiction publications increased, the books themselves have completely changed in nature compared to the traditional children's learning books of the past. Increasingly released in the form of a picturebook non-fiction publications have recently offered and continue to offer ample space for far-reaching experimentation using a range of original, surprising and previously unthinkable ways of combining transmission of knowledge and artistic research, description of the world and a poetic approach, especially achieved by means of a well-meditated and skilfully designed visual code. This new approach invites us to reconsider non-fiction books altogether, re-examine their particular features and full potential, a potential undoubtedly wider than we were aware of when more traditional learning books were the rule, with their manner of transmitting a largely pre-defined knowledge intended to be memorized and stored in the most linear way possible. As a multimodal means of communication, the 'picturebook' format calls for a different, more complex, response on the part of the reader, because the very nature of the message is influenced and made more ambiguous by the presence of multiple codes. The book contains contributions by scholars from many parts of the world, all of them interested in analysing this new and extremely interesting children's publishing phenomenon

This article examines the relationship between literacy and play in six- and seven-year-olds’ engagement with non-fiction writing. I draw from a year-long ethnographic study (Erickson, 1986) of a US classroom's ‘writing time’, intentionally structured on children’s own interests and enquiries. Rather than strict adherence to monolithic models described in the school region’s mandated curriculum and assessments, the children treated genres as porous and used writing as a tool for multi-modal play. In authoring and interacting with non-fiction texts, they blended ‘real’ and ‘imaginary’ worlds as they communed with historical figures on their own terms. Children used play to enquire into and manipulate the parameters of non-fiction, authoring their relationships with knowledge in the process. Through their exchanges with one another, children became familiar with non-fiction topics. At the same time, their play positioned conventional academic discourses as being open to transformation. This article makes an argument for a more synergistic conception of ‘serious’ and ‘playful’ authoring practices, and for the role of play as a component of critical literacy.

The aim of this paper is to gain insight into the prototypical scientists as they appear in fiction and non-fiction media consumed by children and teenagers in The Netherlands. A qualitative-interpretive content analysis is used to identify seven prototypes and the associated characteristics in a systematic way. The results show that the element of risk is given more attention in fiction than in non-fiction. Also, eccentric scientists appear more often in fiction. In non-fiction, the dimension useful/useless is more important. Furthermore, fictional scientists are loners, although in practice scientists more often work in a team. In both fiction and non-fiction, the final product of the scientific process gets more attention than the process itself. The prototype of the doubter is introduced as an alternative to the dominant representations because it represents scientists and engineers in a more nuanced way.

One of the most problematic areas in the teaching and development of literacy appears to concern children's interactions with non-fiction books. Many surveys and reports have commented on the tendency for children to do little more than copy out sections of non-fiction texts. The Exeter Extending Literacy (EXEL) project was set up with the aim of exploring ways in which non-fiction might be used more effectively and profitably than this. In this book David Wray and Maureen Lewis outline the thinking behind the project and describe in detail the many useful teaching strategies and approaches which were developed in collaboration with primary teachers across the country. Teachers of children from five to fourteen will find this book both a stimulating account of a very influential development project and a useful source of practical teaching ideas.

Creative non-fiction has become in the sense ‘the genre’; of South African writing: writing which makes its meanings at the unstable fault line of the literary and journalistic, the imaginative and the reportorial. Duncan Brown and Antjie Krog engage in a dialogue about the possibilities of the genre of creative non-fiction in South Africa, in particular for negotiating/narrating the complexities of post-apartheid identities. The discussion also covers some of the ethical issues around creative non-fiction, as well as the ways in which the expectations and conventions of the genre(s) may ‘position’ the author and reader.

Humans are story-telling creatures, and our qualitative research needs to reflect this. In this paper we openly discuss our struggles, progress, and experiences with thematic narrative analysis and creative non-fictions from an interdisciplinary team’s perspective. This messy text is aimed at researchers new to and experienced with creative non-fictions to promote critical thinking around the challenges that arise from using such a methodology. It is our goal to be transparent in our processes, emotions, and decision-making throughout the process by providing our individual reflections on each stage of the research process so that other researchers can learn from and critically discuss the future of these methodologies. We use an example of a creative non-fiction that (re)presents data from parents of youth involved in an inclusive physical literacy program. We conclude with a discussion of where we see these methodologies developing in the fields of sport and exercise psychology as to stimulate dialogue amongst our colleagues.

The emergence in recent years of consumer-accessible virtual reality (VR) technologies such as the Google Daydream, Oculus Rift and HTC Vive has led to a renewal of commercial, academic and public interest in immersive interactive media. Virtual reality non-fiction (VRNF) (e.g. documentary) is an emergent and rapidly evolving new medium for filmmaking that draws from - and builds upon - traditional forms of non-fiction, as well as interactive media, gaming and immersive theatre. In this paper, we present our ongoing work to capture and present the first comprehensive record of VRNF - a Mediography of Virtual Reality Non-Fiction - to tell the story of where this new medium has come from, how it is evolving, and where it is heading.

International findings indicate that there is a gap in the literacy performance of school- aged males and females, which has led to a focus on how to address this issue. Research suggests that an individual’s literacy outcomes can be improved by regular recreational book reading, and therefore increasing frequency of engagement in this practice is seen as beneficial. However, the strategies and solutions employed to foster greater engagement in reading tend to subscribe to a problematic theoretical root. Essentialist conceptions of gender often frame educational and policy responses to this gender gap. Amongst other notions, males have been constructed as uniformly preferring non-fiction. This paper draws on previously unpublished data from the 2015 International Study of Avid Book Readers and the 2016 Western Australian Study in Children’s Book Reading to examine the reading preferences of males. Male respondents in both studies displayed no marked preference for non-fiction, and males were more likely to prefer to exclusively read fiction than non-fiction. As essentialism requires homogeneity due to its biological basis, this paper ultimately challenges the legitimacy of using an essentialist framework to generate knowledge about how to best encourage males to read, exploring the risks inherent in this practice.

Are the books preferred and most enjoyed by children harder than other books they read? Are non-fiction books read and understood at the same level of difficulty as fiction books? The Accelerated Reader software offers computerized comprehension quizzes of real books individually chosen by children, giving children (and teachers, librarians, and parents) feedback on performance. Children can also express preferences for books they enjoy. Quizzes taken by 150,220 children in 967 schools are reported. Considering highly preferred books, children were reading very difficult books with a high degree of success. Non-fiction books were not read or understood as carefully as fiction books. Implications for future research and practice are outlined.

Purpose The purpose of this paper is to share personal reflections on impacts of the COVID-19 pandemic on corporate governance and assurance, international finance and economics and non-fiction book publishing. The paper is intended both as a time capsule and as input for future governance and assurance reform and crisis response planning and related research. Design/methodology/approach This paper is an informal capturing and distillation of some personal experiences and insights relating to corporate governance and assurance, international finance and economics and non-fiction publishing in the context of the COVID-19 pandemic. Findings A key insight from the essay is that the pandemic has had diverse and wide-ranging impacts, many of which are likely to persist beyond the immediate response and recovery periods. The impacts have been felt across the public and private sectors, the for-profit and not-for-profit sectors and different industries. Originality/value The author, based in Melbourne, Australia, had an unusually diverse and multi-faceted experience of the pandemic. The essay concludes with directions for further research.

This study compares the metadiscourse (i.e. the meanings which relate to the writers and readers of a text) in two samples of English and Swedish non-fiction texts and their translations in the English Swedish Parallel Corpus. Using an integrative approach to metadiscourse (Ädel & Mauranen 2012:2), it finds that there is a considerably higher frequency of metadiscourse in the Swedish original texts and a somewhat larger proportion of interpersonal metadiscourse, which represents the writer’s attitude towards the propositional content and the readers themselves. In particular, there is a more frequent usage of boosters. In both of the translation samples, there is an increase in transition markers, which raises the level of explicitness in the text. In the translations into English, a tendency was also found for translators to reduce emphasis by omitting boosters and, in some cases, inserting hedges. This, coupled with the higher frequency of boosters in the Swedish original texts suggests that there may be differences in writing conventions in English and Swedish non-fiction texts, for instance, when it comes to increasing the emphatic force of propositions.

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This study examines and evaluates the representation of ethnocultural diversity in non-fiction TV programmes broadcasted by the Flemish (Belgian Dutch-speaking) public service broadcaster VRT in the 2016–2017 TV season. A qualitative content analysis of a sample comprising 36 clips and episodes of 14 non-fiction programmes was supplemented by four focus group interviews with a total of 12 participants belonging to different ethnocultural minorities. The findings suggest that despite several measures undertaken by the VRT, the representation of ethnocultural minorities is still unbalanced and biased in at least three ways: first, in presenting minorities as homogeneous groups rather than highlighting intragroup differences; second, in ‘typecasting’ people with a migration background thematically, i.e., for items on topics and issues related to their ethnocultural identity; and, third, in portraying and approaching minorities from a dominant group perspective. The article ends with the recommendation for public service media to further improve ethnocultural diversity in the workforce and to encourage their journalists and TV producers to reconsider their ‘professional pragmatics’ in order to increase their ethnocultural sensitivity and better manage the representation of super-diversity in their programmes.

Though best known in the English speaking world for his short fictions and poems, Borges is revered in Latin America equally as an immensely prolific and beguiling writer of non-fiction prose. In The Total Library, more than 150 of Borges' most brilliant pieces are brought together for the first time in one volume - all in superb new translations. More than a hundred of the pieces have never previously been published in English. The Total Library presents Borges at once as a deceptively self-effacing guide to the universe and as the inventor of a universe that is an indispensible guide to Borges.

Lyn White investigates the place of non-fiction texts in supporting primary school curriculum. White’s work is informed by the views of practitioners and publishers and seeks to identify current trends and future directions for non-fiction publishing.