Psychological fiction in the context of "Wozzeck"

Slipstream is a literary genre or category of speculative fiction that blends together science fiction, fantasy, and literary fiction, or otherwise does not remain within conventional boundaries of genre and narrative. It directly extends from the experimentation of the New Wave science fiction movement while also borrowing from fantasy, psychological fiction, philosophical fiction and other genres or styles of literature.

Historical examples of the genre were partially codified in Feeling Very Strange: The Slipstream Anthology; contemporary examples include Peaces by Helen Oyeyemi, The Dangers of Smoking in Bed by Mariana Enríquez, and The Butterfly Lampshade by Aimee Bender.

Mary Ann Evans (22 November 1819 – 22 December 1880; alternatively Mary Anne or Marian), known by her pen name George Eliot, was an English novelist, poet, journalist, translator, and one of the leading writers of the Victorian era. She wrote seven novels: Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Romola (1862–1863), Felix Holt, the Radical (1866), Middlemarch (1871–1872) and Daniel Deronda (1876). Like Charles Dickens and Thomas Hardy, she emerged from provincial England; most of her works are set there. Her works are known for their realism, psychological insight, sense of place, and detailed depiction of the countryside. Middlemarch was described by the novelist Virginia Woolf as "one of the few English novels written for grown-up people" and by Martin Amis and Julian Barnes as the greatest novel in the English language.

Scandalously and unconventionally for the era, she lived with the married George Henry Lewes as his conjugal partner, from 1854 to 1878, and called him her husband. He remained married to his wife, Agnes Jervis, and supported their children, even after Jervis left him to live with another man and have children with him. In May 1880, 18 months after Lewes's death, Eliot married her longtime friend John Cross, a man much younger than her, and changed her name to Mary Ann Cross.

Stefan Zweig (/zwaɪɡ, swaɪɡ/ ZWYGHE, SWYGHE; German: [ˈʃtɛfan t͡svaɪ̯k] or Austrian German: [t͡svaɪ̯g]; 28 November 1881 – 22 February 1942) was an Austrian writer. At the height of his literary career in the 1920s and 1930s, he was one of the most widely translated and popular writers in the world.

Born into a Jewish family, Zweig was raised in Vienna, Austria-Hungary. He wrote historical studies of famous literary figures, such as Honoré de Balzac, Charles Dickens, and Fyodor Dostoevsky in Drei Meister (1920; Three Masters), and decisive historical events in Decisive Moments in History (1927). He wrote biographies of Joseph Fouché (1929), Mary Stuart (1935) and Marie Antoinette (Marie Antoinette: The Portrait of an Average Woman, 1932), among others. Zweig's best-known fiction includes Letter from an Unknown Woman (1922), Amok (1922), Fear (1925), Confusion of Feelings (1927), Twenty-Four Hours in the Life of a Woman (1927), the psychological novel Ungeduld des Herzens (Beware of Pity, 1939), and The Royal Game (1941).

The Caravaggisti (or the "Caravagesques"; singular: "Caravaggista") were stylistic followers of the late 16th-century Italian Baroque painter Caravaggio. His influence on the new Baroque style that eventually emerged from Mannerism was profound. Caravaggio never established a workshop as most other painters did, and thus had no school to spread his techniques. Nor did he ever set out his underlying philosophical approach to art, the psychological realism which can only be deduced from his surviving work. But it can be seen directly or indirectly in the work of Rubens, Jusepe de Ribera, Bernini, and Rembrandt. Famous while he lived, Caravaggio himself was forgotten almost immediately after his death. Many of his paintings were re-ascribed to his followers, such as The Taking of Christ, which was attributed to the Dutch painter Gerrit van Honthorst until 1990.

Only in the 20th century was Caravaggio's importance to the development of Western art rediscovered. In the 1920s Roberto Longhi once more placed him in the European tradition: "Ribera, Vermeer, La Tour and Rembrandt could never have existed without him. And the art of Delacroix, Courbet and Manet would have been utterly different". The influential Bernard Berenson stated: "With the exception of Michelangelo, no other Italian painter exercised so great an influence."

A Hero of Our Time (Russian: Герой нашего времени, romanized: Gerój nášego vrémeni, IPA: [ɡʲɪˈroj ˈnaʂɨvə ˈvrʲemʲɪnʲɪ]) is a novel by Mikhail Lermontov, written in 1839, published in 1840, and revised in 1841.

It is an example of the superfluous man novel, noted for its compelling Byronic hero (or antihero) Pechorin and for the beautiful descriptions of the Caucasus. This is the first psychological fiction in the history of Russian literature. There are several English translations, including one by Vladimir Nabokov and Dmitri Nabokov in 1958.

Psychological thriller is a genre combining the thriller and psychological fiction genres. It is commonly used to describe literature or films that deal with psychological narratives in a thriller or thrilling setting.

In terms of context and convention, it is a subgenre of the broader ranging thriller narrative structure, with similarities to Gothic and detective fiction in the sense of sometimes having a "dissolving sense of reality". It is often told through the viewpoint of psychologically stressed characters, revealing their distorted mental perceptions and focusing on the complex and often tortured relationships between obsessive and pathological characters. Psychological thrillers often incorporate elements of mystery, drama, action, and paranoia. The genre overlaps with the psychological drama and psychological horror genres, the latter generally involving more horror and terror elements and themes and more disturbing or frightening scenarios.

Psychological horror is a subgenre of horror and psychological fiction with a particular focus on mental, emotional, and psychological states to frighten, disturb, or unsettle its audience. The subgenre frequently overlaps with the related subgenre of psychological thriller, and often uses mystery elements and characters with unstable, unreliable, or disturbed psychological states to enhance the suspense, horror, drama, tension, and paranoia of the setting and plot and to provide an overall creepy, unpleasant, unsettling, or distressing atmosphere.

Psychological drama, or psychodrama, is a subgenre of drama and psychological fiction literatures that generally focuses upon the emotional, mental, and psychological development of the protagonists and other characters within the narrative, which is highlighted by the drama. It is widely known as one of the main subgenres of psychological fiction; the subgenre is commonly used for films and television series.