Finance fiction: Difference between revisions
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{{a|myth|{{image|isda protocol cover 1|jpg|Original Cover of ''[[The ISDA Protocol]]'' {{vsr|1943}}}}}}{{d|Finance fiction|/ˈfaɪəns ˈfɪkʃən/|n|}} (As per the phonetics, pronounced “fience fiction”) | {{a|myth|{{image|isda protocol cover 1|jpg|Original Cover of ''[[The ISDA Protocol]]'' {{vsr|1943}}}}}}{{d|Finance fiction|/ˈfaɪəns ˈfɪkʃən/|n|}} (As per the phonetics, pronounced “fience fiction”) | ||
Finance fiction, or “[[ | Finance fiction, or “[[Fi-Fi]]”, is a post-[[Post-modern|post-modern]] literary genre combining elements of science fiction, fantasy, history, legal drafting, management theory and jurisprudence into a single amorphous, disintegrating, gonzo whole. | ||
It is reflexive, illogical, self-refuting, enlightened, primordial, analytical, continental, rational, impossible, anarchic, auto-erotic world-building and self-destructive. | It is reflexive, illogical, self-refuting, enlightened, primordial, analytical, continental, rational, impossible, anarchic, auto-erotic world-building and self-destructive. | ||
The first universally recognised example of [[fi-fi]] was {{author|Hunter Barkley}}’s 2022 opus the {{br|The ISDA Protocol}}. Barkley developed the concept in his series of short stories, {{br|The Opco Boone Adventures}} | The first universally recognised example of [[fi-fi]] was {{author|Hunter Barkley}}’s 2022 curious opus the {{br|The ISDA Protocol}}. Barkley developed the concept in his series of short stories, {{br|The Opco Boone Adventures}}. By 1950, the genre had developed into other formats. A notable early cinematic release was Muriel Repartee’s Z-grade disaster movie {{br|The Day of the MiFID}}, its sequel just seven years later, {{br|MiFID Reloaded}} and her 2016 political horror outing: {{br|Mad Brex: Beyond Eurozone}}, culminating in this year’s Kami-kwaze movie, {{br|Tory! Tory! Tory!}} | ||
The genre then split into so-called “[[hard fifi]]” and “[[mundane fifi]]”, in which all elements of the narrative elements were constrained by an overriding concern for juridical accuracy and a primacy placed on technical details, and [[soft fifi]] and “[[fantasy fifi]]”, where the emphasis is on the human element of the story and the technical feasibility or even possibility of the world-building is less important, and may be bent to accommodate the psycho drama. | The genre then split into so-called “[[hard fifi]]” and “[[mundane fifi]]”, in which all elements of the narrative elements were constrained by an overriding concern for juridical accuracy and a primacy placed on technical details, and [[soft fifi]] and “[[fantasy fifi]]”, where the emphasis is on the human element of the story and the technical feasibility or even possibility of the world-building is less important, and may be bent to accommodate the psycho drama. | ||
Revision as of 15:26, 14 October 2022
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Finance fiction
/ˈfaɪəns ˈfɪkʃən/ (n.)
(As per the phonetics, pronounced “fience fiction”)
Finance fiction, or “Fi-Fi”, is a post-post-modern literary genre combining elements of science fiction, fantasy, history, legal drafting, management theory and jurisprudence into a single amorphous, disintegrating, gonzo whole.
It is reflexive, illogical, self-refuting, enlightened, primordial, analytical, continental, rational, impossible, anarchic, auto-erotic world-building and self-destructive.
The first universally recognised example of fi-fi was Hunter Barkley’s 2022 curious opus the The ISDA Protocol. Barkley developed the concept in his series of short stories, The Opco Boone Adventures. By 1950, the genre had developed into other formats. A notable early cinematic release was Muriel Repartee’s Z-grade disaster movie The Day of the MiFID, its sequel just seven years later, MiFID Reloaded and her 2016 political horror outing: Mad Brex: Beyond Eurozone, culminating in this year’s Kami-kwaze movie, Tory! Tory! Tory!
The genre then split into so-called “hard fifi” and “mundane fifi”, in which all elements of the narrative elements were constrained by an overriding concern for juridical accuracy and a primacy placed on technical details, and soft fifi and “fantasy fifi”, where the emphasis is on the human element of the story and the technical feasibility or even possibility of the world-building is less important, and may be bent to accommodate the psycho drama.
How to categorise Barkley’s own work has been the subject of much debate: its non-linearity and frequent digressions into plainly made-up and self-aggrandising fantasies places it squarely into the fantasy fifi camp; dedicated followers point out that this fantasy world is in fact a brutal, painful, shockingly accurate rendition of how the world really is.
See also
- Hard fifi (as opposed to Fantasy fifi).