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Relevant bibliographies by topics / Historiographic fiction

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Academic literature on the topic 'Historiographic fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 21 February 2023

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Journal articles on the topic "Historiographic fiction"

1

Tyers, Rhys William. "Historiographic Metafiction and the Metaphysical Detective in Roberto Bolaño’s Amulet." MANUSYA: Journal of Humanities 24, no. 2 (December 6, 2021): 270–87. http://dx.doi.org/10.1163/26659077-24020005.

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Abstract Roberto Bolaño’s Amulet explores the writing of history as an attempt to construct a narrative from a multitude of unreliable and conflicting sources. As a result, any attempt at historiography is also plagued by the problems of representation found in literature. More particularly, not unlike detective fiction, history is concerned with identifying the inspirations and actions of its players and with revealing the truth about an episode or series of episodes, using historical information, all of which may or may not be reliable. By examining the relationship between the historical and the fictional in Amulet this paper will discuss Bolaño’s use of the tropes of metaphysical detective fiction and how they help foreground the difficulties posed by historical facts by reinventing them in fiction. This will, in turn, highlight the intersection between detective fiction and historiographic metafiction and how by combining these two genres writers can reimagine historical contexts and find new meanings and significance.

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Nitz, Julia. "In Fact No Fiction: Historiographic Paratext." SPIEL 30, no. 1 (January 1, 2011): 89–111. http://dx.doi.org/10.3726/80121_89.

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Zhang, Xinyu. "Þannig er saga okkar“: Um sagnritunarsjálfsögur og skáldsöguna Hundadaga eftir Einar Má Guðmundsson." Íslenskar kvikmyndir 19, no. 2 (October 24, 2019): 249–73. http://dx.doi.org/10.33112/ritid.19.2.10.

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The ambiguity between reality and fiction haunts Einar Már Guðmundsson’s novel Hundadagar (Dog Days, 2015), as it is a fictional narrative about factual, historical figures and events, such as Jörgen Jörgensen, Rev. Jón Steingrímsson, Finnur Magnússon and Guðrún Johnsen, while the same can be said about many other novels labeled as postmodernism. Canadian literary scholar Linda Hutcheon coined the concept of historiographic metafiction to describe fictions as such, which are “intensely self-reflexive”, while “paradoxically lay claim to historical events and personages”. Hutcheon suggests that historiographic metafictions fully illuminate the very way in which postmodernism entangles itself with both the epistemological and ontological status of history. This paper begins with an introduction to Hutcheon’s theoretical contributions on postmodernism, postmodern literature and the relationship between history and fiction, followed by a reading of Hundadagar as a historiographic metafiction. The narrator’s strategies—such as parataxis, metanarrative comments, we-narrative discourse and documentary intertext—largely indicate an imitation, a revelation, or say, a parody of the process of historian’s writings. The paper further suggests that it is the Icelandic financial crisis in 2008 that prompts the narrator to revisit the 18. and 19. century, since the financial crisis takes the role of a rupture of the Enlightenment ideals, leading to disorder and chaos. Moreover, the narrator finds an uncanny similarity between the past and the present, as if the history has been repeating itself. The spectre of history keeps (re)appearing in a deferred temporality. While revisiting the past, the narrator also (re)visits the present in an allegorical way. In a word, as a historiographic metafiction, Einar Már Guðmundsson’s Hundadagar is “fundamentally contradictory, resolutely historical, and inescapably political”, just as Hutcheon’s perception of postmodernism.

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GHEORGHIU, Oana Celia. "ENCODING REALITY INTO FICTION/ DECODING FICTION AS REALITY: POSTMODERN HISTORIOGRAPHY AS CRITICAL THEORY." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 5, no. 1 (November 24, 2021): 99–105. http://dx.doi.org/10.26520/mcdsare.2021.5.99-105.

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This paper is intended as a brief critical review of three interrelated, fairly similar critical theories, born out the necessity of looking into cultural forms and products with a view to finding the politics at work therein. While American New Historicism is more historically oriented, British Cultural Materialism, with its more obvious influence from Marxism, Postcolonialism and other theories which place the margin at their centre, seems to be more in tune with contemporaneity, and so is the area of Cultural Studies, with its emphasis on cultural representations. It is advocated here that contemporary fiction cannot be fully separated from other textual forms, which are considered here historiographic (not historical) because of their nature of texts produced subjectively, within a certain political, social and cultural context, irrespective of their assumed scientific objectivity. Literature, it is further argued, has become a discourse-oriented endeavour with an active participation, an idea supported in the present study by making reference to several critical and polemic writings by Salman Rushdie, which, in a topsyturvy, postmodernist manner, are foregrounded before, and not after the literature review proper.

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Myshanych, Yaroslav. "Ukrainian Historiographic Prose of the 18th – the First Half of the 19th century in Assessment of Mykhailo Maksymovych." Слово і Час, no. 10 (October 16, 2019): 52–58. http://dx.doi.org/10.33608/0236-1477.2019.10.52-58.

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The essay reviews the studies of Mykhailo Maksymovych that deal with the three works of the 18th–19th-century Ukrainian historiography. According to M. Maksymovych, one may classify the syncretic historiographic works within three main types. These are Cossack chronicles of the late 17th – early 18th centuries, journalistic pamphlets of the late 18th century, and historical novels of the mid-19th century. The scholar used different approaches analyzing the works from the mentioned groups (chronicle by Hryhorii Hrabianka, “History of Ruthenians”, and “The Commoners’ Council” by Panteleimon Kulish). The scholarly historiography of the time was not still shaped enough and the works from the field could have features of fiction and research studies simultaneously. The authors, who didn’t understand history as a separate research field, were free of modern limits and could easily use both fictional and research techniques within the same work. The strict critical attitude of the scholar towards the chronicle by Hryhorii Hrabianka changed into tolerant in the case of “History of Ruthenians” and moderate critical in the analysis of “The Commoners’ Council”. M. Maksymovych tried to be objective in covering historical processes and worked hard to develop a scholarly approach in the evaluation of Ukrainian historiographical prose. Maksymovych took into account the specificity of every single work and, based on the ideas of his predecessors and contemporaries, rather accurately defined the proper frames of the scholarly historiography. At the same time, the scholar didn’t deny the value of fictional works based on historical events.

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Fonfárová, Vladimíra. "Postmodern Challenge of Historiography in Contemporary Canadian Fiction:." American & British Studies Annual 15 (December 21, 2022): 74–88. http://dx.doi.org/10.46585/absa.2022.15.2431.

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As defined by Georg G. Iggers and promoted by Hayden White, the postmodern challenge of historiography calls into question the objective enquiry and truth value of history writing. Many works of fiction have embodied this trend, embracing the challenge by exploring objectivity and the retrievability of the past. In contemporary Canadian literature, such cases are also to be found. The novel Weird Sister (1999) by Kate Pullinger thematizes history and history writing, utilizes Gothic elements, and employs the elements of historiographic metafiction, e.g. as characterized by Linda Hutcheon. The book features characters representing the so‐called silent voices whose testimony had remained lost in the official historical record. This paper aims to show that the depiction of the impossibility of uncovering the truth about the past represents a significant contribution by contemporary fiction authors to the postmodern challenge of historiography, with Pullinger’s novel emerging as a notable contribution to this discourse.

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Puchal Terol, Victoria. "Pernicious Female Role Models and Mid-Victorian London’s Stage." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 20 (2021): 57–77. http://dx.doi.org/10.25145/j.clepsydra.2021.20.03.

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Hutcheon identifies as ‘historiographic metafiction’ those pieces of fiction that expose that our cultural perception of past events is changing and malleable (129). Even though Hutcheon’s theory of historiographic metafiction has been mainly applied to fiction from the post-modern era, certain elements of historical inspiration can be traced back to fiction from the Victorian period. In this article, I propose to turn to the popular theatre of the mid-Victorian period to scrutinize the manipulation of historical female figures, paying close attention to the representation of Lucrezia Borgia as a strong-minded woman. To do so, I analyse the mid-nineteenth century as a moment for asking questions about feminine identity, feminist movements, and alternative representations of female history. By turning to lesser-known mid-Victorian popular plays by H.J. Byron, Charles Matthews, and Leicester Buckingham I will further contribute to an ongoing archaeological task of recovering lost female voices and interpretations from our recent past.

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Manzoor, Fehmida, and Fouzia Rehman Khan. "Identity Formation and Discourse of Power: A Study of Us, Them and Othering in Nervous Conditions." International Journal of English Linguistics 8, no. 4 (April 25, 2018): 262. http://dx.doi.org/10.5539/ijel.v8n4p262.

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This study was designed to trace the deconstruction of authoritative officialized history in fiction through Postmodern Historigraphic Metafiction. Historiographic Metafiction dismantles the metanarrative of official history and raises the voice of silenced subaltern thus generates mininarratives. The study is thus grounded in Postmodern Historiographic Metafictional theory of Linda Hutcheon for investigation of the “subversive strategies” of officialized history and deconstruction of positively accentuated binary of “us” and negatively accentuated binary of “them” in the backdrop of postcolonial literary text Nervous Conditions. Norman Fairclough’s model of Critical Discourse Analysis is taken up as a research method for the analysis of fictionalized historical work under study. Finally, text is analyzed leading to the conclusion of the study. The study shows that fiction unveils the official overriding history and provides new perspectives of untold historical events.

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Ashraf, Ayesha, and Sardar Ahmad Farooq. "Multiplicity of History in Our Lady of Alice Bhatti Through Historiographic Metafiction." International Journal of English Linguistics 10, no. 1 (January 13, 2020): 395. http://dx.doi.org/10.5539/ijel.v10n1p395.

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English fiction, in the recent decades, has significantly manifested its deepest concern for postmodern transformation of history through subversion of the traditional historical narratives. The current research paper aims to highlight the postmodern transformation of history in the selected English novel Our Lady of Alice Bhatti written by Muhammad Hanif. The selected novel as postmodern historiographic metafiction highlights that contemporary fiction manifests and retells the traditional history through memory, parody, self-reflexivity and intertextuality. The current research study generates a better understanding of the present interdisciplinary relation of fiction with that of other disciplines especially history. The postmodern theoretical concepts of Linda Hutcheon are incorporated in this current study. This research is qualitative and exploratory, while textual analysis has been used as a research method. This research ends with the findings and recommendations for further research.

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Varghese, Subin. "Merging Fact, Fiction and Myth: Reading TD Ramakrishnan’s Sugandhi Enna Aandaal Devanayaki as a Historiographic Metafiction." SMART MOVES JOURNAL IJELLH 9, no. 3 (March 28, 2021): 1–8. http://dx.doi.org/10.24113/ijellh.v9i3.10939.

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TD Ramakrishnan’s novel Sugandhi Enna Aandaal Devanayaki is a mixture of the mythological, metaphysical and historical into a fictional space which transcends the boundaries of nation. The novel is a quest for retelling the historical trauma of Sreelanka. In the search for Sugandhi a Tamil liberation activist, the narrator stumbles upon the mythical Sugandhi from the folklore, creating tension between faction and reality. In the search for the mythical Sugandhi Ramakrishnan uses ‘SusinaSupina’ and arrives at Devanayaki belonging to 7th century AD Pallava Dynasty. As fact, fiction and myth blur into the contemporary social space, the myth of Devanayaki merges with Rajani Thirinagame creating the notion of the alternate history from a female perspective. In the novel History blurs into myth, reality into fiction, contemporary into past, individual into society and body into spirit.TD Ramakrishnan deconstructs the millennium old Tamil- Sinhalese political history using the alternate history from mythology and folklore. This paper is an attempt to read the novel Sugandhi Enna AandaalDevanayaki as a Historiographic metafiction.

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Dissertations / Theses on the topic "Historiographic fiction"

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Hui, Lai-ka Jodie. "Postmodern passion in historiographic metafiction an analysis of four texts /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B32021483.

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Detels, Polly Elizabeth. "When "The Lie Becomes Truth": Four Historiographic Novels of the Twentieth Century." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc5508/.

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This dissertation is an exploration of relationships between fiction and history as illuminated by historiographic fiction in general and the historiographic novel in particular. Here the term historiography is employed particularly in several of its many meanings: as the study of the materials and techniques of history, the study of what it means to be a historian, and the study of the philosophy of history. All of these are comprehended in the larger definition of issues pertaining to the writing of history. Four twentieth-century novels are presented and analyzed as historiographic novels. The common element in analysis of all the novels is the examination of historiographic material encoded in narrative, plot, characters, theme, structure or style. Each analysis focuses on one historiographic assumption or problem and brings in perspectives of historians or theorists of history as well as non-novelistic, critical perspectives of the authors themselves. E. M. Forster's Howards End (1910) is analyzed as an imaginative exposé of causality in historical thinking. All the King's Men by Robert Penn Warren (1946) is presented as a gloss on Isaiah Berlin's critique of Leo Tolstoy's second epilogue to War and Peace. Several essays by philosopher Eric Voegelin provide the theoretical framework for a historiographic analysis of Milan Kundera's The Book of Laughter and Forgetting (1978). The historiographic reading of Graham Swift's Waterland (1983) turns on the convergence of tensions between natural and human history with conflicting ideas of what constitutes revolution. In the process of these analyses, the study establishes general properties of the historiographic novel, as opposed to related categories (historical novel, nonfiction novel, and historiographic metafiction, for example). The isolation, description, and examination of historiographic novels as a category of history is offered as a contribution to the debate about the relationships, respectively, between narrative and objectivity, and experience and representation.

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Murray, Paul Leonard. "The historiographic metafiction of Etienne van Heerden." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53120.

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Thesis (MA)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: This thesis investigates the possibility that there are other ways in which to represent the past, not just the traditional way as practised by historians. For instance, other forms such as historical fiction in the historical novel, and therefore, narrative, can act as an important conduit for conveying historical meaning. Through the examination of the historiographic metafiction of the South African writer, Etienne Van Heerden, this study has concluded that through a reading of both the author's belletristic and theoretical texts, readers interested in history and literature will gain some understanding of the problems that come with writing up the past. At the same time, they will gain some knowledge of a different way of writing about South African history, because the author portrays the historical events in a refreshing, vivid and imaginative way. However, it needs to be said from the outset that in no way is the writer of this thesis neglecting the merits of traditional history or advocating its abolition, which is, ultimately, the scientific way of representing the past and remains sacred and paramount for the historian, both amateur and professional.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die moontlikheid dat die verlede volgens ander sienswyses voorgestel kan word en nie slegs volgens die tradisionele sienswyses van historici nie. Daar is byvoorbeeld ander vorme, soos historiese fiksie wat in historiese novelles gebruik word, en daarom kan die narratief as 'n belangrike kanaal dien om historiese betekenis mee oor te dra. Deur 'n ondersoek van die historiese metafiksie van die Suid-Afrikaanse skrywer, Etienne van Heerden, kom hierdie studie tot die gevolgtrekking dat deur die lees van beide die skrywer se belletristiese en teoretiese tekste, lesers wat in die geskiedenis en literatuur belangstel, 'n begrip sal kry van die problematiek wat gepaard gaan met die skryf van geskiedenis. Terselfdertyd sal hulle 'n begrip kry van 'n alternatiewe skryf van die Suid-Afrikaanse geskiedenis, omdat die skrywer historiese gegewens in 'n verfrissende, helder en verbeeldingryke wyse oordra. Dit moet egter beklemtoon word dat die skrywer van hierdie tesis geensins die meriete van tradisionele geskiedskrywing negeer of die afskaffing daarvan voorstaan nie, aangesien die wetenskaplike voorstelling van die verlede kosbaar en van kardinale belang vir beide amateur en professionele historici bly.

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Smith, Christopher B. "The Development of the Reimaginative and Reconstructive in Historiographic Metafiction: 1960-2007." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281462227.

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Hui, Lai-ka Jodie, and 許麗卡. "Postmodern passion in historiographic metafiction: an analysis of four texts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B32021483.

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Thomas, Glen Joseph. "Plots and plotters : narrative, desire, and ideology in contemporary American historiographic metafiction /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16176.pdf.

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Yardley, Fiona Caerilyn. "Subverting narrative: unreliability and textual ethics in Atwood, McEwan, Rushdie and Foer." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10081.

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In order to define an aesthetics of ethical, self-aware fiction, and to outline the ethics implicit in an aesthetic understanding of narrative, this thesis utilizes narrative theory in a close analysis of four relatively contemporary novels by Atwood, McEwan, Foer, and Rushdie. I examine the tension between ontological and epistemological concerns within the four novels in light of their critical backgrounds and narrative structures, and outline the interface between ethics and aesthetics present in each narrative. It is my contention that unreliable writer characters, a newly-identified category of narrator, dramatize aesthetic and ethical engagements with narrative. As a result, they render story and discourse as components of one another, and provide a fruitful exploration of the self-aware mediations between narrative theory and literary fiction in the twentieth and twenty-first centuries. Self-reflexivity, unreliability, aesthetics, and ethics are all central concerns of these four novels. The consequences of fictional engagements with history via unreliable narratives and writer characters, are also explored in light of autobiographical and possible worlds theories. Both the persistent presence of texts-within-texts, and the fictional dramatization of creating text, serves to defamiliarize the mimetic functions of the novel. This narrative logic is completely undermined in self-reflexive fiction. The perspectives on narrative creation, interpretation, and communication implicitly and explicitly represented by the writer characters in these novels are primary ingredients in novelistic discourse. This struggle is mirrored by the process of reading their complex narratives. The apparently slippery categories of author/writer and novel/narrative in the four works of fiction that form this investigation neatly dovetail with elements of Bakhtin’s literary project. Unreliable narrators and self-referential narratives compound the desire for truth by explicitly acknowledging it within their narrative, and at the same time demonstrating its objective impossibility.

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Andrews, Katherine Jean. "Not Just the Past, but History: Researcher-Historian Characters in Canadian Postmodern Historical Fiction." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31696.

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Since the mid-1980s, the study of Canadian postmodern historical fiction has been dominated by Linda Hutcheon’s “historiographic metafiction.” Emphasizing historiography and textuality, critics of historiographic metafiction have flattened the past to text and image, inadvertently severing its active connection with the present and removing it from historical process. This is problematic for the ideological intentions of the texts in question because it is an awareness of the past/present dialectic that incites awareness that present action can lead to future change. This thesis, therefore, examines three novels that have overwhelmingly been viewed as historiographic metafiction for their inclusion of researcher-historian characters: Findley’s The Wars, Bowering’s Burning Water, and Marlatt’s Ana Historic. By opening up these texts to criticism that acknowledges history as process, I demonstrate that there is no need to limit these novels to this problematic framework and that researcher-historian characters are valuable for more than their foregrounding of historiography.

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Milfull, Mostyn Timothy. "Writing about risky relatives and what might have been : the craft of historiographic metafiction." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/51203/1/Tim_Milfull_Vol.1_Exegesis.pdf.

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This practice-based research project consists of a 33,000-word novella, "Folly", and a 50,000-word exegesis that examines the principles of historiographic metafiction (HMF), the recontextualisation of historical figures and scenarios, and other narratological concepts that inform my creative practice. As an emerging sub-genre of historical fiction, HMF is one aspect of a national and international discourse about historical fiction in the fields of literature, history, and politics. Leading theorists discussed below include Linda Hutcheon and Ansgar Nünning, along with the recent critically-acclaimed work of contemporary Australian writers, Richard Flanagan, Kate Grenville, and Louis Nowra. "Folly" traces a number of periods in the lives of fictional versions of the researcher and his eighteenthcentury Irish relative, and experiments with concepts of historiographic metafiction, the recontextualisation of historical figures and scenarios, and the act of narratorial manipulation, specifically focalisation, voice, and point of view. The key findings of this research include: identifying the principles and ideas that support writing work of historiographic metafiction; a determination as to the value of recontextualisation of historical figures and scenarios, and narratorial manipulation, in the writing of historiographic metafiction; an account of the challenges facing an emerging writer of historiographic metafiction, and their resulting solutions (where these could be established); and, finally, some possible directions for future research.

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Shoenut, Meredith L. McLaughlin Robert L. "Canadian postwar perspectives of her-story historiographic metafiction by Laurence, Kogawa, Shields, and Atwood /." Normal, Ill. : Illinois State University, 2005. http://proquest.umi.com/pqdweb?index=0&did=1225101671&SrchMode=1&sid=2&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1176732662&clientId=43838.

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Thesis (Ph. D.)--Illinois State University, 2005.
Title from title page screen, viewed on April 16, 2007. Dissertation Committee: Robert McLaughlin (chair), Lynn Worsham, Sally Parry. Includes bibliographical references (leaves 312-331) and abstract. Also available in print.

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Books on the topic "Historiographic fiction"

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Kotte, Christina. Ethical dimensions in British historiographic metafiction: Julian Barnes, Graham Swift, Penelope Lively. Trier: WVT, Wissenschaftlicher Verlag Trier, 2001.

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Historiography and fiction: Sigfried Lenz and the "Historikerstreit". New York: P. Lang, 1990.

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Curthoys, Ann. Is history fiction? Sydney, NSW: UNSW Press, 2006.

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Narrating the past: Fiction and historiography in postwar Spain. Durham: Duke University Press, 1995.

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John, Docker, ed. Is history fiction? Ann Arbor: University of Michigan Press, 2005.

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John, Docker, ed. Is history fiction? 2nd ed. Sydney: University of New South Wales Press, 2010.

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History meets fiction. New York: Pearson Longman, 2009.

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Tichelaar, Tyler R. Creating a local historical book: Fiction and non-fiction genres. Ann Arbor, MI: Modern History Press, 2012.

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Parmenter, Ed. The Korean War: Fiction versus fact. [S.l.]: Xlibris Corp., 2010.

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Fiction as history: Nero to Julian. Berkeley: University of California Press, 1994.

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Book chapters on the topic "Historiographic fiction"

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Sidhu, Maninder. "Cosmopolitanism and Historiographic Fiction." In Nayantara Sahgal, 131–66. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003353850-9.

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West, Mark. "The Contemporary Sixties Novel: Post-postmodernism and Historiographic Metafiction." In 21st Century US Historical Fiction, 209–27. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41897-7_12.

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Hampson, Robert. "Problems of Historiography." In Cross-Cultural Encounters in Joseph Conrad’s Malay Fiction, 31–43. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230598003_2.

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Zhao, Yiheng. "Historiography and Fiction in Chinese Culture." In The River Fans Out, 81–105. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7724-6_7.

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Rée, Jonathan. "The End of Metaphysics: Philosophy’s Supreme Fiction?" In Philosophy, its History and Historiography, 3–26. Dordrecht: Springer Netherlands, 1985. http://dx.doi.org/10.1007/978-94-009-5317-8_1.

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Morgan, J. R. "Fiction and History: Historiography and the Novel." In A Companion to Greek and Roman Historiography, 527–37. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405185110.ch56.

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Duvall, John N. "The Authorized Morrison: Reflexivity and the Historiographic." In The Identifying Fictions of Toni Morrison, 119–51. New York: Palgrave Macmillan US, 2000. http://dx.doi.org/10.1057/9780312299439_6.

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Greiner, Rasmus. "Fiction Film and History." In Cinematic Histospheres, 17–35. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_2.

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AbstractAs well as taking stock of the existing literature on film and history, this chapter aims to develop a terminological apparatus for describing the conceptual core of the historical film. The first section makes reference to a classic semiological model according to which a film’s production of meaning is determined by its specific arrangement of signs. It draws parallels to debates within historical studies that have enabled a reassessment of fiction film as a historiographical medium and mode of conceptualizing history. Building on these considerations, the second section posits a genre of popular fiction film defined by its referential relation to historical events, individuals, and lifeworlds. The third section argues that this is less a matter of incontrovertible factual accuracy than of generating a feeling of authenticity.

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McClintock, Scott. "Travels Outside the Empire: The Revision of Subaltern Historiography in Amitav Ghosh." In Topologies of Fear in Contemporary Fiction, 65–84. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137478917_3.

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Liu, Huawen, and Hongyu Zhang. "Historiography Via Translation: Chinese New Historical Fiction in the West." In Chinese Literature in the World, 57–72. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8205-6_4.

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