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Books on the topic 'Historiographic fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 21 February 2023

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Igalens, Jean-Christophe. Casanova: L'écrivain en ses fictions. Paris: Classiques Garnier, 2011.

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12

Lavinia, Galli Milić, Hecquet-Noti Nicole, and Historiae Augustae Colloquium, eds. Les traditions historiographiques de l'antiquité tardive: Idéologie, propagande, fiction, réalité. Bari: Edipuglia, 2010.

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13

Etulain, Richard W. Re-imagining the modern American West: A century of fiction, history, and art. Tucson: University of Arizona Press, 1996.

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14

Fictions of Art History (Conference) (2010 : Sterling and Francine Clark Art Institute), ed. Fictions of art history. Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 2013.

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15

Past imperfect: Facts, fictions, and fraud in the writing of American history. New York: PublicAffairs, 2004.

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16

Elizabethan fictions: Espionage, counter-espionage, and the duplicity of fiction in early Elizabethan prose narratives. Oxford [England]: Clarendon Press, 1997.

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17

Hoffer, Peter Charles. Past imperfect: Facts, fictions, fraud--American history from Bancroft and Parkman to Ambrose, Bellesiles, Ellis, and Goodwin. New York, NY: PublicAffairs, 2004.

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18

Wayne, Franklin, ed. Bad Land pastoralism in Great Plains fiction. Iowa City: University of Iowa Press, 2010.

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19

Chopoidalo, Cindy. Shakespeare's first tetralogy, epic poetry, and historiography: How a dramatist creates a fictional world. Lewiston: Edwin Mellen Press, 2014.

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20

Figures de califes entre histoire et fiction: Al-Walīd b. Yazīd et al-Amīn dans la représentation d'historiographie arabe de l'epoque ʻabbāside. Beirut: [Orient-Institut], 2006.

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21

1961-, Burton Antoinette M., ed. Archive stories: Facts, fictions, and the writing of history. Durham, N.C: Duke University Press, 2005.

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22

Mapping and historiography in contemporary Canadian literature in English. Frankfurt am Main: Peter Lang, 2005.

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23

Narrating the past: Historiography, memory and the contemporary novel. New York: Palgrave Macmillan, 2011.

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24

Fictions of U.S. history: A theory and four illustrations. Bloomington: Indiana University Press, 2002.

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25

Jarring witnesses: Modern fiction and the representation of history. New York: Harvester Wheatsheaf, 1994.

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26

Bahti, Timothy. Allegories of history: Literary historiography after Hegel. Baltimore: Johns Hopkins University Press, 1992.

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27

Inventiones: Fiction and referentiality in twelfth-century English historical writing. Chapel Hill: University of North Carolina Press, 1996.

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28

1946-, Gill Christopher, and Wiseman T. P, eds. Lies and fiction in the ancient world. Austin: University of Texas Press, 1993.

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29

1946-, Gill Christopher, and Wiseman T. P, eds. Lies and fiction in the ancient world. Exeter [England]: University of Exeter Press, 1993.

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30

McCaw, Neil. George Eliot and Victorian historiography: Imagining the national past. New York: St. Martin's Press, 2000.

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31

Bernd, Engler, and Müller Kurt 1943-, eds. Historiographic metafiction in modern American and Canadian literature. Paderborn: F. Schöningh, 1994.

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32

The Return of the Historical Novel?: Thinking About Fiction and History After Historiographic Metafiction. Universitaetsverlag Winter, 2017.

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33

Brannigan, John. The Novel as History. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749394.003.0016.

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This chapter discusses the historiographic nature of postmodern novels. The predominance of the historiographic in postmodern fiction is in marked contrast to modernism. Here, postmodernism is distinguished in fiction by its preoccupation with the past. The most striking feature of postmodern fiction is its reinvention of the historical novel. The postmodern historical novel prefers narratives of catastrophe and exhaustion to revolutionary progress or national awakening. Yet as much as it seemed to coincide with the currency of a facile notion of ‘the end of history’, the emergence of ‘historiographic metafiction’ signalled instead the revival of a critical sense of historicity, in which the fabulous and the unbelievable could make ‘history’ credible again.

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34

Organ, Barbara E. Is the Bible Fact or Fiction?: An Introduction to Biblical Historiography. Paulist Press, 2004.

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35

Watson, Jay, and Jr ,. James G. Thomas, eds. Faulkner and History. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496809971.001.0001.

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William Faulkner remains a historian's writer. A distinguished roster of historians has referenced Faulkner in their published work. They are drawn to him as a fellow historian, a shaper of narrative reflections on the meaning of the past; as a historiographer, a theorist, and dramatist of the fraught enterprise of doing history; and as a historical figure himself, especially following his mid-century emergence as a public intellectual after winning the Nobel Prize for Literature. This volume brings together historians and literary scholars to explore the many facets of Faulkner's relationship to history: the historical contexts of his novels and stories; his explorations of the historiographic imagination; his engagement with historical figures from both the regional and national past; his influence on professional historians; his pursuit of alternate modes of temporal awareness; and the histories of print culture that shaped the production, reception, and criticism of Faulkner's work. The chapters draw on the history of development in the Mississippi Valley, the construction of Confederate memory, the history and curriculum of Harvard University, twentieth-century debates over police brutality and temperance reform, the history of modern childhood, and the literary histories of anti-slavery writing and pulp fiction to illuminate Faulkner's work. Others explore the meaning of Faulkner's fiction for such professional historians as C. Vann Woodward and Albert Bushnell Hart. In these ways and more, the book offers fresh insights into one of the most persistent and long-recognized elements of the Mississippian's artistic vision.

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36

Hower, Jessica, and Valerie Schutte. Writing Mary I: History, Historiography, and Fiction. Springer International Publishing AG, 2022.

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37

Yung Lee, Regina, and Una McCormack, eds. Biology and Manners. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621730.001.0001.

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This volume is a new collection of scholarly essays on the US science fiction and fantasy writer Lois McMaster Bujold. The collection argues for the significant contributions Bujold’s works make to feminist and queer thought, disability studies, and fan studies. In addition, it suggests the importance of Bujold to contemporary American literature. The volume continues the establishment of Bujold as an important author of contemporary science fiction and fantasy. It argues that her corpus spans the distance between two full arcs of US feminism and has anticipated or responded to several of its current concerns in ways that invite or even require theoretical exploration. As well as papers on earlier work in the main series (the Vorkosigan Saga and the ‘Worlds of the Five Gods’ novels The Curse of Chalion and Paladin of Souls), the collection also presents work on recent publications such as The Sharing Knife sequence; the ‘Penric and Desdemona’ novellas; and the recent Vorkosigan Saga novel Gentleman Jole and the Red Queen. The collection deepens feminist research in Bujold studies by incorporating queer and disability studies perspectives; and includes historiographic retracing of scholarship on Bujold’s work.

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38

Kidd, Jerry. History, Historiography, Historicity and Other Great Fictions. Independently Published, 2018.

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39

Herzberger, David K. Narrating the Past: Fiction and Historiography in Postwar Spain. Duke University Press, 1995.

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40

Herzberger, David K. Narrating the Past: Fiction and Historiography in Postwar Spain. Duke University Press, 1995.

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41

Curthoys, Ann. Is History Fiction? ReadHowYouWant, 2010.

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42

Haunted Historiographies: The Rhetoric of Ideology in Postcolonial Irish Fiction. Manchester University Press, 2014.

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43

Schultz, Matthew. Haunted Historiographies: The Rhetoric of Ideology in Postcolonial Irish Fiction. Manchester University Press, 2016.

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44

Schultz, Matthew. Haunted Historiographies: The Rhetoric of Ideology in Postcolonial Irish Fiction. Manchester University Press, 2016.

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45

Dall’asta, Monica, and Jane M. Gaines. Prologue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0002.

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This prologue examines overarching issues about women's film history, feminism, and the researching and writing of film history. Foregrounding historiographic problems, it explores the researching and writing about women “in” and “as” “history” in the cinema century by focusing on the critical-historical approach, which deals with the problem of “the history of history” —the approach used to expose the never-neutral amnesias of traditional historiography and to counter its claim to objectivity with the inevitability of its “fictions.” The chapter discusses the concept of becoming historical others and highlights the impossibility of history's history by drawing on the case of Elvira Giallanella, an Italian director and producer never mentioned in previous accounts of Italian silent cinema but who suddenly made her way into feminist historiography after a 35mm print of her 1919 antiwar film Umanità was discovered in 2007.

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46

Southgate, Beverley C. History Meets Fiction. Taylor & Francis Group, 2017.

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47

Southgate, Beverley C. History Meets Fiction. Taylor & Francis Group, 2014.

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48

History Meets Fiction. Taylor & Francis Group, 2014.

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49

Southgate, Beverley C. History Meets Fiction. Taylor & Francis Group, 2014.

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50

Crosby, Jill Flanders, and JT Torres. Situated Narratives and Sacred Dance. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9781683402060.001.0001.

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Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, this book explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline.

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