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1
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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Greggio, Alan Jonathan. "O riso e a ironia : a leitura da história em O Nome da Rosa /." Araraquara : [s.n.], 2007. http://hdl.handle.net/11449/99170.
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Orientador: Márcia Valéria Zamboni GobbiBanca: Maria Gloria Cuzumano Mazzi
Banca: Dóris Natia Cavalari
Resumo: As narrativas de ficção de caráter histórico tal como o romance O Nome da Rosa de Umberto Eco permitem uma vasta possibilidade de abordagem de estudos. Dentre estes, percebe-se a importância da ironia na construção do texto de Umberto Eco. Por meio dela, verifica-se como a obra ficcional em estudo abrange tanto a reflexão em torno do conceito de mímesis, quanto o uso reiterado da intertextualidade, elemento, aliás, constante dentro da ficção contemporânea. A ironia, recurso permanentemente presente na construção da narrativa, permite que se estabeleça um nicho entre aquilo que se espera de um texto histórico - a verdade - e aquilo que se espera de um texto ficcional - a invenção. Ela possibilita, portanto, um ponto de reflexão e questionamento das verdades históricas. Nota-se, assim, a capacidade que a narrativa de caráter histórico, em especial a obra O Nome da Rosa, apresenta de reavaliar o conceito mimético não como cópia da realidade, nem como o espaço de negação da condição referencial do texto literário. Ela, antes, possibilita uma reconsideração em torno do conceito aristotélico. Na construção da narrativa, observa-se ainda o quanto elementos, como o narrador, são fundamentais para a criação de uma mentalidade no leitor de que a verdade está sendo dita a todo instante, além de tantos outros elementos que têm a função de autentificação do discurso ficcional como expressão da realidade. Essa ambientação constante da verdade-realidade é a todo o momento desmantelada pela ação da ironia que desvela ao leitor não uma outra verdade, mas sim a possibilidade do questionamento constante do mero estabelecimento de uma verdade unilateral. Obra vasta em sua capacidade plurissignificativa, O Nome da Rosa apresenta, ainda, uma discussão de caráter filosófico em torno da proibição do riso na Idade Média demonstrando, assim, o quanto... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Fiction narratives of historic character like Umberto Eco's novel O Nome da Rosa allow a wide possibility of studies. Among them the importance of irony in Umberto Eco's text construction is realized. Through this irony it is seen how this fiction has a reflection about the concept of mimesis, as the reiterated use of intertextuality, element this often used in contemporary fiction works. Irony, recourse permanently present in narratives construction allows a relation between what is expected from a historical text - the truth - and what is expected from a fictional text - the invention. It enables, therefore, a reflection and questioning point of historical truth. It is noticed, then, the capacity that historical narrative, especially O Nome da Rosa, presents to reevaluate the mimetic concept not as a copy from reality, neither as a negation space of literary text's referencial condition. It enables just reconsideration on Aristotelian concept. In narrative construction it is visible how elements, like the narrator, are essential to the creation of a mentality in the reader that the truth is being told every instant, besides many other elements that have an authentication in the fictional discourse as a reality expression. This constant truth-reality environment is ruined every moment by the action of irony that reveals to the reader is not another truth, but a possibility of constant questioning of a simple act of instituting a unilateral truth. A wide work in its plurisignificant capacity, O Nome da Rosa presents, moreover, a philosophical discussion involving the laughter prohibition in Middle Ages, demonstrating, therefore, how Fiction and History match as elements of human knowledge boundaries and how they deserve to be studied and deepened for a better... (Complete abstract, click electronic access below)
Mestre
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Leavenworth, Van. "The Gothic in contemporary interactive fictions." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-30353.
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This study examines how themes, conventions and concepts in Gothic discourses are remediated or developed in selected works of contemporary interactive fiction. These works, which are wholly text-based and proceed via command line input from a player, include Nevermore, by Nate Cull (2000), Anchorhead, by Michael S. Gentry (1998), Madam Spider’s Web, by Sara Dee (2006) and Slouching Towards Bedlam, by Star C. Foster and Daniel Ravipinto (2003). The interactive fictions are examined using a media-specific, in-depth analytical approach. Gothic fiction explores the threats which profoundly challenge narrative subjects, and so may be described as concerned with epistemological, ideological and ontological boundaries. In the interactive fictions these boundaries are explored dually through the player’s traversal (that is, progress through a work) and the narrative(s) produced as a result of that traversal. The first three works in this study explore the vulnerabilities related to conceptions of human subjectivity. As an adaptation of Edgar Allan Poe’s famous poem “The Raven,” Nevermore, examined in chapter one, is a work in which self-reflexivity extends to the remediated use of the Gothic conventions of ‘the unspeakable’ and ‘live burial’ which function in Poe’s poem. In chapter two, postmodern indeterminacy, especially with regard to the tensions between spaces and subjective boundaries, is apparent in the means through which the trope of the labyrinth is redesigned in Anchorhead, a work loosely based on H. P. Lovecraft’s terror fiction. In the fragmented narratives produced via traversal of Madam Spider’s Web, considered in chapter three, the player character’s self-fragmentation, indicated by the poetics of the uncanny as well as of the Gothic-grotesque, illustrates a destabilized conception of the human subject which reveals a hidden monster within, both for the player character and the player. Finally, traversal of Slouching Towards Bedlam, analyzed in chapter four, produces a series of narratives which function in a postmodern, recursive fashion to implicate the player in the viral infection which threatens the decidedly posthuman player character. This viral entity is metaphorically linked to Bram Stoker’s vampire, Dracula. As it is the only work in the study to present a conception of posthuman subjectivity, Slouching Towards Bedlam more specifically aligns with the subgenre ‘cybergothic,’ and provides an illuminating contrast to the other three interactive fictions. In the order in which I examine them, these works exemplify a postmodern development of the Gothic which increasingly marries fictional indeterminacy to explicit formal effects, both during interaction and in the narratives produced.
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Greggio, Alan Jonathan [UNESP]. "O riso e a ironia: a leitura da história em O Nome da Rosa." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/99170.
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As narrativas de ficção de caráter histórico tal como o romance O Nome da Rosa de Umberto Eco permitem uma vasta possibilidade de abordagem de estudos. Dentre estes, percebe-se a importância da ironia na construção do texto de Umberto Eco. Por meio dela, verifica-se como a obra ficcional em estudo abrange tanto a reflexão em torno do conceito de mímesis, quanto o uso reiterado da intertextualidade, elemento, aliás, constante dentro da ficção contemporânea. A ironia, recurso permanentemente presente na construção da narrativa, permite que se estabeleça um nicho entre aquilo que se espera de um texto histórico - a verdade - e aquilo que se espera de um texto ficcional - a invenção. Ela possibilita, portanto, um ponto de reflexão e questionamento das verdades históricas. Nota-se, assim, a capacidade que a narrativa de caráter histórico, em especial a obra O Nome da Rosa, apresenta de reavaliar o conceito mimético não como cópia da realidade, nem como o espaço de negação da condição referencial do texto literário. Ela, antes, possibilita uma reconsideração em torno do conceito aristotélico. Na construção da narrativa, observa-se ainda o quanto elementos, como o narrador, são fundamentais para a criação de uma mentalidade no leitor de que a verdade está sendo dita a todo instante, além de tantos outros elementos que têm a função de autentificação do discurso ficcional como expressão da realidade. Essa ambientação constante da verdade-realidade é a todo o momento desmantelada pela ação da ironia que desvela ao leitor não uma outra verdade, mas sim a possibilidade do questionamento constante do mero estabelecimento de uma verdade unilateral. Obra vasta em sua capacidade plurissignificativa, O Nome da Rosa apresenta, ainda, uma discussão de caráter filosófico em torno da proibição do riso na Idade Média demonstrando, assim, o quanto...
Fiction narratives of historic character like Umberto Eco's novel O Nome da Rosa allow a wide possibility of studies. Among them the importance of irony in Umberto Eco's text construction is realized. Through this irony it is seen how this fiction has a reflection about the concept of mimesis, as the reiterated use of intertextuality, element this often used in contemporary fiction works. Irony, recourse permanently present in narratives construction allows a relation between what is expected from a historical text - the truth - and what is expected from a fictional text - the invention. It enables, therefore, a reflection and questioning point of historical truth. It is noticed, then, the capacity that historical narrative, especially O Nome da Rosa, presents to reevaluate the mimetic concept not as a copy from reality, neither as a negation space of literary text's referencial condition. It enables just reconsideration on Aristotelian concept. In narrative construction it is visible how elements, like the narrator, are essential to the creation of a mentality in the reader that the truth is being told every instant, besides many other elements that have an authentication in the fictional discourse as a reality expression. This constant truth-reality environment is ruined every moment by the action of irony that reveals to the reader is not another truth, but a possibility of constant questioning of a simple act of instituting a unilateral truth. A wide work in its plurisignificant capacity, O Nome da Rosa presents, moreover, a philosophical discussion involving the laughter prohibition in Middle Ages, demonstrating, therefore, how Fiction and History match as elements of human knowledge boundaries and how they deserve to be studied and deepened for a better... (Complete abstract, click electronic access below)
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Almeida, Aline Casati de. "História e ficção no romance português contemporâneo: uma leitura de A costa dos murmúrios." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5438.
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A presente dissertação discute a representação do passado em A Costa dos Murmúrios. Analisa-se a maneira pela qual o período colonial é retratado na obra, investigando as estratégias utilizadas por Lídia Jorge, para conceber um registro diferenciado desse tempo histórico. A história de Portugal é reavaliada criticamente, provocando uma ruptura com os padrões ideologicamente estabelecidos. Versões até então negligenciadas, passam a contribuir fortemente para um conhecimento pluralista do passado lusitano. O estudo revela a desconstrução do discurso oficial efetuada pelo romance, que relativiza as verdades propagadas pelo cânone. O trabalho verifica de que forma a narrativa de Jorge promove a articulação entre história e ficção, problematizando a tradicional distinção entre elas. Além disso, procura-se identificar como o romance A Costa dos Murmúrios dialoga com as inovadoras teses de Hayden White, Walter Benjamin, Linda Hutcheon, entre outras, surgidas no clima de renovação epistemológica que se instalou a partir de meados do século XXThe present dissertation discusses the past representation in A Costa dos Murmúrios. We intend to analyze the way by which the colonial period is pictured in the novel, searching for the strategies used by Lídia Jorge to conceive a distinctive record of this historical period. Portugals history is re-evaluated and questioned, what results in a rupture with the ideological established patterns. Versions so far neglected, start to contribute to a overall understanding of the portuguese past. This study reveals the deconstruction of the regimes ideological discourse performed by the novel, which relativize the truths radiated by the standard nations narrative. This work examines how Jorges narrative promotes the articulation between history and fiction, problematizing their traditional distinction. This analysis seeks to identify how the novel is related to the innovated theses of Hayden White, Walter Benjamin, Linda Hutcheon, among others, emerged as part of the epistemological renovation process of the early XX century
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Agnese, Roberta. "Politiques de la fiction dans les images documentaires. Présentisme et photographie." Thesis, Paris Est, 2019. http://www.theses.fr/2019PESC0059.
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Cette thèse en philosophie esthétique porte sur le statut de la photographie, et plus précisément sur sa capacité à documenter, ainsi que sur les régimes de temporalité qu’elle mobilise dans ses stratégies documentaires. Elle s’inscrit dans le cadre des études visant à analyser liens entre la photographie et l’histoire, et son ambition est de se positionner dans le champ d’une « philosophie de la photographie » ayant comme but celui de comprendre les enjeux cognitifs et épistémologiques de ce médium. Le champ de l’enquête a été formulé à partir de l’œuvre de Walid Raad, et a été ensuite élargi à d’autres pratiques artistiques qui, comme celle de Stan Douglas, investissent la photographie dans ses déclinaisons post-documentaires, qui en remettent en cause le rôle et les fonctions.Dans cette démarche, un concept en particulier a guidé ma réflexion, celui de présentisme, que j’emprunte à la théorie de l’historiographie. Forgé par François Hartog dans le cadre de sa réflexion sur les régimes d’historicité, il est utilisé par l’historien en tant qu’outil heuristique et déployé pour comprendre le rapport singulier qu’une époque donnée, la nôtre en l’occurrence, entretient avec le temps. J’ai utilisé cette notion à l’instar d’Hartog lui-même, donc comme un instrument interprétatif, mais en changeant son objet d’enquête. En appliquant ce concept à la compréhension de la temporalité de l’image photographique plutôt qu’à celle des régimes d’historicité, j’ai pu m’interroger sur le statut du document photographique et notamment sur le régime temporel que celui-ci véhicule. Une fois appliquée à la théorie des images, cette notion acquiert un sens positif puisqu’elle nous montre les différentes temporalités à l’œuvre dans le médium photographique, qui se révèle être non seulement un vecteur de mémoire mais aussi un producteur de sens pour notre présent. Puissant instrument du présentisme d’une part, et son antidote d’autre part, l’image photographique ainsi comprise nous montre toute son implication avec le présent de sa prise de vue mais aussi avec le présent de l’observateur qui la regarde. Une compréhension renouvelée des enjeux que la photographie mobilise, au vu aussi des modifications techniques qui l’investissent, demande de remettre en cause le cadre théorique à travers lequel elle a toujours été interprétée, à savoir celui d’une image trace, empreinte de la réalité et donc, par conséquent, document fidèle d’un passé révolu. J’ai essayé de démontrer, en interprétant la photographie sous le signe du présentisme, qu’elle n’est pas seulement la trace de ce qui a été, mais aussi et surtout une configuration possible de ce qui est. Pour comprendre l’imbrication des différentes temporalités à l’œuvre dans l’image photographique, j’ai interrogé ce qu’un outil comme la fiction pouvait nous apprendre sur les régimes temporels des photographies, celle-ci s’étant en effet révélée aussitôt fondamentale pour explorer ces temporalités dans toutes les strates dont elles se composent. Il a été donc question de voir comment des artistes contemporains pratiquent une politique de la fiction tout en produisant des images photographiques ainsi-dites « documentaires ».J’ai ainsi repéré deux stratégies fictionnalisantes : d’un côté, celles qui font appel à une pratique de l’archive mais qui en renversent et réinventent le statut et les documents ; de l’autre, celles qui performent l’image en mettant en scène l’espace et le temps. Si configurer le « ça a été » nous fait basculer du côté de la fiction, il faudra alors interroger ce que fiction veut dire dans le cadre d’une image photographique qui demeure documentaire tout en étant fictive, qui est testimoniale mais aussi mise en scène ou performée. On verra qu’il s’agit d’une véritable nécessité poïetique, celle de redessiner les frontières entre vrai et fictif, en fictionnant la réalité et en montrant la vérité potentielle de la fictionThis thesis in aesthetics focuses on the status of photography, and more precisely on its capacity to document, as well as on the temporality regimes it mobilizes in its documentary strategies. It is part of the studies aimed at analysing the links between photography and history, and its ambition is to position itself in the field of a "philosophy of photography" with the aim of understanding the cognitive and epistemological issues of this medium. The inquiry was formulated on the basis of Walid Raad's work, and was then extended to other artistic practices which, like Stan Douglas', invest photography in its post-documentary declinations and which question its role and functions. In this process, one concept in particular guided my reflection, that of presentism, which I borrow from the theory of historiography. Forged by François Hartog as part of his reflection on regimes of historicity, it is used by the historian as a heuristic tool and deployed to understand the unique relationship that a given era, ours in this case, maintains with time. I used this notion in the same way as Hartog himself, as an interpretative instrument, but by changing its object of investigation. By applying the concept of presentism to the understanding of the temporality of the photographic image rather than that of the regimes of historicity, I was able to question the status of the photographic document and in particular the temporal regime it conveys. When applied to the theory of images, this notion, first formulated to provide a negative critique of the regime of historicity prevailing in our time, acquires a positive meaning since it shows us the different temporalities at work in the photographic medium, which is revealed to be not only a vector of memory but also a producer of meaning for our present. A powerful instrument of presentism on the one hand, and an antidote to it on the other, the photographic image thus understood shows us all its involvement with the present of its shooting but also with the present of the observer who looks at it. A renewed understanding of the challenges that photography raises, also concerning the technical changes that affect it, nevertheless requires us to question the theoretical framework through which it has always been interpreted, namely that of the index, of the faithful evidence of reality, and therefore, seen as a result, as a faithful document of the past. But as I have tried to demonstrate by interpreting photography under the sign of presentism, it is not only the trace of what has been, but also and above all a possible configuration of present reality. To understand the intertwining of the different temporalities at work in the photographic image, it seemed necessary to me to ask what a tool like fiction could teach us about the temporal regimes of photographs, since it was immediately fundamental to explore these temporalities in all the strata of which they are composed. Contemporary artists practice a policy of fiction while producing photographic images called "documentary". In order to test my theoretical framework, I have identified two fictionalizing strategies that seem to me to be the most significant or fruitful: on the one hand, those that invest the practice of archiving but that reverse and reinvent status and documents; on the other hand, those that achieve a performance in the image, or that perform the image by staging space and time. If building, or rather configuring the "it has been" allows us to consider the role of fiction, then we will have to question what fiction means in the context of a photographic image that remains documentary while being fictional, that is testimonial but also staged or performed. We will see that it is a real poietic necessity, that of redrawing the boundaries between truth and fiction, plausible and possible, by fictioning reality and by by showing the potential truth of fiction
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Cavaliere, Mauro. "As Coordenadas da Viagem no Tempo : Uma contribuição para a teoria da ficção histórica baseada em alguns textos portugueses dos séculos XVI, XIX e XX." Doctoral thesis, Stockholms universitet, Institutionen för spanska, portugisiska och latinamerikastudier, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-90423.
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In Portugal, as in other countries, a common characteristic of many of the novels published in the past twenty years is the recourse to a repertoire of literary devices that recall those of the historical novel. On the basis of critical studies published in the 1990’s, and in particular Fernández Prieto’s Poética de la Novela Histórica, this thesis undertakes a study of the Portuguese historical novel with the aim of defining, to the extent possible, the limits of this literary genre, and to examine in detail some of its intrinsic—and pertinent—semantic and pragmatic traits: the setting of a fictional narrative in the past, the introduction of historical persons and events and, not the least, the transtextual relationship between the fictional and the historiographic text. Special attention is given to some of the more innovative forms of the contemporary historical novel, to highlight how by emphasising certain generic traits —that refer to the reader’s acquired knowledge— the author can compensate for the absence of others. Despite the inherent ”heterodoxy”, this device justifies grouping these novels under the general heading of the historical novel. The thesis explores the analogies between some of these innovative narrative strategies of the contemporary historical novel with transtextual practices characteristic of literature predating the 19th Century and by which a certain ”historical knowledge” is requisite for decoding the text. The thesis also establishes a set of generic traits that the historical novel shares with epic poetry. In light of these analogies, the thesis proposes a reading of Os Lusíadas as a historical poem. With this the author hopes to provide a contribution to a theory of historical fiction, understood as a genre encompassing, in addition to the novel, all forms of fictionalisation that rely on the historical discourse. © Mauro Cavaliere ISBN 91-7265-442-2
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Kavalieris, Galvão André. "Representing Truth Through Narrative : The Use of Historiographical Techniques in Creative Non-Fiction." Thesis, Stockholms universitet, Engelska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169744.
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This essay is an attempt to show how certain elements, or techniques of history writing, can be used in creative non-fiction. It uses three major sources of theory. First, there is Charlotte Canning and Thomas Postlewait’s view on “the five themes of historiography,” which are indispensable for researching history: time, space, archive, identity, and narrative. The essay primarily focuses on narrative, because it is connected to representations of human lives, and as such contributes to meaning- creation. Second, the essay employs Hayden White’s concept of the historian’s working process and the notions of chronicle, story, mode of emplotment, mode of argument and ideological implications. Third is the method developed by Thomas Andrews and Flannery Burke of the five C’s of historical thinking: change over time, causality, context, complexity and contingency. Although these are separate theories, the essay shows how they can be complementary and help in the development of memoir writing, which is here my creative work, A Family Memoir in Essays, in particular the essays entitled “Trimdiniekis,” “Brasiliana,” and “A Sertaneja”.
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Buchberger, Michelle Philips. "Metafiction, historiography, and mythopoeia in the novels of John Fowles." Thesis, Brunel University, 2009. http://bura.brunel.ac.uk/handle/2438/6558.
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This thesis concerns the novelist John Fowles and analyses his seven novels in the order in which they were written. The study reveals an emergent artistic trajectory, which has been variously categorized by literary critics as postmodern. However, I suggest that Fowles's work is more complex and significant than such a reductive and simplistic label would suggest. Specifically, this study argues that Fowles's work contributes to the reinvigoration of the novel form by a radical extension of the modernist project of the literary avant-garde, interrogating various conventions associated with both literary realism and the realism of the literary modernists while still managing to evade a subjective realism. Of particular interest to the study is Fowles's treatment of his female characters, which evolves over time, indicative of an emergent quasi-feminism. This study counters the claims of many contemporary literary critics that Fowles's work cannot be reconciled with any feminist ideology. Specifically, I highlight the increasing centrality of Fowles's female characters in his novels, accompanied by a growing focus on the mysterious and the uncanny. Fowles's work increasingly associates mystery with creativity, femininity, and the mythic, suggests that mystery is essential for growth and change, both in society and in the novel form itself, and implies that women, rather than men, are naturally predisposed to embrace it. Fowles's novels reflect a worldview that challenges an over-reliance on the empirical and rational to the exclusion of the mysterious and the intuitive. I suggest that Fowles's novels evince an increasingly mythopoeic realism, constantly testing the limits of what can be apprehended and articulated in language, striving towards a realism that is universal and transcendent.
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Chakravarty, G. "Imagining resistance : British historiography and popular fiction on the Indian Rebellion of 1857-59." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597394.
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The thesis is a study of British historiography and popular fiction on the Indian 'Mutiny' of 1857-59. The historical writings that I have considered are mainly those written between 1857 and the 1870s, and for the novels the period I have chosen is between 1857 and 1947, the year of Indian's political independence. The first chapter is a reading of the histories by John William Kaye and Charles Ball. Here I have tried to show the ways in which historiography makes sense of and narrates anti-colonial resistance. The discussion also offers an occasion for introducing some of those historical and political-administrative issues which underlie the rebellion and that recur, with varying emphasis, in the texture of the novels. The second chapter examines the literary and social contexts of the British in India. While the novels of the rebellion belong to a tradition of colonial adventure novel, they are also located in a literary history specific to the British empire in India. At the same time, this literary history reflects the sociological and cultural bearings of Anglo-India, and embodies changes of attitude and policy as a period of 'orientalism' is followed by the ideological dominance of missionary-utilitarianism. The third chapter examines the ways in which the novels articulate the plot of Anglo-Indian love, marriage and domesticity with the plot of the rebellion. The articulated structure of the 'Mutiny' novel, in turn, demonstrates the filiation and overlap of those representational emphases that I have identified in Chapter Two. The fourth chapter examines the representation of imperial heroism in the novels. By first comparing the heroic idiom of the novels with the more ambiguous testimony of British first-person accounts of the rebellion, the chapter demonstrates the presence of two distinct modes of heroic conduct; and if the 'pragmatic' boy-scout hero is an instrument of surveillance and espionage, the 'auratic' Mutiny hero embodies the natural legitimacy of the imperial project. The fifth chapter explores the theme of surveillance in more detail. Projected from the 1890s and thereafter into the rebellion, the British spy-heroes of the Mutiny novels embody demands for knowledge by means of which the East India Company and the post-1858 imperial state sought to understand and control the motions of the subject population. Finally, the chapter argues that in representing the rebel world, often through the mediation of the disguised spy-hero, the Mutiny novel functions as an ethnographic exercise. In so doing, the novels at once exploit and annotate earlier modes of representation such as high orientalism and the picturesque, and discover in the usual sites and tropes of those earlier modes the presence of political resistance.
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Jenkin, Oliver David Paul. "Factional pasts : the shifting relations between nineteenth-century historiography and historical fiction, 1814-1870." Thesis, University of Exeter, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414032.
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Hine, Gary. "Revisiting the historiography of Luke: 2 Maccabees, Luke and the Jewish-Hellenistic historical fiction monograph." Thesis, Hine, Gary (2015) Revisiting the historiography of Luke: 2 Maccabees, Luke and the Jewish-Hellenistic historical fiction monograph. PhD thesis, Murdoch University, 2015. https://researchrepository.murdoch.edu.au/id/eprint/31349/.
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The present dissertation contends that the Gospel of Luke and 2 Maccabees stand at the junction of Biblical historical narratives and Greco-Roman historiography. A literary product of this generic intersection was the emergence of the Jewish-Hellenistic historical fiction monograph which may be defined as:
A short historiographic narrative that exists in a separate volume, covers a limited chronological period and restricted geographical area, and has a consistent focus on one theme and person. It professes to be historiography and is often received as such. It centers on real historical subjects and endeavours to recount the reality of the past even if this includes historical errors, chronological manipulations, and supernatural causality.
It proposes that Luke qualifies as an ancient historiographic narrative and exhibits generic aspects and methodologies characteristic of the Jewish-Hellenistic historical fiction monograph, particularly as might also be observed in 2 Maccabees. The thesis does not seek to argue that Luke depends on Second Maccabees, nor that it derives its generic structure and historiographical nature from the Maccabean narrative. What it suggests is that when viewed from the perspective that literary genres are fluid rather than fixed and often proceed from a prototype towards similar although divergent types, together with the recognition that ancient historiography was in practice flexible with regards to historic veracity, both Luke and Second Maccabees share generic and historiographic similarities and may be treated as historiography.
The authors of Luke and 2 Maccabees imagined they were writing history. This is evident through their prologues and in their use of ancient historiographic methodology. Both authors sought to position their narratives in a recent historic context with a focus on a specific individual. However, in the shaping of their narratives to conform to a particular ideology they made errors in historic details, manipulated earlier sources, and relied on supernatural causality to explain events. This shaping blurred the boundaries between ‘fact’ and ‘fiction’. It is proposed that such historiographic methodology and shaping conforms to the characteristics of the Jewish-Hellenistic historical fiction monograph and that Luke and 2 Maccabees stand side-by-side in this tradition.
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Zelenkova-O'Sullivan, Ouliana Alexandrovna. "Fictional language as a postmodernist construct : linguistic defamiliarization in historiographic metafiction and the dystopia." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366605.
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Mash, C. A. "The 59 Sound : A fictional historiography of the TISH poetry movement." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62998.
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Renger, Nicola. "Mapping and historiography in contemporary Canadian literature in English /." Frankfurt am Main [u.a.] : Lang, 2005. http://www.gbv.de/dms/bs/toc/490250424.pdf.
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Vogt, Matthias. "Figures de califes entre histoire et fictionAl-Walid b. Yazid et al-Amin dans la représentation de l'historiographie arabe de l'époque abbaside." Paris 4, 2004. http://www.theses.fr/2004PA040055.
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Ce travail s'intéresse aux conceptions de l'histoire et à leur réalisation narrative dans l'historiographie arabe de l'époque ÞabbÁside. D'abord, sont étudiés les entrecroisements, au niveau structural, entre récits historique et fictionnel, et les caractéristiques par lesquelles ils se distinguent. Pour cette étude, est tenu compte, parmi d'autres, des résultats de l'analyse structurale du discours ainsi que des considérations de P. RICŒUR à propos de la notion de mimèsis. Suivant ces considérations théoriques, ce travail montre, à travers les représentations des califes al-WalÍd b. YazÍd (743-744) et al-AmÍn (809-813) dans l'historiographie arabe médiévale, comment les récits à propos d'événements isolés (a¿bÁr) sont liés à un niveau paradigmatique qui donne à ces représentations le caractère d'un tout, étant l'expression d'une conception de l'histoire. Dans un deuxième temps, l'analyse traite l'arrangement narratif d'a¿bÁr isolés et essaie de répondre à la question de savoir en quelle mesure l'historiographe se sent autorisée à donner une forme narrative à une suite transmise d'événements. A côté de la structure purement narrative des textes, la référence à un autre niveau du texte ou à un autre élément du récit est d'intérêt. Ce sont donc de la narrativité et la référencialité des textes qui montrent que les récits historiques ne sont pas la simple reproduction d'une suite donnée d'événements du passé, mais que l'historien donne aux événements une signification particulière. Cependant, l'historien présuppose que le lecteur de son ouvrage accepte l'idée que cette signification n'est pas apportée aux événements par l'historien, mais qu'elle leur est inhérente. Combinées avec les études de W. ISER sur la fonction du réel, du fictif et de l'imaginaire, ces considérations permettent la déduction qu'on entre en lecture d'un ouvrage historique en acceptant l'idée que c'est le monde réel qui contient par lui-même le renvoi à l'imaginaireThe present study deals with conceptions of history and their narrative realisation in the Arabic historiography of ÞAbbÁsid times. First, the structural intersections of historical and fictional narration and their distinctive characteristics are analysed. For the purposes of this study, the results of structural discourse analysis (R. BARTHES) are considered and combined with P. RICŒUR's studies of the functions of mimesis. Following these theoretical considerations and using the representations of the caliphs al-WalÍd b. YazÍd (743-744) and al-AmÍn (809-813) in Arabic medieval historiography, the study demonstrates how the narratives of single events (a¿bÁr) are linked to a paradigmatic level turning these representations into a complete expression of a conception of history. In the second part, the study treats the narrative arrangement of single a¿bÁr and seeks to answer to which degree the historiographer feels authorized to give a narrative form to a transmitted set of events. Next to the purely narrative structures, references to other textual levels or to other story elements are of particular interest. Like narrativity, the referenciality of the texts proves that historical narrations are not a mere reproduction of a given set of past events, but that the historian also provides the events with meaning. The historian presumes, however, that the reader of his work interprets this meaning as inherent to the events rather than as the historian's construction. Linked with the studies of W. ISER on the function of the real, the fictive and the imaginary and on the reader's contract with the author, one can deduce from these considerations that the reader of a historical work does not consider the world described by the historian to be a possible world, but to be the real world, containing by itself the reference to the imaginary
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Murphy, Nicholas. "Applying Historiography to Fictional Works: A Case Study of William Inge's Picnic." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5680.
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Historiography is the writing of history based on the examination of sources and synthesizing these sources into a narrative that will stand the test of critical methods. Historiography is not the study of history but rather provides a tool to analyze each written account of a historical event. The concepts of historiography are traditionally reserved for the study of factual based history and not for fictional events or people. However, just as history seems to evolve over time, authors also revise their fiction work. If history is adapted and changed over time to fulfill the historian's desires, can fictional works also be adapted to better fulfill the author's intentions through the process of rewrites? Historiography allows us to understand that history is adapted and changed over time. Can the ideas of historiography be applied to fictional stories in order to understand why an author rewrites and revisits older works? How can a theatre practitioner understand and develop the most comprehensive version of a fictional text? Can he apply the same techniques used to deconstruct a historical event? Through a case study using William Inge's classic play Picnic I explored the possibility of using historiography as a tool for theater practitioners in developing new dramatic texts that synthesize various scripts into one new comprehensive text. Through this case study I developed a framework which allows the theatre practitioner to apply the ideas of historiography to the analysis of a collection of fictional works by the same author in order to create a new text, showcasing the effectiveness of applying four cruxes of historiography to fictional texts.M.A.
Masters
Theatre
Arts and Humanities
Theatre
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Chazal, Benoît. "La rhétorique du blâme dans l'"Histoire Auguste"." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA151.
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La rhétorique du blâme dans l’Histoire Auguste se propose d’étudier comme un objet littéraire le recueil de biographies impériales connu sous le nom d’Historia Augusta, officiellement rédigé par six auteurs à la fin du IIIe siècle ap. J.C. et au début du IVe siècle ap. J.C., mais qui serait en réalité issu du fruit de l’imagination d’un unique rédacteur ayant vécu à la fin du IVe siècle ap. J.C., si l’on s’en tient à la thèse de l’historien allemand Hermann Dessau formulée à la fin du XIXe siècle. Le présent mémoire entend analyser les différentes stratégies destinées à dépeindre des images sombres d’une série d’empereurs légitimes et d’usurpateurs, compris dans la période historique qui débute avec le règne d’Hadrien et s’achève avec la chute de Carin (IIe-IIIe siècles ap. J.C.), dans un texte mêlant étroitement réalité et fiction. Le recours à des procédés de nature lexicale, stylistique, thématique et structurelle que l’on peut observer révèle l’importance de la mise en œuvre des ressources de la rhétorique épidictique, ainsi que la présence de nombreux phénomènes d’intertextualité, fondés notamment sur les Vies des douze Césars de Suétone, principal modèle du recueil. L’enquête conduit à un élargissement de la réflexion qui s’intéresse aux cibles de la critique. Si, derrière les figures des mauvais princes, le rédacteur cherche à fustiger les dérives du principat, il cherche également à mettre en oeuvre sa propre écriture, en tâchant de se distinguer des autres historiographes, dans un style qui accorde une large place à la fantaisie, à l’autodérision et au persiflage. Le mémoire s’efforce donc d’étudier la représentation des figures et des événements de l’histoire et de souligner les articulations entre poétique et rhétorique dans un texte majeur de la littérature latine de l’Antiquité tardiveRhetoric of Condemnation in the 'Historia Augusta' intends to study the collection of imperial biographies known as Historia Augusta as a literary object. The biographies were officially written by six authors at the end of the 3rd Century A.D. and at the beginning of the 4th Century A.D., but they were actually produced through the imagination of a single writer who lived at the end of the 4th Century A.D. according to the 19th Century thesis of the German historian Hermann Dessau. Through analysing a text that intricately mixes reality and fiction, this thesis will examine the different strategies intended to depict the sombre images of both legitimate and usurping emperors throughout the historical period that begins with Hadrian's reign and ends with the fall of Carin (2nd to 3rd Centuries A.D.). Observing the lexical, stylistic, thematic and structural methods reveals the importance of utilizing epideictic rhetoric as well as numerous intertextuality phenomena, particularly based on Suetonius's Vitae XII Caesarum, which is the main model of the collection. This inquiry drives to widen the thought interested by the target of the critic. If, behind the figures of bad princes, the writer tries to castigate the principate system that enables princely transgressions, he also tries to enhance his own writing. The writer tries to be different from other historiographers in a style that grants a large place to fantasy, self-mockery and raillery. This thesis endeavours, therefore, to study the representation of historical characters and events while underlining articulations between poetics and rhetoric in a major text of late Antiquity Latin literature
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Orssaud, Geneviève. "Histoire et fiction dans le roman argentin contemporain : d'Operación masacre de Rodolfo Walsh à Las aventuras del Sr. Maíz de Cucurto." Paris 3, 2008. http://www.theses.fr/2008PA030041.
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Le but de ce travail est d’étudier les apparitions de l’Histoire dans la littérature argentine contemporaine. La littérature crée des univers autonomes dont l’impossibilité est le corps, et partant l’action. Elle s’inspire néanmoins du réel ; il est sa seule limite. Dans le réagencement que la littérature opère sur le réel, on peut donc trouver des traces de l’Histoire. L’historiographie, quant à elle, peut sembler être un récit partiel, découlant des nombreuses sélections des documents de l’historien influencé par son temps et par le pouvoir qui le régit : l’histoire officielle, à de nombreux égards, est une construction artificielle. En Argentine, dans la deuxième moitié du XXe siècle, les régimes militaires interrompent l’écriture de l’Histoire. Le roman argentin contemporain préserve la mémoire collective en évoquant des faits que le pouvoir militaire fait disparaître de l’Histoire. En outre, la littérature nationale ayant émergé dans les années 50, elle devient l’espace de préservation d’une identité nationale, face à l’instrumentalisation de l’Histoire par le pouvoir et à l’écriture conquérante de l’Histoire par l’EuropeThe purpose of this work is to study the manifestations of History in contemporary Argentinean literature. Literature creates autonomous universes whose impossibility is the body, and therefore the action. However it draws its inspiration from the reality that is its only limit. Then in the reconstruction operated by literature upon real, traces of history may be found. As regards historiography it may appear as a partial account, following from many selections of documents by the historian, himself under influence of his time, and the power he is governed by: the official history, in many respects is an artificial construction. In Argentina, during the second half of the XXth century, the military governments suspended the writing of History. Argentinean contemporary novels preserve collective memory evoking facts that military power gets disappear from History. Moreover, as national literature has emerged in the 50’s, its becomes a mean of preservation for the national identity, that stood up to the misuse and distorting of History by the power, and Europe’s conquering writing of History
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McGowan, Lee Hugh. "Faster Than Words." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/59448/1/FasterThanWords_LMcGowan.pdf.
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This practice-led research contextualises and advances the novel as a form within the fiction of football (commonly referred to as soccer in Australia). This is a field which has undergone very little academic scrutiny.
Through adapting and developing a distant reading model of abstraction and using it in conjunction with closer textual analyses, this research develops the first historiography of football fiction. The model is used to realise a set of broad conventions, map relationships across the body of work and identify growth areas. The thesis argues that football fiction exhibits qualities which warrant the works being described collectively as a genre. A comparison of young adult and adult football fictions will highlight the similarities and differences that occur in literary technique in texts aimed at these readerships, as they appear to be distinct to football fiction.
The generic conventions and identified divergences are used to inform and are reflected in an original novel-length work of young adult fantasy football fiction, entitled Blaming David Beckham. The objectives of this novel, as an extension to the research, are to explore and demonstrate the findings and advance the understanding of the generic elements of football fiction.
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Castle, Jacob C. "Virginia Woolf’s Fictional Biographies, Orlando and Flush, as Prefigures of Postmodernism." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3158.
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This thesis examines the way in which the fictional biographies of Virginia Woolf, Orlando and Flush, prefigure central tenets of postmodern fiction. To demonstrate the postmodern elements present in Orlando and Flush, this thesis focuses on how the fictional biographies exhibit three postmodern characteristics: concern for historiography, extensive use of parody, and the denaturalization of cultural assumptions. Born from Woolf’s desire to revolutionize biography by incorporating elements of fiction alongside historical fact, these two novels parallel later works of historiographic metafiction in several key respects. Woolf’s extensive use of parody in Orlando and Flush prefigures how postmodern parody foregrounds the many ways in which all narratives are inherently constructions. Woolf also expresses a postmodern attitude by denaturalizing cultural assumptions about sexual difference and social class. When taken together, these three traits reveal how Orlando and Flush possess an ontological philosophy indicative of postmodern literature.
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Booth, Sharron. "Venturing into silences:The silence of water (novel) - and - Convicts, women and Western Australian stories (essay)." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2312.
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This thesis examines the harsh impact of convict transportation on Western Australian life and literary production with a novel, “The Silence of Water”, and an accompanying essay. The Swan River Colony (Western Australia) was established in 1829 with the express intention never to accept convicts; however, almost 10,000 men were transported there from Britain between 1850 and 1868. “The Silence of Water” depicts the life of one convict, Customs and Excise officer and former tailor Edwin Thomas Salt, who was convicted of the murder of his wife, Mary Ann, in Edinburgh in 1860. The case attracted attention in newspapers across Britain partly due to the “extreme provocation” Edwin was said to have suffered because of Mary Ann’s drinking. Edwin’s death sentence was commuted and he was transported to Western Australia in 1862. Edwin later received a conditional pardon that allowed him to live as a free man. In Western Australia he married twice, had more children and worked sporadically as a tailor. He died in Fremantle in 1910. A literate man with no prior convictions, sometimes a drunk and a bully, Edwin Salt differs from the convicts usually depicted in Western Australian fiction. Through the characters of Edwin Salt, his Australian daughter and granddaughter, “The Silence of Water” explores themes of exile, incarceration, family dislocation, secrets and intergenerational silences.
The accompanying essay claims complex convict characters are largely missing from Western Australia’s literature and suggests how “The Silence of Water” claims a place for convicts and the women associated with them in Western Australia’s founding colonial narrative. It also discusses key research frameworks, methods and literary strategies. Chapter one examines how the convict figure functions across a range of novels from 1880 to 2015 and finds that Western Australia’s convict figure differs markedly from that seen in novels from other Australian states. Chapter two examines two research methods used to write the novel: engagement with the archives and engagement with place. It demonstrates how exploration of Edwin Thomas Salt broadened to focus on the women associated with him, driven by a feminist theoretical framework. Chapter three discusses some literary strategies selected for “The Silence of Water” and their rationale, drawing on the work of contemporary Western Australian fiction writers. Overall, the thesis illuminates an under-explored area of Western Australian cultural production and contributes new knowledge about Western Australia’s convict era, the consequences of which are still visible today.
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Lutas, Liviu. "Biblique des derniers gestes de Patrick Chamoiseau : Fantastique et Histoire." Doctoral thesis, Lund University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-28662.
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Patrick Chamoiseau is arguably the most prominent cultural personality from the French island of Martinique. His reputation is due to the worldwide success of his novels, especially Texaco, winner of the Prix Goncourt-award in 1992, but also to the fact that he is the leading theorist of the Créolité, an ideological movement whose aim is to preserve the character of Creole identity and culture against the threat of assimilation. Chamoiseau’s importance in an ideological context tends to overshadow his literary qualities, his novels being often seen as illustrations of his political ideas.Although Chamoiseau’s ideological views aren’t totally absent from his literary work, his novels strike the reader as extremely complex constructions, containing far more than a subversive aspect. An aspect that has been neglected by the critics is for example the supernatural. Probably because of the geographic vicinity to South America, Chamoiseau’s use of the supernatural has been, rather hastily, considered as typical of magical realism or marvellous realism. This dissertation aims at showing that the fantastic, as defined by Tzvetan Todorov (1970), is better suited to describe this aspect of Chamoiseau’s novels, especially Biblique des derniers gestes (2002).Our main objective is, however, not to decide whether the novel belongs to the fantastic as a genre, but to examine the reasons why it is used. A close analysis shows that it is often in relation to the past of Martinique that the supernatural appears. Thanks to the theory of the fantastic, we find three possible explanations of this fact. Firstly, the supernatural is juxtaposed to the real in order to reveal its limits and its “constructedness”. Martinican past thus appears as a French construction. Secondly, the fantastic can be used to reveal the absence of genuine Martinican history. Finally, the fantastic can be a reminder of a terrible event from the past. In conclusion it can be said that Chamoiseau uses the fantastic in order to write the history of an event that he sees as the origin of Martinique: slavery. By doing this he contributes to the fantastic as well, by showing that it is not necessarily gratuitous and by providing a good example of original and innovative use.
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Gonçalves, Vansan. "Obasan, by Joy Kogawa, and Alias Grace, by Margaret Atwood: fictional representations of Canadian identity and History." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5318.
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Esta dissertação investiga de que maneiras a representação do sujeito canadense pode ser encontrada em dois romances representativos da literatura canadense contemporânea: Obasan, de Joy Kogawa, e Alias Grace, de Margaret Atwood. Esta investigação também demonstra que a busca pela definição da identidade canadense tem sido tema constante e relevante da cultura deste país. A indefinição quanto ao que significa ser canadense também tem permeado a literatura canadense ao longo dos séculos, notadamente desde o século XIX. A fim de observar a representação literária da busca pela definição da identidade canadense, esta investigação aborda os conceitos relativos à representação de grupos subalternos tradicionalmente silenciados. A análise comparativa dos romances citados contempla a relação entre memória e trauma autobiográficos, assim como as semelhanças narrativas entre ficção e história. Esta investigação também verifica de que maneiras a literatura pós-moderna emprega documentação oficial, relatos históricos e dados (auto) biográficos a serviço da reescrita da história através da metaficção historiográficaThis dissertation investigates the ways through which the representation of the Canadian subject might be observed in two representative novels of contemporary Canadian literature: Obasan, by Joy Kogawa, and Alias Grace, by Margaret Atwood. This investigation also demonstrates that the search for the definition of a specific Canadian identity has been a constant and relevant theme to the countrys culture. The lack of definition concerning the meaning of being Canadian has also permeated Canadian Literature throughout the centuries, most notably since the XIX century. In order to observe the literary representation of the Canadian search for identity, this investigation makes use of the concepts related to the representation of traditionally silenced subaltern groups. The comparative analysis of the abovementioned novels contemplates the relationship between autobiographical memory and trauma, as well as the narrative similarities between fiction and history. This investigation also verifies the ways postmodern literature employs official documentation, historical accounts and (auto) biographical information in the rewriting of history through historiographic metafiction
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Toren, Orly. "Histoire alternative des origines du roman : promenades interculturelles dans un monde sans épopée." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030165.
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Que signifie repenser l’Histoire littéraire et l’Histoire du roman comme Histoire culturelle ? Le point de départ de notre questionnement sur les formes de représentation adoptées par l’Histoire littéraire porte sur la doxa critique selon laquelle il existe une relation génétique entre l’épopée et le roman, dont la source se trouve dans ce qu’il est convenu de voir comme le texte fondateur de la littérature, l’épopée d’Homère et celui de la théorie littéraire, la Poétique d’Aristote. Si l’épopée homérique est une œuvre de la tradition orale, quelle est sa relation avec le roman, issu, lui, de la scripturalité et de l’émergence de la prose ? Si les récits en prose narrative de fiction apparaissent dans des civilisations sans épopée, quelle est la condition nécessaire pour leur émergence ? Si, de plus, l’apparition d’une prose narrative de fiction est précédée de plusieurs siècles de celle d’une historiographie et que ce phénomène se répète aussi bien dans la Grèce classique qu’au Moyen Âge européen, ou encore en Chine, quelle est la condition nécessaire pour l’essor du roman ? Nous présentons ici l’ébauche d’une Histoire alternative des origines du roman dans la Weltliteratur, en relation avec l’émergence de la scripturalité et la prose et l’essor de l’historiographie À la croisée de plusieurs disciplines académiques, notamment entre les sciences humaines et sociales, notre recherche fait appel d’une part à la théorie et à l’Histoire de la littérature, d’autre part à l’Histoire de l’historiographie, ainsi qu’à la théorie et la philosophie de l’HistoireIs it possible to rethink Literary History and in particular the History of the Novel as Cultural History which seeks to differentiate between an historical object and it’s representation? Considering the critical doxa, according to which, there exists a genetic link between epics and the novel, leads to one of Western thinking’s most stubborn myths. If epics, and particularly Homer’s, is seen as the novel’s ascendant , although it belongs to oral tradition, how does it explain the fact that as Ancient civilizations as Egypt or China or Israel developed sophisticated prose narratives without having epics? Moreover, if Western literary history refers to Aristotle’s Poetics as it’s foundational text, although by the time it was written, fictional prose didn’t exist yet, and was only to develop a few centuries later, shouldn’t we seek for the missing link between the oral tradition and the rise of the novel? As against this hegemonic and unhistorical representation that considers the novel genre as a Western invention, and as opposed to the historical circumstances that gave birth to the novel, we consider that the key to understanding this phenomenon lies in the emergence of literacy and prose. Indeed, in all civilizations that developed fictional prose writing, it was systematically preceded, not by epics, but by historiography. Our PHD dissertation presents an alternative History of the novel, whose angle is intercultural and interdisciplinary, aiming at recreating a new chronology of the emergence of the novel as a an inevitable historical genre in world’s literature
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Brown, Megan R. "A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1345038934.
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Possani, Taíse Neves. "Ana Miranda, leitora de Clarice Lispector." reponame:Repositório Institucional da FURG, 2009. http://repositorio.furg.br/handle/1/2685.
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Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2009.Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-11-05T11:51:42Z No. of bitstreams: 1 taisepossani.pdf: 883825 bytes, checksum: f18956565c6595cd58af0c5692ba564f (MD5)
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A novela Clarice (1996), de Ana Mirada, completa o conjunto de obras nas quais a narradora fabula a vida de autores do cânone literário brasileiro. Com essas ficções, Miranda enquadra-se em uma tendência da literatura contemporânea que cria biografias ficcionais de escritores ou artistas. Nesse sentido, a presente dissertação integra um comentário das obras de Miranda enquadradas no gênero metaficcional historiográfico e uma leitura interpretativa de Clarice, foco deste estudo. Para tanto, são pensadas questões relativas à literatura e sua relação com a história. Logo, apresenta-se uma visão de conjunto das narrativas de Ana Miranda que tematizam a história da literatura brasileira, aprofundando-se nos conceitos de ficção, metaficção e metaficção historiográfica. No contexto geral, relativo aos problemas de tipologia e poética narrativa, desenvolve-se a análise literária de Clarice, encaminhando a leitura para a constituição da obra, sobretudo no que tem a ver com suas estratégias intertextuais, no caso presente, a ficção de Clarice Lispector, o que motiva a reflexão em torno da escrita e da leitura literária.
The novel Clarice (1996), by Ana Miranda, completes the series of works, in which the narrator creates the authors’ of the Brazilian literary canon life. With those fictions, Miranda became part of a tendency in the contemporary literature that creates fictional biographies of writers or artists. In that sense, the present dissertation integrates a discussion of Miranda’s works included in the genre known as historiographic metafiction and also integrates an interpretative reading of Clarice, the study’s focus narrative. So, questions related to literature are thought in relationship with the history. Therefore, it shows a vision of group of Ana Miranda’s narratives that talk about the history of the Brazilian literature, being deepened in the concepts of fiction, metafiction and historiographic metafiction. In this general context, which deals with typology problems and poetic narrative, it grows Clarice’s literary analysis that directs the reading for the constitution of the work, concerning to the intertextual strategies, in this case Clarice Lispector’s fiction, which motivates the reflection around literary strategies as reading and writing.
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Trancoso, Claudimecia Brito. "A TRANSFIGURAÇÃO IDENTITÁRIA EM VIVA O POVO BRASILEIRO." Pontifícia Universidade Católica de Goiás, 2008. http://localhost:8080/tede/handle/tede/2228.
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Previous issue date: 2008-09-11This study has like focus transform process of identity the Brazilian novel: Viva o povo brasileiro, by João Ubaldo Ribeiro (1984). The first, we exam relationship that this work kept with the postmodernism in that the Brazilian identity assumes subvertsive and revolutionary character. This novel breaks the barrriers between history and fiction introduction meta-fictional discourse that characters are action and imaginary. So we have the Brazil is poetic space - house/Country built only for literate arts discourse though language that transform the facts in narrated universe. After analyze the official history in two perspectives: domineering and dominated that relationship between themselves and it forms the identity Brazilian people that are heroes. However, they occupate centre of narrative with national and human conscience. This artist fictional universe, the collectivity ideia include difference and recognition of Brazil like mestizo. So we conclude our study showing like man if relatioship with his identity from a symbolic construction and he down a dialogue with art in itself. This dialogue lead the man of mystery and uncertainty future.
O estudo aqui desenvolvido tem como foco a transfiguração identitária do povo brasileiro no romance Viva o povo brasileiro, de João Ubaldo Ribeiro (1984). Enfatizamos, primeiramente, a relação que essa obra mantém com o pósmodernismo, revelando que a identidade do brasileiro assume um caráter subversivo, revolucionário. Contudo, ao romper barreiras entre a historiografia e a ficção, a obra apresenta um discurso metaficcional em que personagens são ação e imaginário ao mesmo tempo. O Brasil como espaço poético, casa/pátria, está voltado para os discursos produzidos pela arte literária que, por meio da linguagem, transfigura os fatos para o universo narrado. Após o desenvolvimento dessa análise, voltamos a atenção para a história oficial, que é repensada e transfigurada sob dois pólos: dominadores e dominados, formando duas linhagens que se entrecruzam e constrói a identidade do povo brasileiro. Povo este, reconhecido como herói, por isso ocupa o centro da narrativa e produz discursos de consciência nacional e humana. Nesse universo ficcional-artístico, é central a idéia de coletividade que inclui a diferença e o reconhecimento do Brasil como país mestiço, em que o outro não importando qual seja a sua origem étnico-cultural, é visto como parte desse universo. Sendo assim, fechamos o nosso estudo, mostrando de que forma o homem se relaciona com a sua trajetória identitária a partir de uma construção simbólica, estabelecendo um diálogo com a arte em si mesma, no qual se abre para o futuro com seus mistérios e incertezas.
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Molina, Maria de Fátima Castro de Oliveira [UNESP]. "A hipertextualidade em O outro pé da sereia: uma escrita em palimpsesto." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/144306.
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O romance O outro pé da sereia (2006), do escritor moçambicano Mia Couto, evidencia na composição de sua estrutura uma proposta de revisitação do passado distante ou recente, por meio de uma escrita simbiótica em que poesia e crítica harmonicamente dão o tom do diálogo que a ficção instaura com eventos que marcaram a História de Moçambique. Nessa via de repaginação, o ficcionista adota como procedimento de escrita a inserção de elementos que têm significação extratextual na composição da trama romanesca. A partir dessa moldura enunciativa, este estudo investiga como se estabelece a relação de hipertextualidade entre o romance e o texto historiográfico da carta de Luiz de Froes de 1562. Com base na hipótese de que a narrativa em O outro pé da sereia constitui-se nos princípios da hipertextualidade, o foco da tese volta-se para a análise das conexões entre a construção estrutural da obra e o esquema de ação presente no texto historiográfico. O percurso investigativo adotado desenvolve-se com a análise dos recursos mobilizados para a configuração de tempos, espaços e personagens que estruturam o romance. O conceito de hipertextualidade, estruturado por Gérard Genette como o objeto de palimpsesto, será utilizado como aporte teórico para fundamentar o processo de derivação textual que se instaura entre os textos.
The structure of the novel The Mermaid's Other Foot (2006), by Mozambican writer Mia Couto, reveals a proposal for revisiting the distant or recent past. This is achieved through a symbiotic writing in which poetry and criticism harmonically set the tone of the dialogue established by fiction with events that marked the history of Mozambique. In this redesigning way, the fiction writer adopts as a writing procedure the insertion of elements which have extra-textual significance in the composition of plot. Based on this expository frame, in this study we investigate how the hypertextual relationship between the novel and Luiz de Froes´s 1562 historiographical text is established. Based on the assumption that the narrative The Mermaid´s Other Foot is constituted on the principles the hyper-textuality, our thesis focuses on the connections between the structural construction of the work and the present action scheme in the historiographical text. Our investigative route is developed with the analysis of the resources mobilized for the time, space and characters setting which shape the novel. The concept of hyper-textuality, structured by Gerard Genette as palimpsest object will be used as theoretical basis to support the process of textual derivation which is established between the texts.
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Lemus, Martinez Violetta. "Versions en conflit, versions d’un conflit : l’Intervention française au Mexique (1862-1867) entre histoire et fiction." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA064/document.
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Cette thèse est l’étude d’une sélection d’œuvres littéraires mexicaines et françaises concernant les évènements historiques de l’Intervention française au Mexique (1862-1867) et du Second Empire Mexicain (1864-1867). Ces œuvres s’étalent entre le XIXe et le XXIe siècle et ont été sélectionnés pour leurs réflexions poétiques et politiques exemplaires et d’autre part parce qu’elles ont contribuées à la construction d’une iconographie culturelle et identitaire mexicaine. Les genres romanesque et théâtral ont été sélectionnés pour pouvoir établir une étude comparative diachronique. Le choix des œuvres et des auteurs a été établi en fonction du traitement de l’Intervention française et de leur importance. Les œuvres analysées correspondent au sous-genre du roman-feuilleton du XIXe siècle avec, pour la littérature française, Benito Vázquez (1869) de Lucien Biart et Doña Flor (1877) de Gustave Aimard et, pour la littérature mexicaine, Clemencia (1869) de Manuel Altamirano et El Cerro de las Campanas (1868) de Juan Mateos. Les pièces de théâtre Corona de Sombra (1943) de Rodolfo Usigli et Charlotte et Maximilien (1945) de Maurice Rostand sont traitées de manière comparative et la pièce El Tuerto es Rey (1970) de Carlos Fuentes est analysée de manière complémentaire. Quant aux manifestations littéraires historiques plus contemporaines, nous incluons Noticias del Imperio (1987) de Fernando del Paso et Yo, el francés de Jean Meyer (2002). Cet ensemble propose une analyse comparative, linguistique, sémiotique et littéraire des œuvres citées. Il invite à une réflexion approfondie sur l’interprétation que la littérature ou l’égo-histoire ont proposé de ce conflit, un conflit armé et politique dont la mémoire a traversé l’histoire et les productions littéraires mexicaines et françaisesIn this doctoral dissertation, we are studying a selection of both Mexican and French literary works related to the historic events of the Second French Intervention in Mexico (1862-1867) and of the Second Mexican Empire (1864-1867). This body of works has been published between the XIXth and the XXIth century and has been selected, both because their poetic and political thoughts are emblematic of this period and because they have contributed to the construction of a Mexican cultural and identity iconography. We have decided to select the fiction and theatrical genres, to carry out a comparative and diachronic analysis. The decision of which literary works and authors to include has been made based on how both the French Intervention and the way it has been depicted in literature, have been dealt with in particular in each literary work and each author we considered to studied. The studied novels belong to the sub-genre of serialized fiction in the XIXth century with, on the French side, Benito Vázquez (1869) by Lucien Biart and Doña Flor (1877) by Gustave Aimard and, on the Mexican side, Clemencia (1869) by Manuel Altamirano and El Cerro de las Campanas (1868) by Juan Mateos. As far as theatre plays are concerned, we have carried out a comparative study of both Corona de Sombra (1943) by Rodolfo Usigli and Charlotte et Maximilien (1945) by Maurice Rostand. We have completed our analysis with a complementary study of El Tuerto es Rey (1970) by Carlos Fuentes. Regarding more contemporaneous historic and literary creations, we chose to include Noticias del Imperio (1987) by Fernando del Paso and Yo, el francés by Jean Meyer (2002). This corpus allows to carry out a comparative, linguistic, semiotic and literary analysis of afore-mentioned works. Such analysis calls for a thorough reflection on the interpretation of conflict, an armed and political conflict which influenced both History and Mexican and French literary productions
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Brook, Madeleine E. "Popular history and fiction : the myth of August the Strong in German literature, art, and media." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cb7df46e-ab52-4f27-a084-41d7fab5b54e.
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This thesis concerns the function of fiction in the creation of an historical myth and the uses that that myth is put to in a number of periods and differing régimes. Its case study is the popular myth of August the Strong (1670-1733), Elector of Saxony and King of Poland, as a man of extraordinary sexual prowess and the ruler over a magnificent, but frivolous, court in Dresden. It examines the origins of this myth in the late seventeenth and early eighteenth century, and its development up to the twenty-first century in German history writing, fiction, art, and media. The image August created for himself in the art, literature, and festivities of his court as an ideal ruler of extremely broad cultural and intellectual interests and high political ambitions and abilities linked him closely with eighteenth-century notions of galanterie. This narrowed the scope of his image later, especially as nineteenth-century historians selected fictional sources and interpreted them as historical sources to present August as an immoral political failure. Although nineteenth-century popular writers exhibited a more varied response to August’s historical role, the negative historiography continued to resonate in later history writing. Ironically, the myth of August the Strong represented an opportunity in the GDR in creating and fostering a sense of identity, first as a socialist state with historical and cultural links to the east, and then by examining Prusso-Saxon history as a uniquely (East) German issue. Finally, the thesis examines the practice of historical re-enactment as it is currently employed in a number of variations on German TV and in literature, and its impact on historical knowledge. The thesis concludes that, while narrative forms are necessary to history and fiction, and fiction is a necessary part of presenting history, inconsistent combinations of the two can undermine the projects of both.
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Cesila, Juliana Sylvestre da Silva. "Si la geste ne ment = historicidade e ficcionalidade nas narrativas arturianas medievais." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270215.
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Orientador: Yara Frateschi VieiraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A literatura arturiana tem início no século XII, mais precisamente com a Historia Regum Britanniae (1135-1138), em que o clérigo Geoffrey de Monmouth traça o perfil do principal personagem das lendas bretãs: o rei Artur. No entanto, a obra de Monmouth não foi aproveitada somente pelos autores que se valeram da Matéria de Bretanha para idealizar seus relatos de aventuras, caso dos romans de Chrétien de Troyes, por exemplo: ela também passou a ser utilizada como fonte histórica para relatos que foram ora lidos como livros de história ora classificados como ficção. A partir de textos arturianos dos séculos XII, XIII e XIV, este trabalho pretende determinar se é possível deduzir da sua análise uma clara distinção entre os conceitos de história e de ficção. Para tanto, examinou-se uma série de obras - das quais participam, em algum momento, Artur e seus cavaleiros -, a fim de realizar um levantamento e uma discussão das passagens em que os diversos autores refletem sobre os fatos passados e sua veracidade, levando-nos ao que poderíamos chamar uma melhor compreensão dos significados dos conceitos de ficção e de história na Idade Média.
Abstract: The beginnings of Arthurian literature can be found on the twelfth century, with the Historia Regum Britanniae (1135-1138), where the profile of the most important character of the British legends, King Arthur, was delineated by its author, the cleric Geoffrey of Monmouth. His text, however, was not used only for the purpose of creating adventures' narratives, such as, for example, Chrétien de Troyes' romans. The Historia Regum Britanniae was also a historical source for others texts which have thereafter been sometimes read as history, sometimes classified as fiction. Based on Arthurian texts written during the 12th, 13th, and 14th centuries, this thesis seeks to determine whether it is possible to draw from their analysis a clear distinction between the concepts of history and fiction. A corpus of Arthurian texts was chosen and examined, in order to identify and discuss those passages where their authors comment on the past and its veracity, leading us, we hope, to a better understanding of the meanings of the concepts of history and fiction in the Middle Ages.
Doutorado
Historia e Historiografia Literaria
Doutor em Teoria e História Literária
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Machado, Lacy Guaraciaba. "A construção do herói em viva o povo brasileiro, de João Ubaldo Ribeiro /." São José do Rio Preto : [s.n.], 2005. http://hdl.handle.net/11449/106338.
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Orientador: Aguinaldo José GonçalvesBanca: Lúcia Osana Zolin
Banca: Regina Célia dos Santos Alves
Banca: Tieko Yamaguchi Miyazaki
Resumo: Este estudo procura conhecer os processos de construção da personagem de ficção e do herói, em sua marcha, do ponto de vista mimético e antropomórfico, cuja realização se dá na obra Viva o povo brasileiro de João Ubaldo Ribeiro. Parte-se da hipótese de que o título da obra tem caráter sinedóquico, onde se identifica e realiza o herói coletivo na sua relação com as demais personagens, entendidas na sua evolução de máscara para signo narrativo. Considerou-se que, pela interlocução entre história e historiografia, na desfuncionalização e dessintagmatização dos elementos constituintes da história, constrói-se a personagem-temática e o herói coletivo representando a relação tensional entre colonizadores e colonizados; classe senhoril/patronal e escrava/ laboral. Para isso, foram utilizados conceitos como: arquétipos e motivos temáticos; personagem como sujeito virtual, atualizado, realizado e glorificado.
Abstract: The aim of this study is to get to know the processes involved in building the fictional and heroic character, on its journey, from both the mimetic and anthropomorphic points of view, as it occurs in João Ubaldo Ribeiro's Long Live the Brazilians (Viva o povo brasileiro). It starts with the hypothesis that the title of the work has a synecdochic character, where the collective hero is identified and realized in his relationship with the other characters, understood in their evolution from mask to narrative sign. By means of the interlocution between history and historiography, in the defunctionalization and dissyntagmatization of the constitutive elements of the story, it was deemed that the thematic character and collective hero were constructed, representing the tensional relationship between colonizer and colonized; between the lord/master and slave/worker classes. In order to achieve this, the following concepts were used: archetypes and thematic motives, character as virtual subject, modernized, realized and glorified.
Doutor
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Mills, Mark Spencer. "Interrogating History or Making History? Vonnegut's Slaughterhouse-Five, DeLillo's Libra, and the Shaping of Collective Memory." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1524.pdf.
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Sablayrolles, François. "La biographie historique et son influence sur la fiction réaliste de l'entre-deux-guerres en Irlande : l'exemple de Sean O'Faolain." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030131.
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Tandis qu’elle accède à son indépendance, l’Irlande voit émerger une nouvelle génération d’écrivains soucieux de promouvoir une littérature dite « réaliste ». Ce réalisme, qui peut d’abord s’appréhender comme une forme d’anti-idéalisme, est inspiré par des motivations certes littéraires, mais également politiques et identitaires. Par là, sa démarche rejoint celle d’un mouvement, plus tard qualifié de révisionniste, qui se dessine en histoire au même moment avec l’ambition de rééquilibrer les représentations d’une historiographie nationaliste. Ainsi, parallèlement à leurs ouvrages de fictions, nombre de ces écrivains réalistes, parmi lesquels Sean O’Faolain, choisissent-ils d’aborder l’histoire par le biais de la biographie historique. Située à la frontière de l’histoire et de la littérature, celle-ci répond tant à des enjeux littéraires, permettant à des auteurs frustrés par une censure institutionnelle de laisser libre cours à leur sensibilité artistique, qu’à des considérations historiographiques. S’infiltrant dans les biographies, imposant son propre tempo, la fiction participe de la révision de l’histoire. En retour, les biographies, par-delà leur fonction de refuge, constituent de véritables laboratoires dans lesquels le biographe élabore des antidotes aux maux qui rongent la fiction en même temps qu’il y forge les pièces maîtresses de son réalisme. Ainsi, alors que le personnage biographique constitue le vecteur privilégié de toutes les tensions politiques et littéraires dont l’auteur tâche de se défaire, l’esthétique réaliste mûrit au fil de paysages biographiques densifiés par l’histoire. Après avoir dû cohabiter avec la fiction et avec le témoignage, la biographie reprend ses droits et conditionne la fiction réaliste de façon décisive, jusqu’à en redéfinir les thèmes, le fonctionnement et la formeThe period after independence in Ireland saw the emergence of a new generation of writers eager to promote a literature described as ‘realist’. This realism, which can be understood as a form of anti-idealism, was inspired by literary motivations, but also by motives that were both political and identity driven. In this, it was in tune with the approach of a historiographical movement of the same period, later qualified as revisionism, which aimed at nuancing the dominant nationalist narrative of history. In parallel to their works of fiction, a number of realist writers, including Sean O’Faolain, chose to approach history from the angle of historical biography. Situated at the frontier between history and literature, these biographies were at once historiographical and literary in their intentions, thus giving authors, who were hampered by the censorship regime in place, an avenue of expression in which they could give free rein to their literary sensibilities. On the other hand, fiction, by infiltrating the biographies, and by imposing its tempo, contributed to some extent to the revising of history. Beyond their function as refuge, the biographies can be seen as a laboratory in which the biographer elaborates antidotes to the ills that afflict fictional writing of the period while at the same time perfecting key set pieces of his realist fiction. The biographical character concentrates within him the political and literary tensions of which the author is seeking to divest himself. His realist aesthetic matures as the realist landscapes become ever more steeped in history and bring more realist representations to his fiction. Biography having accommodated fiction and memory in turn permeates the realist fiction in a decisive way, to the point of redefining its themes, its functioning and its form
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Courtois, Fleur. "Arts de la ruse: pour une expérimentation tactique des sciences humaines à partir de Michel de Certeau." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210363.
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A travers l'oeuvre de Michel de Certeau, les manières de dire et de faire d'une part, dans le quotidien d'autre part dans les sciences humaines sont travaillées pour rendre compte d'une philosophie de la ruse. Sont mobilisés à cette occasion le constructivisme (Latour, Stengers), le pragmatisme (James), le structuralisme (Lacan, Barthes) et les philosophies de Deleuze et Foucaut.Doctorat en Philosophie
info:eu-repo/semantics/nonPublished
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Carpentier-Tanguy, Xavier. "Visions du temps et écritures de l'histoire en RDA au miroir de ses films de fictions : 1961-1989." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0079.
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Ce travail s'intéresse au temps historique comme forme produite par le discours politique. La totalité des films est-allemands - rassemblés et comparés- permet d'identifier des représentations partagées et la part collective d'une inscription dans l'histoire national est-allemande. Le discours idéologique imposée par le réalisme socialiste se présente comme le récit positif d'une quête prométhéenne de valeurs authentiques dans une société régénérée : la société socialiste allemande. Cependant l'ensemble des fictions fait aussi apparaître la dimension interprétative des fictions, investissant de manière nouvelle les espaces temporels et historiques dans lesquels les imaginaires sociaux ne fonctionnent plus comme repères explicatifs et comme opérateurs d'un discours politique dominant. L'épaisseur temporelle propre aux images et aux oeuvres cinématographiques révèle des espaces de négociation. Aux grandes attentes (et aux exigences) de l'histoire se substitute une attente d'histoire ( ou d'histoires) des individus livrés à eux-mêmesThis research focus on historical time considered as a structure produced by the political environment. The examination of east-German films - all compared with each other- allows us to identify collective representations and their inscription in a collective and shared conception of East6german national history. The ideological line imposed by the socialist realism is strongly oriented towards a quest for authentic values in a renewed society : the German socialist society. The study of these fictions also reveals their interpretative dimension. They are playing an important role in the definition of renewed temporal and historical arenas for the imagined communities. Considering the historical and temporal dimensions of images and movies in the former GRD let some possible places appear where a negociation and an interprestation were still thinkable
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Argelès, Daniel. "Ecriture de l'histoire et construction de soi : les textes de fiction de l'écrivain allemand Klaus Schesinger (1937 - 2001)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030030.
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La présente thèse analyse les textes de fiction de l’écrivain berlinois Klaus Schlesinger sous l’angle de l’écriture de l’histoire. Né en 1937 à Berlin-Est, cet auteur important mais encore sous-estimé connaît cinq régimes différents au cours de son existence – l’Allemagne national-socialiste, l’Allemagne occupée, la RDA (de 1949 à1980), la RFA (de 1980 à 1989), l’Allemagne unifiée – et autant de ruptures majeures dont son œuvre rend compte : révélation de l’ampleur des crimes nazis, réorientations dans l’après-guerre et le socialisme en construction, instauration du Mur de Berlin, « dissidence » et passage à l’Ouest dans le sillage de l’affaire Biermann, puis chute du Mur, disparition de la RDA, réunification. Si un découpage en quatre grandes périodes d’écriture permet d’éclairer un itinéraire intellectuel et politique, l’analyse porte d’abord sur la façon dont Schlesinger représente ce demi-siècle d’histoire allemande, son impact sur les individus et les questions qu’il a soulevées (héritage du passé, place de l’individu dans le socialisme « réellement existant », les sociétés capitalistes ou la guerre froide, utopie, identité). Elle s’intéresse aux choix narratifs et formels opérés dans chaque texte et souligne les enjeux indissociablement historiographiques, moraux, politiques et identitaires dont ils ont été à chaque fois porteurs. Puisant à plusieurs sources théoriques (Ricœur, Foucault, de Certeau, Turner, Geertz), elle met en lumière la nature singulière des espaces souvent hétérotopiques ou liminaux où Schlesinger fait évoluer ses personnages et observe l’écriture de fiction comme un lieu privilégié d’appréhension et de construction de soi dans l’histoire. Centrée sur les textes de fiction, l’analyse exploite également les essais et les textes autobiographiques, ainsi que les archives du fonds Schlesinger de l’Akademie der Künste à Berlin (correspondance, ébauches et fragments, dossiers de surveillance de la Stasi, recensions et coupures de presse, entretiens)This thesis analyses the fictional texts of Berlin author Klaus Schlesinger under the aspect of history-writing. Born in 1937 in East-Berlin, this important yet still under-estimated writer lived under five different regimes – national-socialist Germany, occupied Germany, the GDR (from 1949 to 1980), the FRG (from 1980 to 1989), unified Germany – and as many major changes that find reflection in his work: the revelation of the scope of Nazi crimes, the reorientations in the post-war era and under the socialist regime, the building of the Berlin Wall, political “dissidence” and exile in the West in the wake of the Biermann affair, then the fall of the Wall, the disappearance of the GDR and German unification. While the analysis falls into four chronological periods, thus allowing for an overview of his intellectual and political itinerary, the thesis primarily focuses on the way Schlesinger represented this half-century of German history, its impact on individuals and the questions that arose from it (the heritage of the past, the individual’s position in “real”-socialism, in capitalist societies or the Cold war, utopia, identity). It looks at the narrative and formal choices made in each text and underlines the historiographical, moral, political and personal-identity questions inextricably linked to them. Drawing from several theoretical sources (Ricœur, Foucault, de Certeau, Turner, Geertz), it underlines the specific nature of the often heterotopical or liminal spaces in which Schlesinger places his characters and interprets fictional writing as a privileged space of self-apprehension and self-construction in history. While focused on the fictional writings, the analyses also uses the author’s essays and autobiographical texts as well as the Klaus Schlesinger archives of the Akademie der Künste in Berlin (correspondence, first drafts, text fragments, Stasi surveillance files, reviews, interviews)
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Sakai, Luiz Guilherme Fernandes da Costa. "Denegação e desidentidade: a metaficção historiográfica em Nove noites, de Bernardo Carvalho." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14725.
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This study discusses the identity construction and interpellation in Brazilian contemporary literature through historical novel and historiographical metafiction, concepts studied by Györg Lukács and Linda Hutcheon, respectively. These two subgenres reveal a relation that is different from the truthful events in which the novel is based. The historical novel, emerged in 19th century, uses them to attest their fictional verisimilitude, and in the national context, it has joined the taskwork to build a Brazilian identity. The historiographical metafiction, which emerged in the second half of 20th century, uses the truthful events to question, destabilize and rewrite them. Nove noites, from the author Bernardo Carvalho, gets close to this second subgenre. However, a survey of Carvalho s critical fortune has indicated a supposed inverisimilitude trace in his literary production; this discovery questions not only the historical speech, but also the fiction itself. From this starting point, our study is going to investigate, especially in the chosen novel, the bounds between fiction and reality (linked to history) and identity and non-identity in a dialog with the historical novel and the historiographical metafiction. Presenting also Carvalho s critical production, it s evident in this research that he appreciates an experimental and inventive fiction, and denies trends and common sense in relation to literature. Therefore, this research challenges the hypothesis that, by one side, Nove noites has some historiographical metafiction characteristics and points out to a non-identity dimension, concept used by Italo Moriconi to define the crisis in which the Latin-American thought has been facing in this globalized scenery. In the other hand, when he destabilizes his own construction of sense, he overacts the subgenre in which he was primarily associated and strengthen, in another level, the position the writer registers in this critical texts
Este estudo discute a questão da construção e interpelação da identidade na literatura contemporânea brasileira pela via do romance histórico e da metaficção historiográfica, estudados por Györg Lukács e Linda Hutcheon, respectivamente. Essas duas vertentes do gênero literário romance revelam uma díspar relação com os acontecimentos verídicos de que se apropriam. O romance histórico, surgido no século XIX, utiliza-os para atestar a sua verossimilhança ficcional e, no contexto nacional, aliou-se à empreitada de formar uma identidade aos brasileiros. Ao passo que a metaficção historiográfica, que surgiu já na segunda metade do século XX, vale-se deles para questioná-los, desestabilizá-los e reescrevê-los. Nove noites, do ficcionista e crítico Bernardo Carvalho, aproxima-se dessa segunda vertente. Contudo, um levantamento da fortuna crítica desse escritor indicou um traço supostamente inverossímil em sua produção literária, que põe em xeque o sentido não apenas do discurso histórico, mas também da própria ficção. É partindo disso que este estudo objetiva investigar as fronteiras entre ficção e realidade (atrelada à história) e identidade e desidentidade em diálogo com o romance histórico e com a metaficção historiográfica. Apresentando também sua produção crítica, torna-se patente, nesta pesquisa, que Carvalho valoriza uma ficção experimental, inventiva, e refuta modismos e lugares-comuns em relação à literatura. Por isso, este trabalho coloca à prova a hipótese de que, por um lado, Nove noites, possuidor de características da metaficção historiográfica, ilustra e aponta para a dimensão da desidentidade, termo utilizado por Italo Moriconi para definir a crise pela qual o pensamento latino-americano tem passado no cenário globalizado. Por outro, o romance de Bernardo Carvalho, ao desestabilizar sua própria construção de sentido, extrapola a vertente a que inicialmente se associa, reforçando, em outro nível, o posicionamento que o escritor registra em seus textos críticos
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Barsalini, Maria Silvia Ianni. "Mário de Andrade constrói o Padre Jesuíno do Monte Carmelo." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-07122011-111729/.
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Na obra de Mário de Andrade polígrafo, a vertente do ensaísta vinculada ao historiador da arte brasileira, mostra-se enquanto processo de criação em Padre Jesuíno do Monte Carmelo, estudo que o autor estava em vias de considerar concluído, ao morrer em 1945. A tese, ao contemplar, à luz da crítica genética, a elaboração do ensaio sobre esse pintor do barroco paulista, a partir da organização dos documentos no dossiê dos manuscritos, teve, como proposta, desvendar a pesquisa do historiador que, vinculada a um projeto no SPHAN, uniu a busca de fontes primárias ao diálogo com outros historiadores, em leituras pertinentes. Desta forma, ao analisar notas de trabalho, presentes na margem de livros e em fólios, assim como versões de texto, procurou seguir o caminho da criação nas partes que compõem o ensaio. Entendeu, também, que o rigor da interpretação do ensaísta mescla-se, sem qualquer prejuízo, à criação do ficcionista na invenção da psicologia de Jesuíno, artista mulato, personagem.In the polygraph work of Mário de Andrade, the essayists versant linked to the Brazilian Art historiographer, shows while creation procces in Padre Jesuíno do Monte Carmelo study that the author was about to consider concluded, when he died in.1945. The thesis, contemplating, by the genetics criticism, the essays elaboration about this painter of paulista baroque style, since the organization of documents in the manuscripts dossier had, as proposal, to reveal the historiographers research that, linked to a project at SPHAN, joined the search of primary sources to the dialogue with others historiographers, in pertinent lectures. In this way, analyzing works notes, presents in books borders and folios, as well as text versions, this thesis attempted to follow the creation way in the parts which composes the essay. It also understood that interpretations rigour of the essayist mixtures, without any prejudice, to the fictionist creation in the Jesuinos psychology invention, mulato artist, personage.
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Desbois-Ientile, Adeline. "L’histoire écoutée aux portes de la mythologie : l’écriture du mythe troyen autour des Illustrations de Lemaire de Belges." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040144.
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Ce travail étudie l’écriture de l’histoire et de la fiction mythologique à la Renaissance, à partir du mythe des origines troyennes des Français. Notre corpus est centré sur les Illustrations de Gaule et singularitez de Troye (1511-1513) de Lemaire de Belges, fresque généalogique qui comprend en son cœur le récit mythologique des amours de Pâris et de la guerre de Troie, que nous avons replacé dans un vaste réseau intertextuel comprenant notamment les œuvres de Bouchet, Thenaud, Helisenne de Crenne et Ronsard. La singularité des Illustrations en fait un observatoire privilégié des relations entre l’histoire et la fiction poétique à la Renaissance, permettant d’analyser les différents degrés d’intégration de la fable dans un discours de nature historiographique, sur les plans poétique, rhétorique et stylistique. Nous avons d’une part retracé l’histoire du mythe troyen entre la fin du Moyen Âge et la fin de la Renaissance, de façon à mesurer le renouvellement auquel a procédé Lemaire et l’influence que son œuvre a exercée au XVIe siècle ; nous avons d’autre part analysé le traitement différencié qu’il réserve à la mythologie à l’intérieur de l’œuvre, montrant que le mythe y est à la fois l’objet d’une quête des origines et un récit vraisemblable qui tend vers la fable ; enfin, étudiant les évolutions rhétoriques et stylistiques entre les différentes parties, nous avons mis en évidence la tension entre l’exigence de propriété du discours historiographique et l’élaboration d’une prose « poétique » nouvelle, haute en « couleurs de rhétorique » et en partie artificielle. L’œuvre nous donne ainsi accès à l’imaginaire historique et poétique de la RenaissanceThis dissertation studies historical writing and mythological fiction in the Renaissance, taking its starting point in the myth of the Trojan origins of the Franks. Although centered upon Lemaire de Belges’s Illustrations de Gaule et singularitez de Troye (1511-1513), a grand genealogical fresco containing the legendary narratives of the loves of Pâris and of the Trojan War, the corpus extends to a vast intertextual network that includes the works of Bouchet, Thenaud, Helisenne de Crenne, and Ronsard. The uniqueness of the Illustrations is such that it allows us to observe and analyze with conspicuous acuity the interactions, at the time of the Renaissance, between history and poetic fiction. In particular, it enables us to measure the extent to which fiction may be merged with historical narrative, and to articulate the distinctive features of the two writing styles from poetic, rhetorical, and stylistic points of view. On the one hand, we consider the history of the Trojan myth from the Middle Ages to the end of the Renaissance. On the other, we analyze the special treatment reserved for mythology within the work, showing that the Trojan myth is both a quest in search of the true origins of a people and a plausible narrative embellished in highly imaginative prose. Finally, observing the differences among the various parts of the work, we shed light on the tension between a neutral and matter-of-fact style of the sort required by historical writing and a newly invented “poetic prose” enriched with rhetorical devices and freshly crafted expressions. The Illustrations is thus seen to open an exceptional window upon the historical and poetic worlds of the Renaissance