To see the other types of publications on this topic, follow the link: Historiographic fiction.
Journal articles on the topic 'Historiographic fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Historiographic fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Tyers, Rhys William. "Historiographic Metafiction and the Metaphysical Detective in Roberto Bolaño’s Amulet." MANUSYA: Journal of Humanities 24, no. 2 (December 6, 2021): 270–87. http://dx.doi.org/10.1163/26659077-24020005.
Full textAbstract:
Abstract Roberto Bolaño’s Amulet explores the writing of history as an attempt to construct a narrative from a multitude of unreliable and conflicting sources. As a result, any attempt at historiography is also plagued by the problems of representation found in literature. More particularly, not unlike detective fiction, history is concerned with identifying the inspirations and actions of its players and with revealing the truth about an episode or series of episodes, using historical information, all of which may or may not be reliable. By examining the relationship between the historical and the fictional in Amulet this paper will discuss Bolaño’s use of the tropes of metaphysical detective fiction and how they help foreground the difficulties posed by historical facts by reinventing them in fiction. This will, in turn, highlight the intersection between detective fiction and historiographic metafiction and how by combining these two genres writers can reimagine historical contexts and find new meanings and significance.
2
Nitz, Julia. "In Fact No Fiction: Historiographic Paratext." SPIEL 30, no. 1 (January 1, 2011): 89–111. http://dx.doi.org/10.3726/80121_89.
Full text
3
Zhang, Xinyu. "Þannig er saga okkar“: Um sagnritunarsjálfsögur og skáldsöguna Hundadaga eftir Einar Má Guðmundsson." Íslenskar kvikmyndir 19, no. 2 (October 24, 2019): 249–73. http://dx.doi.org/10.33112/ritid.19.2.10.
Full textAbstract:
The ambiguity between reality and fiction haunts Einar Már Guðmundsson’s novel Hundadagar (Dog Days, 2015), as it is a fictional narrative about factual, historical figures and events, such as Jörgen Jörgensen, Rev. Jón Steingrímsson, Finnur Magnússon and Guðrún Johnsen, while the same can be said about many other novels labeled as postmodernism. Canadian literary scholar Linda Hutcheon coined the concept of historiographic metafiction to describe fictions as such, which are “intensely self-reflexive”, while “paradoxically lay claim to historical events and personages”. Hutcheon suggests that historiographic metafictions fully illuminate the very way in which postmodernism entangles itself with both the epistemological and ontological status of history. This paper begins with an introduction to Hutcheon’s theoretical contributions on postmodernism, postmodern literature and the relationship between history and fiction, followed by a reading of Hundadagar as a historiographic metafiction. The narrator’s strategies—such as parataxis, metanarrative comments, we-narrative discourse and documentary intertext—largely indicate an imitation, a revelation, or say, a parody of the process of historian’s writings. The paper further suggests that it is the Icelandic financial crisis in 2008 that prompts the narrator to revisit the 18. and 19. century, since the financial crisis takes the role of a rupture of the Enlightenment ideals, leading to disorder and chaos. Moreover, the narrator finds an uncanny similarity between the past and the present, as if the history has been repeating itself. The spectre of history keeps (re)appearing in a deferred temporality. While revisiting the past, the narrator also (re)visits the present in an allegorical way. In a word, as a historiographic metafiction, Einar Már Guðmundsson’s Hundadagar is “fundamentally contradictory, resolutely historical, and inescapably political”, just as Hutcheon’s perception of postmodernism.
4
GHEORGHIU, Oana Celia. "ENCODING REALITY INTO FICTION/ DECODING FICTION AS REALITY: POSTMODERN HISTORIOGRAPHY AS CRITICAL THEORY." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 5, no. 1 (November 24, 2021): 99–105. http://dx.doi.org/10.26520/mcdsare.2021.5.99-105.
Full textAbstract:
This paper is intended as a brief critical review of three interrelated, fairly similar critical theories, born out the necessity of looking into cultural forms and products with a view to finding the politics at work therein. While American New Historicism is more historically oriented, British Cultural Materialism, with its more obvious influence from Marxism, Postcolonialism and other theories which place the margin at their centre, seems to be more in tune with contemporaneity, and so is the area of Cultural Studies, with its emphasis on cultural representations. It is advocated here that contemporary fiction cannot be fully separated from other textual forms, which are considered here historiographic (not historical) because of their nature of texts produced subjectively, within a certain political, social and cultural context, irrespective of their assumed scientific objectivity. Literature, it is further argued, has become a discourse-oriented endeavour with an active participation, an idea supported in the present study by making reference to several critical and polemic writings by Salman Rushdie, which, in a topsyturvy, postmodernist manner, are foregrounded before, and not after the literature review proper.
5
Myshanych, Yaroslav. "Ukrainian Historiographic Prose of the 18th – the First Half of the 19th century in Assessment of Mykhailo Maksymovych." Слово і Час, no. 10 (October 16, 2019): 52–58. http://dx.doi.org/10.33608/0236-1477.2019.10.52-58.
Full textAbstract:
The essay reviews the studies of Mykhailo Maksymovych that deal with the three works of the 18th–19th-century Ukrainian historiography. According to M. Maksymovych, one may classify the syncretic historiographic works within three main types. These are Cossack chronicles of the late 17th – early 18th centuries, journalistic pamphlets of the late 18th century, and historical novels of the mid-19th century. The scholar used different approaches analyzing the works from the mentioned groups (chronicle by Hryhorii Hrabianka, “History of Ruthenians”, and “The Commoners’ Council” by Panteleimon Kulish). The scholarly historiography of the time was not still shaped enough and the works from the field could have features of fiction and research studies simultaneously. The authors, who didn’t understand history as a separate research field, were free of modern limits and could easily use both fictional and research techniques within the same work. The strict critical attitude of the scholar towards the chronicle by Hryhorii Hrabianka changed into tolerant in the case of “History of Ruthenians” and moderate critical in the analysis of “The Commoners’ Council”. M. Maksymovych tried to be objective in covering historical processes and worked hard to develop a scholarly approach in the evaluation of Ukrainian historiographical prose. Maksymovych took into account the specificity of every single work and, based on the ideas of his predecessors and contemporaries, rather accurately defined the proper frames of the scholarly historiography. At the same time, the scholar didn’t deny the value of fictional works based on historical events.
6
Fonfárová, Vladimíra. "Postmodern Challenge of Historiography in Contemporary Canadian Fiction:." American & British Studies Annual 15 (December 21, 2022): 74–88. http://dx.doi.org/10.46585/absa.2022.15.2431.
Full textAbstract:
As defined by Georg G. Iggers and promoted by Hayden White, the postmodern challenge of historiography calls into question the objective enquiry and truth value of history writing. Many works of fiction have embodied this trend, embracing the challenge by exploring objectivity and the retrievability of the past. In contemporary Canadian literature, such cases are also to be found. The novel Weird Sister (1999) by Kate Pullinger thematizes history and history writing, utilizes Gothic elements, and employs the elements of historiographic metafiction, e.g. as characterized by Linda Hutcheon. The book features characters representing the so‐called silent voices whose testimony had remained lost in the official historical record. This paper aims to show that the depiction of the impossibility of uncovering the truth about the past represents a significant contribution by contemporary fiction authors to the postmodern challenge of historiography, with Pullinger’s novel emerging as a notable contribution to this discourse.
7
Puchal Terol, Victoria. "Pernicious Female Role Models and Mid-Victorian London’s Stage." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 20 (2021): 57–77. http://dx.doi.org/10.25145/j.clepsydra.2021.20.03.
Full textAbstract:
Hutcheon identifies as ‘historiographic metafiction’ those pieces of fiction that expose that our cultural perception of past events is changing and malleable (129). Even though Hutcheon’s theory of historiographic metafiction has been mainly applied to fiction from the post-modern era, certain elements of historical inspiration can be traced back to fiction from the Victorian period. In this article, I propose to turn to the popular theatre of the mid-Victorian period to scrutinize the manipulation of historical female figures, paying close attention to the representation of Lucrezia Borgia as a strong-minded woman. To do so, I analyse the mid-nineteenth century as a moment for asking questions about feminine identity, feminist movements, and alternative representations of female history. By turning to lesser-known mid-Victorian popular plays by H.J. Byron, Charles Matthews, and Leicester Buckingham I will further contribute to an ongoing archaeological task of recovering lost female voices and interpretations from our recent past.
8
Manzoor, Fehmida, and Fouzia Rehman Khan. "Identity Formation and Discourse of Power: A Study of Us, Them and Othering in Nervous Conditions." International Journal of English Linguistics 8, no. 4 (April 25, 2018): 262. http://dx.doi.org/10.5539/ijel.v8n4p262.
Full textAbstract:
This study was designed to trace the deconstruction of authoritative officialized history in fiction through Postmodern Historigraphic Metafiction. Historiographic Metafiction dismantles the metanarrative of official history and raises the voice of silenced subaltern thus generates mininarratives. The study is thus grounded in Postmodern Historiographic Metafictional theory of Linda Hutcheon for investigation of the “subversive strategies” of officialized history and deconstruction of positively accentuated binary of “us” and negatively accentuated binary of “them” in the backdrop of postcolonial literary text Nervous Conditions. Norman Fairclough’s model of Critical Discourse Analysis is taken up as a research method for the analysis of fictionalized historical work under study. Finally, text is analyzed leading to the conclusion of the study. The study shows that fiction unveils the official overriding history and provides new perspectives of untold historical events.
9
Ashraf, Ayesha, and Sardar Ahmad Farooq. "Multiplicity of History in Our Lady of Alice Bhatti Through Historiographic Metafiction." International Journal of English Linguistics 10, no. 1 (January 13, 2020): 395. http://dx.doi.org/10.5539/ijel.v10n1p395.
Full textAbstract:
English fiction, in the recent decades, has significantly manifested its deepest concern for postmodern transformation of history through subversion of the traditional historical narratives. The current research paper aims to highlight the postmodern transformation of history in the selected English novel Our Lady of Alice Bhatti written by Muhammad Hanif. The selected novel as postmodern historiographic metafiction highlights that contemporary fiction manifests and retells the traditional history through memory, parody, self-reflexivity and intertextuality. The current research study generates a better understanding of the present interdisciplinary relation of fiction with that of other disciplines especially history. The postmodern theoretical concepts of Linda Hutcheon are incorporated in this current study. This research is qualitative and exploratory, while textual analysis has been used as a research method. This research ends with the findings and recommendations for further research.
10
Varghese, Subin. "Merging Fact, Fiction and Myth: Reading TD Ramakrishnan’s Sugandhi Enna Aandaal Devanayaki as a Historiographic Metafiction." SMART MOVES JOURNAL IJELLH 9, no. 3 (March 28, 2021): 1–8. http://dx.doi.org/10.24113/ijellh.v9i3.10939.
Full textAbstract:
TD Ramakrishnan’s novel Sugandhi Enna Aandaal Devanayaki is a mixture of the mythological, metaphysical and historical into a fictional space which transcends the boundaries of nation. The novel is a quest for retelling the historical trauma of Sreelanka. In the search for Sugandhi a Tamil liberation activist, the narrator stumbles upon the mythical Sugandhi from the folklore, creating tension between faction and reality. In the search for the mythical Sugandhi Ramakrishnan uses ‘SusinaSupina’ and arrives at Devanayaki belonging to 7th century AD Pallava Dynasty. As fact, fiction and myth blur into the contemporary social space, the myth of Devanayaki merges with Rajani Thirinagame creating the notion of the alternate history from a female perspective. In the novel History blurs into myth, reality into fiction, contemporary into past, individual into society and body into spirit.TD Ramakrishnan deconstructs the millennium old Tamil- Sinhalese political history using the alternate history from mythology and folklore. This paper is an attempt to read the novel Sugandhi Enna AandaalDevanayaki as a Historiographic metafiction.
11
Hamdy Abdel Gawad Mohamed, Fatema. "Historicizing Fiction/Fictionalizing History in Don DeLillo's Historiographic Metafiction: Libra." مجلة کلیة الآداب جامعة الفیوم 15, no. 13 (January 1, 2016): 806–36. http://dx.doi.org/10.21608/jfafu.2016.62331.
Full text
12
Ashraf, Ayesha, and Munawar Iqbal Ahmed. "TRANSFORMATION OF HISTORY IN THE GLASS PALACE AND BURNT SHADOWS: A POSTMODERNIST ANALYSIS." Journal of Social Sciences and Humanities 58, no. 2 (December 31, 2019): 33–47. http://dx.doi.org/10.46568/jssh.v58i2.6.
Full textAbstract:
South Asian English fiction, in recent decades, has significantly manifested its deepest concern for history and its relevance in the contemporary global scenario. The last couple of years have noticed the publication of many English novels by Indian and Pakistani authors that in fact belong to the very genre of postmodern historiographic metafiction. In fact, postmodern fiction writers usually deviate from the traditional representation of past events. The current study examines the way history writing is reconfigured in the selected postmodern novel. In these novels, the writers retell the traditional history through innovative narrative techniques and multiplicity of the views that de-centralize the conventional history. The present research attempts to explore Amitav Gosh’s The Glass Palace and Kamila Shamsie’s Burnt Shadows as historiographic metafiction, that is a sub-genre of postmodern fiction. The study focuses on the selected texts to explore how these novels transform the traditional history through the incorporation of magic realism, intertextuality and self-reflexivity. This research is qualitative and descriptive, while the textual analysis has been used as a research method. The theoretical concept of Linda Hutcheon is incorporated in this current study that ends with findings and recommendations for future research.
13
GREENSPAN, ANNA, ANIL MENON, KAVITA PHILIP, and JEFFREY WASSERSTROM. "The future arrives earlier in Palo Alto (but when it's high noon there, it's already tomorrow in Asia): a conversation about writing science fiction and reimagining histories of science and technology." BJHS Themes 1 (2016): 249–66. http://dx.doi.org/10.1017/bjt.2016.7.
Full textAbstract:
AbstractA conversation between philosopher of digital cultures Anna Greenspan and historian of China Jeffrey Wasserstrom, speculative-fiction writer Anil Menon, and historian of science Kavita Philip, exploring the emerging work from scholars who have grown up with the global influence of science fiction in popular culture while being trained in the disciplinary spaces between science, engineering, social science, law and the humanities. The following questions are addressed: what are the prehistories of science fiction and the futures of such interdisciplinary work? How do India and China, as places where important new science fiction is being written, and as nations exploding now into emerging markets characterized by technological dynamism, fit into older historiographic frames that saw the European Enlightenment as the source of modern science, and the ‘developing world’ as destined only to ever play catch-up? How should the politics of digital futures and non-European pasts figure in historical research and in fiction writing, keeping in mind the historian's fear of presentism and anachronism, and the fiction writer's dislike of political moralism?
14
Baron, Jaimie Rachel. "Digital Historicism: Archival Footage, Digital Interface, and Historiographic Effects in Call of Duty: World at War." Eludamos: Journal for Computer Game Culture 4, no. 2 (November 4, 2010): 303–14. http://dx.doi.org/10.7557/23.6050.
Full textAbstract:
Historical videogames offer the promise of a new relationship between the reader of history and the account of an historical event, potentially transforming the “reader” of history into the active “user” or even “maker” of history. Indeed, the concept of historical videogames suggests that the user may play an active part in the construction of historical narratives and, thereby, in the implications of these historical events for the present. In this paper, I examine the appropriation of indexical archival documents into two instances of what I call “digital historicism” – the videogame Call of Duty: World at War (Activision, 2008) and the database narrative Tracing the Decay of Fiction: Encounters with a Film by Pat O’Neill (Pat O’Neill, Rosemary Comella, and Kristy H.A. Kang, 2002) – and their respective historiographic effects. I argue that the appropriations of indexical archival footage in each of these two digital media works produce in the user a phenomenological experience of the documentary “real,” but at the same time shape and limit the meanings that may be attributed to this footage. Indeed, I suggest that Call of Duty, while at the cutting edge of game design, imports and reinforces a conservative and even reactionary historiographic model into the emergent genre of digital history. Moreover, I argue that although Tracing the Decay of Fiction offers a less teleological and more open-ended encounter with the historical past, it is precisely its lack of a singular narrative that may ultimately (and paradoxically) undermine the user’s sense of historiographic agency as she is confronted with the unruly indexical traces of the past.
15
Rahman, Suzan Raheem, Lamiaa Ahmed Rasheed, and Lujain Ismael Mustafa. "The Adaption of Self-Reflexivity and Metafiction Approach to Myth and History in Shashi Tharoor's the Great Indian Novel: A Post-Modernist Study." International Journal of Early Childhood Special Education 12, no. 2 (December 31, 2020): 88–93. http://dx.doi.org/10.9756/int-jecse/v12i2.201059.
Full textAbstract:
Shashi Tharoor's The Great Indian Novel is an example of a post-modern historiographic metafiction that takes the relationship between reality and fiction into consideration. This novel also depicts the 20th century political past by reviving events, incidents and characters of the myth of Mahabharata. The current paper aims to explain how Tharoor rebuilds the twentieth-century past by drawing on the great Mahabharata classical epic. Additionally, it examines the common relationship between fiction and history as it progressed along and continuous processes through the use of self-reflexivity and metafiction approach. In The Great Indian Novel, Tharoor adapts a metafiction tool which is the most fitting way to tackle this novel as a postmodernist study. Tharoor blends fiction and fact through a self-reflective narrative and the use of several metafiction devices by adapting the myth of Mahabharata to construct the distance between the past and the present. Tharoor takes the ancient myth as the basic structure with contemporary group of political characters for a real and ironic review of recent Indian history and representation.
16
Alden, Natasha. "From the Effective to the Affective: Postmemory in Emma Donoghue’s The Sealed Letter." Contemporary Women's Writing 14, no. 1 (March 2020): 107–24. http://dx.doi.org/10.1093/cww/vpaa017.
Full textAbstract:
Abstract This article has a dual focus. It demonstrates the recent repoliticization of Linda Hutcheon’s category of historiographic metafiction through the extension of Marianne Hirsch’s concept of postmemory to lesbian novelists, arguing that this theoretical framework offers a lens through which we can understand some recent trends in lesbian historical fiction. Focusing on the novelist and critic Emma Donoghue’s 2008 novel The Sealed Letter, it also argues that this text’s evocation of an imagined lesbian past, and its use of metafictional techniques, are illuminated by reading it as a highly political engagement with lesbian postmemory.
17
Hedrick, Donald. "Advantage, Affect, History, Henry V." PMLA/Publications of the Modern Language Association of America 118, no. 3 (May 2003): 470–87. http://dx.doi.org/10.1632/003081203x47778.
Full textAbstract:
Shakespeare's Henry V explores historiographic moments—relations among past, present, and future in memory, writing, and action. Advantage, Shakespeare's early capitalist term for highest return from least outlay, links historiography to war work, theater work, and love, theorized as “affective labor.” The play figures history not so much as fiction but rather in Walter Benjamin's terms as an achievement depending on the epistemic reliability of disadvantaged historians in danger, who rescue or recruit the dead and maximize affect. Falstaff's reported death reveals, through his friends' dispute about his dying words, Elizabethan and contemporary issues of history and shows lowliest characters with an unofficial authority appropriated also by Shakespeare's epilogue. In the controversial final scene, in which Henry woos the defeated French princess, circumstances and subtle conversational play show the labor of potential love—or hate. Henry is less successful, Catherine less victimized than they are usually interpreted to be, as she becomes the underdog Henry was before his victory, her body as mother in potentia constituting a dangerous future counterhistory and means by which domination may be dominated.
18
Saja, Krystian. "Historiografia wobec poetyzacji słowa. Znaczenie literatury kontrfaktycznej dla popularyzacji wiedzy historycznej." Przestrzenie Teorii, no. 37 (December 30, 2022): 201–21. http://dx.doi.org/10.14746/pt.2022.37.11.
Full textAbstract:
The search for connections between history and literature has been going on continuously since antiquity. Interference between disciplines is obvious today, due to the narrative form of application, bringing the stories told closer to the novel. The search for non-narrative connections continues to this day. The main task of this article is to conduct a brief analysis of the basic interpretations of both disciplines and to indicate their role in building alternative literary stories. It also serves to show that categories such as narrative, imagery, truth and fiction play a pivotal role in the historiographic teaching process through alternative literary histories.
19
Massyn, P. J. "Critique, hesitation, death: Reflections on Koos Prinsloo’s Weifeling." Literator 16, no. 1 (April 30, 1995): 1–12. http://dx.doi.org/10.4102/lit.v16i1.577.
Full textAbstract:
This paper focuses on Koos Prinsloo's Weifeling, the last collection of fiction to appear in the writer's brief career In this article it is argued that Prinsloo's work is characterized in the first instance by an oppositional practice driven by a will to reveal which involves, inter alia, a collapse of the distinction between the private and the public. This revelatory urge is, however, compromised by residual attachment and a self-reflective practice which deconstructs the identity of the self even as it is revealed Linda Hutcheon's description of postmodernism’s ethical stance as one of "complicitous critique" and a strategically modified version of her description of postmodernist fiction as “historiographic metafiction" are used to theorize this aspect of Prinsloo's writing, although the texts under discussion remain undeniably more critical than complicit in their practice. Finally, the confrontations with death in the closing texts of Weifeling are linked to Brian McHale's arguments about postmodernism's characteristic foregrounding of ontological differences.
20
NAZLI, Elzem. "History as Fiction: D. M. Thomas’s The White Hotel as an Example of Historiographic Metafiction." Gaziantep University Journal of Social Sciences 18, no. 1 (January 22, 2019): 13–28. http://dx.doi.org/10.21547/jss.443651.
Full text
21
Majchrowicz, Daniel. "Fingernails Torn from Flesh: Intiz̤ār Ḥusain, Rām Laʿl, and Travel Writing across the India-Pakistan Border." Journal of Urdu Studies 1, no. 2 (December 28, 2020): 241–67. http://dx.doi.org/10.1163/26659050-12340012.
Full textAbstract:
Abstract Studies on the Partition of India have historically examined the years immediately before and after 1947, drawing heavily on Urdu fiction. Recent historiographic advances, however, emphasize “partitioning” to convey partition’s prolonged, indeterminate, and ongoing nature. This article suggests that the Urdu travel account is a primary literary space to negotiate the long-term signification of Partition and, as such, exemplifies processes of partitioning. It argues for the existence of a distinct category, the “cross-border travel account,” offering a critical and comparative reading of works by Intiz̤ār Ḥusain and Rām Laʿl to explore how the genre negotiates the legacy and future of Partition.
22
Kucała, Bożena. "Reanimating the English Historical Novel in the Twenty-First Century – The Case of David Mitchell’s the Thousand Autumns of Jacob De Zoet." Studia Anglica Posnaniensia 53, no. 1 (March 1, 2018): 203–22. http://dx.doi.org/10.2478/stap-2018-0009.
Full textAbstract:
Abstract This article argues that David Mitchell’s novel The Thousand Autumns of Jacob de Zoet (2010) represents a new variation of the genre of historical fiction. The historical novel in Britain has risen to prominence since the 1980s and in the twenty-first century this strong interest in the past continues. Placing David Mitchell’s book in the context of recent historical fiction, the article takes account of Joseph Brooker’s hypothesis that, together with Hilary Mantel’s Tudor novels, The Thousand Autumns of Jacob de Zoet may be indicative of an emergent trend in the contemporary English historical novel. The purpose of the article is to identify and explore Mitchell’s key strategies of writing about history. It is argued that, departing from the prevalent mode of historiographic metafiction, Mitchell’s book adheres to some of the traditional tenets of the genre while achieving the Scottian aim of animating the past in innovative ways. The analysis leads to the conclusion that the use of the present tense, the subjective perspectives, and the exclusion of foreknowledge lend the novel dramatic qualities.
23
Munteanu, Dinu G. "Is Tumblr the New Narnia? A Few Reflections on C.S. Lewis, Romanticism and Their Relevance on Media and Cultural Studies." Linguaculture 10, no. 2 (December 12, 2019): 179–92. http://dx.doi.org/10.47743/lincu-2019-2-0154.
Full textAbstract:
Drawing on ethnographic and semiotic observations made by the author on the microblogging platform Tumblr, this paper argues that C.S. Lewis’ critical literary heritage, particularly his reflections on the psycho‑aesthetic, imaginative value of ‘Kappa’ (hidden / cryptic) elements in fiction, retains its relevance today and can provide analytical insights to contemporary media and cultural analysts. A brief empirically‑informed argument will be presented, building on material extracted from a loosely‑woven community of ‘nostalgic’ bloggers. Their collaborative use of hypermedia, including literary citations, illustrations, animations and photographs, will be analysed, in an attempt to understand the Romantically-informed emotional and historiographic construction of ‘nostalgic’ visual discourse, as represented throughout this specific digital environment.
24
Asensio Aróstegui, María del Mar. "History as a discourse in Jeanette Winterson's "The passion" : the politics of alterity." Journal of English Studies 2 (May 29, 2000): 7. http://dx.doi.org/10.18172/jes.54.
Full textAbstract:
Set in the historical context of the French Revolution and the Napoleonic wars, Jeanette Winterson's The Passion is an outstanding example of the kind of fiction that Elizabeth Wesseling (1991: vii) calls postmodernist historical novels, that is, "novelistic adaptations of historical material". Besides, being profoundly self-reflexive, the novel also falls under Linda Hutcheon's (1988) category of historiographic metafiction. The present paper focuses on Winterson's political choice of two representatives of historically silenced groups, a soldier and a woman, who use two apparently opposed narrative modes, the historical and the fantastic, to tell a story that both exposes history as a discursive construct and provides an alternative fantastic discourse for the representation of feminine desire.
25
Miller, Rose. "Storytelling and Affect in Sonya Hartnett’s The Children of the King (2012)." Papers: Explorations into Children's Literature 23, no. 2 (July 1, 2015): 38–52. http://dx.doi.org/10.21153/pecl2015vol23no2art1117.
Full textAbstract:
Melbourne writer Sonya Hartnett frequently explores the ways in which a sense of place impacts on the development of identity. In her memoir Life in Ten Houses (2012), Hartnett maps each of her novels to her place of habitation at the time of writing, describing the relationship between each place and herself and the subsequent impact of this dialectic on the creative process. This reciprocal relationship between narrative and lived experience is examined in Hartnett’s novel The Children of the King (2012). Using perspectives on temporality from phenomenology and cultural memory and incorporating ideas of place from human and cultural geography, this article proposes that Hartnett uses the device of embedded narrative to examine the affective qualities of storytelling and place on the subject. This juxtaposition invites the reader to consider the fluid notions of identity inspired by embodied oral storytelling along with the perceptual opportunities afforded by the physical, sensorial world. Hartnett encourages the reader to critically assess the reliability of narrative, narrator, and the process of subjective judgement that occurs when responding to story. This recalls Linda Hutcheon’s (1989) work on historiographic metafiction, which, as she describes, has the effect of demarginalising the literary ‘through confrontation with the historical’ (p. 108). Metafictive historiographic novels, as Robyn McCallum (1999) articulates: ‘foreground the discursive and textual conventions of history writing, usually by physically incorporating and representing historical texts and discourses in ways that destabilise the relation between fiction, history and reality’ (p. 230). In The Children of the King this destabilisation is achieved through Hartnett’s double plot structure which calls attention to the constructed and affective elements of historical and fictional narratives and by the employment of the gothic mode within a realist frame.
26
Soares, Maria Dulce. "Gonçalo Cadilhe nos trilhos de Santo António em Portugal: Intimidades de um Olhar em Por Este Reino Acima. No Primeiro Trekking da História de Portugal." Cadernos de Literatura Comparada, no. 44 (2021): 333–53. http://dx.doi.org/10.21747/2183-2242/cad44v2.
Full textAbstract:
A well-known figure on the stage of contemporary Portuguese travel literature with already fifteen published works, Gonçalo Cadilhe focuses on issues of identity, imagology, space, textual and ontological nature, almost always using the format of the journalistic chronicle, among other brief forms. In fact, this is an author whose writing emerges from a work with a structural spatial referentiality in the travelogue, as a look that comes to rest on a physical and human geography. Thus, starting from the work Por este reino acima. No primeiro trekking da História de Portugal (2020), I intend to problematize the author's gaze on the interior of Portugal today, along his walk in the footsteps of young Santo António, aiming to collect, not only the current images of the country, but also to underline his debut through the webs of fictional narrative. Above all, the book focuses on the first trekking of a Portuguese travel writer through national geographic territories and historiographic metafiction, on the recreation of the biography of Santo António on a journey through the textual space where a porous writing arises, betting on the convergence between the real and the fiction or just a “frictional literature” (Ette 2003:31)
27
Sheridan, Brendan. "The Western and the New Zealand Wars." Back Story Journal of New Zealand Art, Media & Design History, no. 10 (June 24, 2022): 29–47. http://dx.doi.org/10.24135/backstory.vi10.69.
Full textAbstract:
There are multiple parallels between the 19th Century migrations into indigenous lands in the American West and Aotearoa. These include conflicts over land between incoming Europeans and indigenous nations, the complicated loyalties that arose during these conflicts, and later romanticisation of the time period. This paper examines two films set during the New Zealand Wars and compares these films to the American Western genre, in particular through the lenses of historical fiction and historiographic metafiction. These approaches provide insight into how the films depict events and why the way they are depicted is dependent upon historical context. These films, The Te Kooti Trail (1927) and Utu (1983), engage with similar subject matter and depict the same time period but portray history in radically different tones.
28
Matravers, Derek. "Non-Fictions and Narrative Truths." Croatian journal of philosophy 22, no. 65 (September 15, 2022): 145–60. http://dx.doi.org/10.52685/cjp.22.65.1.
Full textAbstract:
This paper starts from the fact that the study of narrative in contemporary Anglo-American philosophy is almost exclusively the study of fictional narrative. It returns to an earlier debate in which Hayden White argued that “historiography is a form of fiction-making.” Although White’s claims are hyperbolical, the paper argues that he was correct to stress the importance of the claim that fiction and non-fiction use “the same techniques and strategies.” A distinction is drawn between properties of narratives that are simply properties of narratives and properties of narratives that play a role in forming readers’ beliefs about the world. Using this distinction, it is shown that it is an important feature of non-fictions that they are narratives; it is salutary to recognise non-fictions as being more like fictions than they are like the events they represent.
29
Steenberg, D. H. "Flitse van sosiale verandering in enkele postmodernistiese Afrikaanse romans." Literator 18, no. 3 (April 30, 1997): 91–102. http://dx.doi.org/10.4102/lit.v18i3.551.
Full textAbstract:
Glimpses of social change in some postmodernist Afrikaans novelsPostmodernist novels, and thus also Afrikaans postmodernist novels, are radically anti-traditional. In one respect, however, they maintain the tradition of Afrikaans fiction: they open perspectives on the development of the society from which they originate. Functioning in a multicultural community, the novelists' awareness often concerns the development of relations between different racial groupings in the South African society, which is seen as basically African. The breaking down of the (colonial) barriers between black and white by writers of historiographic metafiction - like John Miles and André Letoit - can perhaps be regarded the first step in the direction of social transition. Letoit hails Africa as the continent of promise, and authors like Berta Smit, Eben Venter and Etienne van Heerden present visions of a growing harmony between black and white in the new South Africa.
30
Pividori, María Cristina. "“Prefer not, eh?”: Re-Scribing the Lives of the Great War Poets in Contemporary British Historical Fiction." Revista Alicantina de Estudios Ingleses, no. 31 (December 15, 2018): 125. http://dx.doi.org/10.14198/raei.2018.31.08.
Full textAbstract:
Although the First World War has become history by now, the memory of the war continues to be repeatedly fictionalised: retrospectively inspired narratives are often regarded as more genuine and far-reaching than historical or documentary accounts in their rendition of the past. Yet, memory is creatively selective, reflecting a highly-conflicted process of sifting and discerning what should be remembered, neglected or amplified from the stream of war experience. In his book about Pat Barker, Mark Rawlinson argues that “historical fiction has been transformed in the post-war period by the way writers have exploited the porous and unstable demarcation between fiction and no fiction, stories and history” (14). Jill Dawson’s The Great Lover (2009), Geoff Akers’s Beating for the Light: The Story of Isaac Rosenberg (2006) and Robert Edric’s In Zodiac Light (2008) have not become best sellers like Barker’s Regeneration trilogy; yet, they too represent the predominant commemorative drift in contemporary British fiction about the Great War. Without doubt, these three authors have followed in Barker’s steps in their purpose of holding a mirror to real people and real events in the past and of deciphering the deleted text of ‘the war to end all wars.’ However, while Barker chose to write about the often-anthologised Wilfred Owen and Siegfried Sassoon, Dawson, Akers and Edric base their narratives on the writings, and lives, of Rupert Brooke, Isaac Rosenberg and Ivor Gurney respectively. My discussion of these three novels will explore the various ways in which the past can be accessed and interpreted from the present and represented in fiction. The authors’ decisions as to what historical instances to unravel do not just reveal the relation that contemporary British fiction entertains with the Great War and with history, but also how the past erupts in the present to interrogate it. Taking three salient features of Hutcheon’s “historiographic metafiction” (1988)—intertextuality, parody and paratextuality—as my theoretical points of departure, I will explore the dominant frameworks and cultural conditions (that is the propagation of either patriotic or protest readings) within which the Great War has been narrated in the novels and the new approaches, opportunities and ethical implications of using historical and literary sources to re-scribe a previously non-existent version of the lives of the iconic Great War Poets.
31
Carrard, Philippe. "Historical Discourse and Narrativity." Poetics Today 42, no. 3 (September 1, 2021): 381–402. http://dx.doi.org/10.1215/03335372-9026159.
Full textAbstract:
Abstract Most theorists of history now seem to regard narrative as the only discursive model on which historians rely to make sense of the past. The structure of many works in current historiographic production, however, is not that of a narrative as defined in literary theory. The histories of World War II discussed here, for example, do not all tell a story; several of them take the form of synchronic analyses bearing on some aspects of the conflict. Furthermore, those histories of the war that tell a story follow different models and have widely divergent degrees of narrativity. That is, they resort at various levels of frequency and deliberateness to strategies that narratologists such as Meir Sternberg and Raphaël Baroni view as typical of storytelling. Positing readers who know how the war ended (the Allies won), they do not turn to suspense but seek to arouse curiosity by making counterfactual hypotheses (What if?) that offer alternatives to what actually happened. Furthermore, they attempt to create surprise by proposing “new versions” grounded in recently uncovered evidence and/or thus far unasked questions. As Dorrit Cohn speaks of the “distinction of fiction,” it would thus be legitimate to speak in these areas of the “distinction of historiography.” Indeed, the classical nineteenth-century extra-heterodiegetic narratives to which histories are frequently compared are unlikely to include counterfactuals, as they are unlikely to offer new, “better” versions of the events that they report.
32
Cavaliere, Mauro. "Metaficción historiográfica y autoficción: diferentes compromisos con la referencialidad en Estação das Chuvas de José Eduardo Agualusa y Soldados de Salamina de Javier Cercas." Interlitteraria 24, no. 2 (January 15, 2020): 479–94. http://dx.doi.org/10.12697/il.2019.24.2.16.
Full textAbstract:
Historiographic metafiction and autofiction: different commitments with the referentiality in Estação das Chuvas by José Eduardo Agualusa and Soldiers of Salamina by Javier Cercas. This article offers a comparative analysis of the novels Estação das Chuvas (1996) by the Angolan writer José Eduardo Agualusa (born in 1960) and Soldados de Salamina (2001) of the Spaniard Javier Cercas (born in 1962). The two novels belong to different geographical and cultural contexts. Nevertheless, a common sensibility – due perhaps to the same generational affiliation or to the prevalence of topics in force in the 1990s – makes evident the emergence of both a historical theme and the presence of a subject involved in historical processes. Ultimately, in both novels, we come across a subject that makes history although in quite different ways: involved firsthand in historical events with tragic implications, in the case of Agualusa, and absorbed in a reflection on apparently distant events in the case of Cercas. However, the result of the emphasis on the presence of a subjectivity within historical processes causes the two novels to share a common element, that is, a double generic affiliation. Both Estação das Chuvas and Soldados de Salamina actually share semantic traits that make it possible to classify them at the same time as autofictional novels and historiographic metafictions.
Despite their common architectural matrix, the two novels represent two very different expressions within these genres. This manifests itself at different levels: first, the treatment of the autofictional character and, secondly, the treatment of the other characters. Through the analysis of the characters that populate these two novels, I will try to show how the two writers adopt divergent attitudes regarding the degree of referentiality in their works and how they end up proposing two different poetic options. In the analysis of the characters, I consider it useful to introduce a taxonomy that, in addition to including already existing types (referential, historical, fictitious characters), introduces other types hopefully useful to the study of the currently abundant number of fictions that, through an ambiguous narrative pact, are located between fiction and faction.
33
Van Vuuren, H. "‘Op die limiete’: Karel Schoeman se Verkenning (1996)." Literator 18, no. 3 (April 30, 1997): 57–78. http://dx.doi.org/10.4102/lit.v18i3.549.
Full textAbstract:
‘At the limits’: Karel Schoeman’s Verkenning (1996)Written from the postcolonial vantage point of the new South Africa, Karel Schoeman's Verkenning (Reconnaissance) deals with the colonial era of the early nineteenth century. Through metafictional commentary the reader is alerted to the provisionality and tentativeness of historical fiction, as fiction and historical facts are constantly juxtaposed. At the same time the novel can be read as an attempt to fathom the ‘darkness’ of the bygone era, and to throw ‘light’ on the nature of intercultural relationships during the period of the Batavian Republic (1803-1806). Of central importance, however, is the way in which the consciousness of a new era is suggested through the subtle functioning of numerous intertexts. These intertexts deal with various forms of transitional consciousness, such as those associated with the French Revolution. A remarkable characteristic of the novel is its historiographic metafictionality, an innovative element in Schoeman’s oeuvre. Verkenning (Reconnaissance) is a polyphonic novel in which a collage of voices is foregrounded and presented in the process of ‘exploring’. From within the politically transformed multicultural South Africa of the late twentieth century, the creative imagination explores the roots of this society in the history of almost two centuries ago. In this respect Verkenning may be characterised as a postcolonial narrative construct and thus part of "oorgangsliteratuur" or “Wendeliteratur”, a term coined for the literature produced after the political change in 1989/1990 in Germany.
34
Akram, Ayesha. "Adaptation or Historical Anomaly?: Partition Narratives and Their Visual Counterparts." NUML journal of critical inquiry 18, no. I (June 1, 2020): 12–32. http://dx.doi.org/10.52015/numljci.v18ii.123.
Full textAbstract:
This research accentuates the presence of multi-layered histories within partition literature and its adaptations as a historiographic mise en abyme— an interpretive multiplicity of historical narratives. The aim is to highlight, probe and eventually determine the significance of addressing multivocality within sensitive historical accounts when told through the aesthetic mediums of fiction and film. In the context of this research, the traditional narrative of the partition of the Subcontinent includes political and nationalistic attitudes on both sides of the divide. The research sets out to explore the extent to which these overreaching accounts and wide-ranging versions of the partition empower the concerned entities to give subjective meanings to their partition experiences. Gurinder Chadha’s film Viceroy’s House (2017), which is partly based on the memoirs of Louis Mountbatten, documented in Freedom at Midnight by Larry Collins and Dominique Lapierre (1976) is taken as the case study, with reference to its source text. The primary trigger of this research is the debate between the Traditionalist and Revisionist school of Historiography, as it seeks to examine the inherent problematic nature of revisionist partition history on text and on screen. This research presents the textual and film narratives of partition as alternative archives, whose authenticity and validity is yet to be established, in comparison with the historical documents/texts. It advocates the necessity to constantly re-evaluate and reinterpret history in the light of new facts; however, all attempts to revise history in the name of aesthetics, without merit and evidence, should be recognized as subjective versions.
35
Ippolitov, Georgy M. "“JEWISH ISSUE” IN THE DEEDS OF ANTON IVANOVICH DENIKIN DURING THE FRATRICIDAL SLAUGHTER (1917–1920)." Historical Search 1, no. 4 (December 25, 2020): 132–47. http://dx.doi.org/10.47026/2712-9454-2020-1-4-132-147.
Full textAbstract:
The author of this article researches the historical personality of Lieutenant-General Anton Ivanovich Denikin (1872–1947) – a unique, tragic figure in the history of the Russian power, a military leader, a politician, a writer, – during thirty years of his scientific and pedagogical activity. The scientific results obtained by the researcher are reflected in his doctoral dissertation, four monographs. The biography of the combat Russian general was written, which was published twice (in 2000 and 2006) by the publishing house “Young Guard” in the series “Life of wonderful people”. Documentary-fiction narration about the personality and the fate of Anton Ivanovich has been performed, a large number of articles in scientific periodicals and reports in the materials of various scientific forums were published. An anthology about him is also published in the format “pro et contra”. It is clear that such a vast and diverse body of work could not but reflect the topic that is indicated in the title of this article. Was Lieutenant General Anton Ivanovich Denikin an anti-Semite? If he was, how was it reflected in his deeds? The search for answers to such burning questions, questions that are exclusively debatable and sometimes polemical in nature (both in domestic and foreign historiography), was carried out through the analysis of a number of business documents and materials deposited both in federal state archives and published in various collections and separately. It was necessary to study a number of historiographical sources created by researchers in the Soviet, post-Soviet, modern periods of domestic historical science development, as well as abroad. At the same time, the author of this article tried to ensure a careful and correct attitude to the historiographic developments of the predecessors. However, such a research algorithm does not exclude a critical aspect (do not confuse with ill-natured criticism!). Naturally, the article doesn’t have any claim to represent a complete coverage of the problem. It has some elements of sketchiness and appeals to the author’s early works, which comprehensively research the historical personality of Anton Ivanovich Denikin, including the problem of the «Jewish issue”.
36
Kartika, Bambang Aris, Nanik S. Prihatini, Sri Hastanto, and D. ,. Dharsono. "ANALYSIS OF DOCUDRAMA HISTORY AND REFERENTIAL RECONSTRUCTION OF SANG KIAI MOVIES: ADAPTATION OF BIOGRAPHICAL HISTORIOGRAPHIC TEXTS TO BIOPIC FILM." Capture : Jurnal Seni Media Rekam 10, no. 2 (April 23, 2019): 20–44. http://dx.doi.org/10.33153/capture.v10i2.2366.
Full textAbstract:
This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text
37
Uczkiewicz-Styś, Katarzyna. "„Słuchajcie, co wam teraz powiem…”, Obsługiwałem angielskiego króla Bohumila Hrabala – fikcja literacka a „historia opowiadana”." Wrocławski Rocznik Historii Mówionej 2 (October 30, 2012): 73–100. http://dx.doi.org/10.26774/wrhm.28.
Full textAbstract:
Oral history accounts area natural object of research for anthropologists, sociologists, researchers of cultural studies, ethnologists, as well as psychologists engaged in memory studies. As narratives of experience they became the antipositivist rebellion against the monopoly of major historical narratives that, according to the reflection of the second half of the 20th century, were supposed to lead to the catastrophes of war and genocide.
In historiographic research the questioned positivist discourse based on the corresponding theory of the truth has become counterbalanced by the discourse of memory. As a consequence, also in historical research there is noticeable appreciation for other, non-classic, forms of historical narratives which include oral history accounts.
What can a researcher of literary fiction contribute to reflections on oral history whose greatest value should be authenticity, this “truth of experience”? To what extent can literary texts in the convention of a narrative of appeal, first-person narrative, monologue (in which crucial roles are played by dialogue, orality and rhetoric of the text) be read in the perspective of oral history?
When analyzing I Served the King of England novel by Bohumil Hrabal – author who by default rejects ‘the macrocosm’, the world of great politics, historical necessities, social processes, for the world of microcosm, i.e. a life of each person and what is more, he rejects any need for psychological or sociological (or any other) analysis of this microcosm – one can notice that the dichotomy of literary fiction and the authentic experience of oral history is not that obvious as it may seem. Categories of text, narration and memory, although analyzed from different research perspectives, are common for both forms.
38
Kennedy, Philip. "The Fall of the Barmakids in Historiography and Fiction: Recognition and Disclosure." Journal of Abbasid Studies 3, no. 2 (November 9, 2016): 167–238. http://dx.doi.org/10.1163/22142371-12340026.
Full textAbstract:
This study traces a centuries-long development in, transformation of, and argues for a variegated rapport between a group of disparate texts, some historiographical, some fictitious. Classical historiographies recounting the Barmakid debacle (al-Ṭabarī through Ibn Khallikān), late medieval and pre-modern popular accounts of the Barmakid tragedy, tales that accompany these accounts, and others in the Arabian Nights that mention Jaʿfar the Barmakid and related ones that do not, are all analyzed by appealing to Aristotle’s concept of anagnorisis (recognition or discovery). Anagnorisis makes narrative and historiography read like fiction and is a structuring device in these texts, a window into narrative hermeneutics, and specifically, the feature that indicates significantly that these various texts are of a piece, according to both conscious and subliminal design. Anagnorisis reverberates with calamitous recognition built into the Barmakid story — one which unveils hard and tragic truths, and just as importantly preserves malignant secrecy, a secrecy that the Arabian Nights unconsciously transforms into felicity.
39
Spieralska, Beata. "SEKS I PRZEMOC MAŁŻEŃSTWO W TRAGEDIACH EURYPIDESA." Colloquia Litteraria 8, no. 1/2 (November 21, 2009): 13. http://dx.doi.org/10.21697/cl.2010.1.02.
Full textAbstract:
Sex and violence. Marriage in Euripides’ tragedies In ancient Athens, marriage was an event which from today’s perspective is linked with the notion of violence, even if the then living people would not have defined it in this way. From their perspective, it was obvious that the woman who was getting married was not the subject of the marital contract. Euripides tragedies, far from being a manifesto in the defence of women’s fate (it would be a complete anachronism to ascribe such motivations to the dramatist) show very frequently, however, women as victims of male disloyalty. Such heroines as Iphigenia, Alcestis or Medea appear to be more faithful to the marital contract than their husbands. To a modern reader, they may constitute a source of knowledge on the ancient Athenian institution of marriage. At the same time we have to keep in mind that caution should be exercised: tragedy is not an historiographic work, but primarily a literary fiction, set in reality, but also going beyond it. What can be, to some extent, an historical source is simultaneously – and maybe even more – an artistic creation. It allows us not only to learn about the reality of the epoch, but also admire the art with which the artist undertakes vital social issues.
40
Lamiaa Ahmed Rasheed and Anood Kareem Albiyatia. "Historical and religious speculations in Dan Brown's The Da Vinci code: A postmodernist study." Open Journal of Science and Technology 4, no. 3 (December 26, 2021): 105–15. http://dx.doi.org/10.31580/ojst.v4i3.1959.
Full textAbstract:
Dan Brown is a postmodernist writer. He was born on 22Jun, 1964 in Exeter, New Hampshire US. Brown wrote a various number of what is called historiographic metafiction novel. This term has been equivalent to postmodernism in fiction and has become so popular trend of writing in the 70s and 80s. Dan Brown's Da Vinci Code (2003) is a "postmodern historical novel", in which he treats a large number of matters such as the questioning of the authority of Catholicism and conservative Protestantism. He used many sources to make his argument more believable and could be read as a realistic novel, such as Holy Grail and Holy Blood, The Dead Sea Scrolls, and The Gnostic Nag Hammadi. The paper will investigate the historical and religious speculations of Da Brown as reflected in Da Vinci Cod relying on the critical theory of postmodernism. The novel involves many postmodernist elements such as the use of textual and historical debate of the Holy Grail and Holy Blood. Dan Brown has challenged the Holy Writ "Biblical" authority when describing it as historically elevate, biased, and made to suppress Jesus's fact. The paper ends with a conclusion that clarifies how we could read The Da Vinci Code as a postmodern novel.
41
Jarzombek, Mark. "Joseph August Lux: Werkbund Promoter, Historian of a Lost Modernity." Journal of the Society of Architectural Historians 63, no. 2 (June 1, 2004): 202–19. http://dx.doi.org/10.2307/4127953.
Full textAbstract:
Joseph August Lux (1871-1947), who wrote numerous books and articles on Peter Behrens, Bruno Paul, Otto Wagner, and others, saw himself as the first "spokesman for the German movement." Yet, for various reasons, his work has fallen into oblivion. Lux needs to be reassigned his proper niche in the development of modern architectural theory, if only to show that the thrust of modernism was by no means as direct and unimpeded as is often supposed. Lux's historiographic argument emerges piecemeal from a vast array of writings. In this article, I clarify his concept of modernism, pointing in particular to his interest in historical fiction and amateur photography. Lux was among the first modern theorists to champion the notion of genius loci as a way to unify traditional and modern sensibilities. But it was this insistence on a teleological-and, for Lux, a "Catholic inspired"-dimension to architecture that led to a rift with Friedrich Naumann, one of the founders of the Werkbund. An investigation into Lux's work not only sheds light on the early theorizing of modernity within the Werkbund circle, but also begins to add a historical dimension to various strands of conservative-modernist thinking, including what is now called phenomenology.
42
Dovbyshchenko, Fedir. "THE “CYROPAEDIA” OF XENOPHON AND THE “HISTORY OF THE ROMAN EMPIRE” OF HERODIAN: STRUCTURAL SIMILARITIES THROUGH CENTURIES OF ANCIENT GREEK HISTORIOGRAPHY (A REVIEW OF THE RECEPTIONS IN MODERN CLASSICAL PHILOLOGY)." Studia Linguistica, no. 15 (2019): 40–52. http://dx.doi.org/10.17721/studling2019.15.40-52.
Full textAbstract:
The present article is an attempt to analyze the narrative strategies and scope of Xenophon’s “Cyropaedia” and Herodian’s “History of the Roman Empire” as viewed within the modern reception in classical philology. This paper presumes that the narrative techniques of writing historiographical biographies in antiquity might be the same across the whole period which separates the two works in question. The distance in time did not result in radical changes of the narrative structure in historiography, as the example of Xenophon’s “Cyropaedia” and Herodian’s “History” shows. The analysis of the ancient histories, as this article argues, can be conducted not only to understand the level of their factual reliability, but also to describe their possible impact on contemporary readers or listeners. It is also shown in the present article that the narrative structure of the two histories is far from being that of the non-fictional prose, and that modern classicists tend to consider them as fictional texts. Moreover, the whole ancient historiography, unlike the modern one, has to be treated as fiction, for the strategies of creating it were similar to the narrative strategies of other genres.
43
Ashikhmin, A. V. "ALEXANDER GOLITSYN 'S ACTIVITIES BASED ON MATERISALS OF RUSSIAN STATE HISTORICAL ARCHIVES." Vestnik Bryanskogo gosudarstvennogo universiteta 03, no. 07 (September 27, 2021): 07–15. http://dx.doi.org/10.22281/2413-9912-2021-05-03-07-15.
Full textAbstract:
The article examines some little-studied documents devoted to the state activities of the prince, the chief prosecutor of the Holy Synod, the minister of public education and spiritual affairs, the chief of the postal department A.N. Golitsyn (1773-1844). A brief historiographic review is given in connection with the examination of documentary materials of the Russian State Historical Archive, which are related to the administrative-charitable, administrative-religious and state aspects of A.N. Golitsyn’s activities. The prince was one of the most famous and controversial statesmen of the Russian Empire in the first half of the 19th century, which means that it is important to update his documentary heritage. The figure of A.N. Golitsyn, who have already gained popularity in Russian fiction in the second half of XIX century, is still being actively studied by Russian and foreign scholars both in the traditional «source-studying» context and the «new imperial history» approach. Since the documentary basis, related to the activities of the prince, is stored in various Russian scientific and archival institutions, the article attempts to give a general description of some documents from the founds of the Russian State Historical Archive, revealing the significance of A.N. Golitsyn outside his activities as the chief of the postal department, Chief Prosecutor of the Holy Synod and Minister of Public Education.
44
Ashikhmin, A. V. "ALEXANDER GOLITSYN 'S ACTIVITIES BASED ON MATERISALS OF RUSSIAN STATE HISTORICAL ARCHIVES." Vestnik Bryanskogo gosudarstvennogo universiteta 03, no. 07 (September 27, 2021): 07–15. http://dx.doi.org/10.22281/2413-9912-2021-05-03-07-15.
Full textAbstract:
The article examines some little-studied documents devoted to the state activities of the prince, the chief prosecutor of the Holy Synod, the minister of public education and spiritual affairs, the chief of the postal department A.N. Golitsyn (1773-1844). A brief historiographic review is given in connection with the examination of documentary materials of the Russian State Historical Archive, which are related to the administrative-charitable, administrative-religious and state aspects of A.N. Golitsyn’s activities. The prince was one of the most famous and controversial statesmen of the Russian Empire in the first half of the 19th century, which means that it is important to update his documentary heritage. The figure of A.N. Golitsyn, who have already gained popularity in Russian fiction in the second half of XIX century, is still being actively studied by Russian and foreign scholars both in the traditional «source-studying» context and the «new imperial history» approach. Since the documentary basis, related to the activities of the prince, is stored in various Russian scientific and archival institutions, the article attempts to give a general description of some documents from the founds of the Russian State Historical Archive, revealing the significance of A.N. Golitsyn outside his activities as the chief of the postal department, Chief Prosecutor of the Holy Synod and Minister of Public Education.
45
Atack, Margaret. "From Meurtres pour mémoire to Missak: Literature and historiography in dialogue." French Cultural Studies 25, no. 3-4 (August 2014): 271–80. http://dx.doi.org/10.1177/0957155814540401.
Full textAbstract:
Didier Daeninckx has devoted many novels to the history and memory of the Occupation. This article explores the relationship between his fiction and historiographical frameworks with reference to Meurtres pour mémoire, contrasted with Missak published 25 years later. After discussion of 1980s historiography of the Occupation and the Algerian War, it looks particularly at narrative structure and the thematics of order (both obedience and orderly documentation), seeking to establish the differences in the ways these two novels historicise the past, and the historiographical differences in their approach to guilt, knowledge and interpretation.
46
West-Pavlov, Russell. "Proximate historiographies in Jennifer Nansubuga Makumbi’s Kintu." Tydskrif vir Letterkunde 58, no. 1 (May 7, 2021): 76–85. http://dx.doi.org/10.17159/tl.v58i1.8284.
Full textAbstract:
Jennifer Nansubuga Makumbi’s novel Kintu (2014) places alongside forms of historical fiction familiar to European readers, a form of historical causality that obeys a different logic, namely, one governed by the long-term efficacity of a curse uttered in pre-colonial Buganda. The novel can be read as a historiographical experiment. It sets in a relationship of ‘proximity’ linear historical narration as understood within the framework of European historicism and the genre of the historical novel theorised by Lukács, and notions of magical ‘verbal-incantatory’ and ‘somatic’ history that elude the logic of hegemonic European historicism but nonetheless cohabit the same fictional space. Makumbi’s novel thus sketches an ‘entanglement’ of various historical temporalities that are articulated upon one another within the capacious realm of fiction, thereby reinforcing a cosmic ontology and axiology of reciprocity and fluid duality whose infringement in fact triggers the curse at the origin of the narrative.
47
Crookston, Cameron. "Can I Be Frank with You?" GLQ: A Journal of Lesbian and Gay Studies 27, no. 2 (April 1, 2021): 233–52. http://dx.doi.org/10.1215/10642684-8871677.
Full textAbstract:
When Fox 21 Television Studios announced that Laverne Cox would play the role of Frank N. Furter in their 2016 The Rocky Horror Picture Show: Let’s Do the Time Warp Again, most public response circled around how Cox’s visible political identity as a trans woman spoke to the problematic nature of Rocky Horror’s language and dated identity politics. Released in 1975, Richard O’Brien and Jim Sharman’s The Rocky Horror Picture Show has been a touchstone of queer popular culture for more than forty years. Rocky Horror is constructed as a self- conscious pastiche of multiple cultural moments and queer coded pieces of popular culture; Gothic literature, classic Hollywood film, science fiction B movies, Glam Rock, and drag all mingle in the queer cultural collage that makes up the show’s dramaturgy. As such, the scope of Rocky Horror serves as a kind of performative queer archive, collecting and performing generations of queer culture. However, in addition to offering a dense collection of queer cultural artifacts, Rocky Horror has also inherited many of the complicated representational aspects of its sources, such as the racist coding and simultaneous racial erasure of Gothic and horror conventions as well as rapidly changing and often conflicted trans identity politics of the mid- twentieth century. These problematic appropriations and omissions become all the more salient in light of Cox’s 2016 performance. In this article, Crookston examines how Rocky Horror has functioned as a performative queer cultural archive and how Danny Ortega’s remake, starring Cox, challenges, complicates, and excavates O’Brien’s original historiographic dramaturgy.
48
SMITH, C. J. "THE ORIGO GENTIS ROMANAE: FACTS AND FICTIONS." Bulletin of the Institute of Classical Studies 48, no. 1 (December 1, 2005): 97–136. http://dx.doi.org/10.1111/j.2041-5370.2005.tb00257.x.
Full textAbstract:
Abstract The authenticity of the fragments of Roman historiography contained in the Origo Gentis Romanae, a fourth century account of the beginnings of Rome, have been frequently called into question, notably by Peter, who excluded them from his collection of the Roman historical fragments, and by Jacoby in a famous article. Photius, Pseudo-Plutarch, and Fulgentius, among others, have been brought into the argument. This paper re-examines the nature of the citations in the Origo Gentis Romanae and, by looking at samples of the other works, offers a re-evaluation of their historical and historiographical worth.
49
Van de Maele, Romain John. "Den skandinaviske udvandringsroman – En selvstændig genre?" Tijdschrift voor Skandinavistiek 38, no. 1 (June 13, 2022): 1–35. http://dx.doi.org/10.21827/tvs.38.1.37089.
Full textAbstract:
The Scandinavian Emigration Novel From about 1850 onward to the early nineteen hundred and thirties, millions of Europeans have emigrated to North America. Over two million of these emigrants were Scandinavians who tried to realize their dreams of freedom and economic progress at the other side of the Atlantic Ocean. They did not always realize that adapting to the American reality often implied sacrifices and hardship. The emigration from Norway and Sweden was far greater than the Danish exodus, and both Norwegian and Swedish historiographers and novelists have depicted the impressive adventures of their countrymen. Danish authors have been more reluctant to venture into the depiction of their countrymen's exodus. Emigration novels have been a distinct area of interest in Norwegian literary research. In Sweden, especially Vilhelm Moberg’s emigration tetralogy has been studied by scholars and compared with the historical facts. Notwithstanding the abundant secondary literature, with the exception of Sophus Keith Winter, in his essay on Moberg’s emigration novels (1962), Kjetil A. Flatin in the article ‘Historical novel – emigrant novel’ (1977), and Ingeborg Kongslien in her comparative approach Draumen om fridom og jord (1989), no researcher has attempted to define emigration literature as a genre. In this article, I will try to define the emigration novel as a Scandinavian genre by using a model which combines A. J. Greimar’s actantial model or narrative scheme with the American literary scholar W.Q. Boelhower's insights in American immigrant literature (Boelhover, 1981). A combination of the actantial model and copular clauses or taxonomic links helps to describe the history of the emigration novel. Furthermore, it makes it possible to link emigrant fiction to historiographic literature. In this way, the push and pull factors often mentioned in the historical emigrant literature can be compared with individual emigration experiences.
50
Barikova, Anna. "LEGAL FICTIONS FOR ADMINISTRATIVE COURTS." Administrative law and process, no. 4 (27) (2019): 102–14. http://dx.doi.org/10.17721/2227-796x.2019.4.09.
Full textAbstract:
Goal. The paper reveals features of applying administrative procedural legal fictions in order to avoid abuse of the right and evasion of the law when exercising procedural discretion. Methods. For achievement of research purposes, the author uses special legal methods of scientific knowledge: formal-logical, system-functional, formal-logical, comparative-legal. Results. Historiography of the legal fictions use has been dealt with. Essence of fictions has been highlighted in the paper as legal anomalies. The use of legal fictions in the administrative process has been detailed, taking into account the Grundnorm theory. The connection between legal fictions and legal regulations has been revealed. The legal fiction has been described as a reinterpretation of the facts of an event in order to make these facts compatible with the rule, and at the same time allowing to get the correct result. This is a type of legal fiction-reinterpreting X (or class X) as Y in order to avoid an “inconvenient”, unreliable, false, etc. result for the purposes of the law. As a rule, it is recognized that X is not Y. That is, the court considers the creation of a fiction as a legitimate action within the framework of the judicial process; the activity that could be performed without concealment as a discretely true category. Case law on the application of legal fictions has been described. It has been advised to use legal fictions when considering and resolving disputes, provided that there are false or clearly erroneous judgments in the provisions of existing applicable legal rules. As a consequence, time and resource costs for clarifying the facts of the case and over-motivating the judgment are minimized. Conclusions. Firstly, features of legal fictions have been highlighted, in particular, for achieving the goals and objectives of administrative proceedings. Secondly, the classification of arguments, methods and approaches to the application of such atypical regulators in the administrative process has been proposed by the “meta” degree: 1) on the fundamental metric – internal, or zero-order arguments; 2) at the derivative definitive level – by defining functional, structural and relative concepts.