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Journal articles on the topic 'Historiographic metafiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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1

Ivanauskaitė, Jurgita. "Historiographic Metafiction: Structural Adaptation of Linda Hutcheon’s Theory as Strategy for Understanding the Poetics of the Historical Novel." Colloquia 35 (December 28, 2015): 13–33. http://dx.doi.org/10.51554/col.2015.29030.

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The author of this article discusses theoretical approaches for analyzing the contemporary historical novel. The goal of the article is to present Canadian author Linda Hutcheon’s theory of historiographic metafiction as a tool suitable for the interpretation of discursive poetics in the postmodern, as well as the modern, historical novel. Ivanauskaitė reviews Hutcheon’s interpretation of the postmodern historical novel, and then argues that this theory is an instrument that can be adapted to the study of various other types of contemporary historical prose. The article explores connections between literary and historical inter/para-texts.Grounding the concept of historiographic metafiction in the principle of the independence (or coexistence) of literature and history allows attention to be focused on the literary aspect of historiographic metafiction – to analyze it as representation of historical and all cultural reality, and to identify its meanings by highlighting literary forms of expression. An example of this could be the metafictional poetics of irony and parody – their exclusive position and role in the rewriting (altering) of historical and literary representations.While the concept of historiographic metafiction is fundamentally grounded in Hutcheon’s theory, its narrative content is open. The author of this article demonstrates that it can be complemented (expanded) by using, for example, the analytical methods of Gérard Genette and other narrative theorists to examine the genres and cultural articulation of different historical novels. Innovative structural adaptation of this theory is therefore possible. Moreover, the historiographic metafictional approach makes it possible to construct (create) concrete comparative methods for studying contemporary historical novels. She comes to the conclusion that, as a distinct theoretical approach for examining the contemporary historical novel (or other genres of historical prose), historiographic metafiction consists of three strata: the intranarrative, the paranarrative, and the discursive. To illustrate this, she presents an analysis of Herkus Kunčius’s novel Nepasigalėti Dušanskio (Don’t Pity Dušanskis).

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2

Burger, W. "Postmodernisme: doelgerig of vrolike fuif? 'n Polisieroman en 'n moorddroom." Literator 15, no. 1 (May 2, 1994): 59–72. http://dx.doi.org/10.4102/lit.v15i1.651.

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The incredulity towards metanarratives in the postmodernist era holds serious implications for historiography. Two "historiographic metafictional novels" (Hutcheon's term), one Flemish and one Afrikaans, are discussed in this article. There is a significant difference in the way these two texts react to ontological doubt. On the one hand there is a celebration of the loss of metanarratives in Het beleg van Laken (Walter van den Broeck). On the other hand this loss is used in a very serious way to undermine existing metanarratives in Kroniek uit die doofpot (John Miles). The joyous humour and celebration in Het beleg van Laken is absent in Kroniek uit die doofpot. It is concluded that some historiographic metafiction frivolously celebrates decentring and the incredulity towards metanarratives. In other historiographic metafiction ontological doubt manifests without humour or celebration and serves to undermine metanarratives. It might he true that the celebration belongs to a late capitalist Western culture whereas it is unsuitable for a developing country.

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

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

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4

Alshammari, Mohammed. "Historiographic Metafiction in The Postmodern Arabic and Latin novel: in Mawt Saġīr and Sāʿī Barīd Nayrūdā." Journal of Umm Al-Qura University for Language Sciences and Literature, no. 28 (August 1, 2021): 519–81. http://dx.doi.org/10.54940/ll30910786.

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This paper discusses the representation of historiographic metafiction in the postmodern Arabic and Latin novel. Linda Hutcheon coined the term of Historiographic metafiction. She claims that the postmodern novel contains selfreflexivity, intertextuality, parody. Although some critics see that the postmodern novel is western, Edward Saeed argues that art is “worldly”; therefore, Hutcheon sees that the postmodern novel may be “worldly”. The researcher relies on Saeed and Hutcheon to argue that the representation of historiographic metafiction may be found in Mawt Saġīr and Sāʿī Barīd Nayrūdā.

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5

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

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

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Manzoor, Fehmida, Mehwish Malghani, and Shumaila Mazher. "Lying with truth: A Postmodernist Representation of History in Gerald Vizenor’s The Heirs of Columbus." Global Social Sciences Review IV, no. II (June 30, 2019): 196–202. http://dx.doi.org/10.31703/gssr.2019(iv-ii).26.

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This study traces the representation of deconstructed history in Gerald Vizenors fictional work The Heirs of Columbus. The study highlights the metanarrative techniques through which the officialized history is subverted and decentralized. The study is grounded in postmodern Historiographic Metafiction theory of Linda Hutcheon for investigation of the data. Historiographic metafiction dismantles the overriding official version of history and presents many mini versions of truths. The study exhibits the dismantled version of overriding history of American Indians. It gives an insight into the American Indian approach of United States history.

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7

Della Coletta, Cristina. "Historiographic Metafiction: P.M. Pasinetti's Melodramma." Quaderni d'italianistica 15, no. 1-2 (October 1, 1994): 121–36. http://dx.doi.org/10.33137/q.i..v15i1-2.10244.

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8

Thaden, Barbara Z. "Charles Johnson's Middle Passage as Historiographic Metafiction." College English 59, no. 7 (November 1997): 753. http://dx.doi.org/10.2307/378634.

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9

Hussein Muneer, Mohammed Abdul. "A LITERATURE REVIEW: POSTMODERNISM AND HISTORIOGRAPHIC METAFICTION." International Journal of Research in Social Sciences and Humanities 10, no. 02 (April 25, 2020): 161–68. http://dx.doi.org/10.37648/ijrssh.v10i02.012.

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10

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.

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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.

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11

López Ropero, Mª Lourdes. "“Beating Back the past”: Toni Morrison’s Beloved as Historiographic Metafiction." Philologia Hispalensis 2, no. 13 (1999): 173–78. http://dx.doi.org/10.12795/ph.1999.v13.i02.19.

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12

Bugno-Narecka, Dominika. "Ekphrastic Historiographic Metafiction – Enfolding Word, Image and History." Lublin Studies in Modern Languages and Literature 44, no. 2 (July 14, 2020): 3. http://dx.doi.org/10.17951/lsmll.2020.44.2.3-13.

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<p><em>T</em>he purpose of this paper is to provide a dynamic model of ekphrasis which can be used to interpret literary works that refer to, and thus, represent works of art. The paper will also show how ekphrasis as a fold collaborates with historiographic metafiction in ekphrastic historiographic metafiction. Theoretical reflection will be illustrated with the relevant examples from Salman Rushdie’s<em> The Enchantress of Florence, </em>Patrick Gale’s <em>Notes from an Exhibition, </em>Tracy Chevalier’s <em>Girl with a Pearl Earring </em>and Joseph Heller’s <em>Picture This.</em></p><p> </p><p><em><br /></em></p>

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13

Taghizadeh, Ali, and Mohammad Javad Ebrahimi. "Paul Auster’s New York Trilogy as “Historiographic Metafiction”." Theory and Practice in Language Studies 5, no. 9 (September 20, 2015): 1908. http://dx.doi.org/10.17507/tpls.0509.20.

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14

Vernon, Peter, Bernd Engler, Kurt Müller, and Kurt Muller. "Historiographic Metafiction in Modern American and Canadian Literature." Yearbook of English Studies 27 (1997): 323. http://dx.doi.org/10.2307/3509218.

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15

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

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

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16

Brown, Isabel Zakrzewski. "Historiographic Metafiction in "In the Time of the Butterflies"." South Atlantic Review 64, no. 2 (1999): 98. http://dx.doi.org/10.2307/3201984.

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17

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

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

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18

Bettiol, Maria Regina Barcelos. "Do retrato à caricatura: a figuração da personagem histórica em Saramago e Assis Brasil." Navegações 9, no. 2 (April 26, 2017): 161. http://dx.doi.org/10.15448/1983-4276.2016.2.18482.

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O presente ensaio analisa, através de uma analogia entre a pintura e a literatura, a figuração da personagem histórica nos romances História do Cerco de Lisboa de José Saramago e A Margem Imóvel do Rio de Luiz Antonio de Assis Brasil, demonstrando que na passagem do romance histórico tradicional para a metaficcção historiográfica, essa categoria de personagem perde a sua força representativa ficando em segundo plano na narrativa. Se no romance histórico tradicional encontramos um retrato da personagem histórica, na metaficção historiográfica existe uma deformação sobre o plano estético isto é, a tendência em representá-la de forma caricatural.********************************************************************From portrait to caricature: the figuration of the historical characterin Saramago and Assis BrasilAbstract: This essay examines, through an analogy between painting and literature, the figuration of the historical character in two novels (José Saramago’s The History of the Siege of Lisbon and Luiz Antonio de Assis Brasil’s A Margem Imóvel do Rio). It shows that in the passage from the traditional historical novel to the “historiographic metafiction” this kind of character loses its representative force and it becomes less important in the narrative. If in the traditional historical novel we find a portrait of the historical character, in historiographic metafiction” there is a deformation on the aesthetic level, that is to say, a tendency to represent it in caricature form.Keywords: character; figuration; historical novel; metafiction.

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19

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.

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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.

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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.

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Orlando, Valérie. "Historiographic metafiction in Gillo Pontecorvo'sLa bataille d'Alger:Remembering the “forgotten war”;." Quarterly Review of Film and Video 17, no. 3 (October 2000): 261–71. http://dx.doi.org/10.1080/10509200009361496.

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22

Chalupský, Petr. "Dodging the Literary Undertaker – Biographic Metafiction in Hanif Kureishi’s The Last Word." Prague Journal of English Studies 6, no. 1 (July 26, 2017): 105–22. http://dx.doi.org/10.1515/pjes-2017-0007.

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Abstract Hanif Kureishi’s 2014 novel, The Last Word, involves most of the author’s idiosyncratic themes, such as ethnicity, racism, sexual identity, examination of interpersonal relationships and the crucial role of the creative imagination in human life. Its focal concern, however, is to explore the process of writing a literary biography of a living person and the character and dynamics of the relationship between the biographer and his subject - a writer. As such, the novel can be taken as being representative of biographic metafiction, a subcategory of historiographic metafiction, which, following the postmodernist questioning of our ability to know and textually represent historical truth, presents biographic writing critically or even mockingly, rendering its enthusiastic practitioners’ efforts with ironic scepticism. The aim of this article is to present The Last Word as a particular example of biographic metafiction that has all the crucial features of this genre, yet which differs from its predecessors through the complexity and thoroughness of its portrayal of the biographer-biographee relationship.

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23

La Regina, Anne Greice Soares. "Tempo revisto, tempo reescrito: as metaficções historiográficas / Revised Time, Rewritten Time: Historiographic Metafictions." Caligrama: Revista de Estudos Românicos 26, no. 1 (April 22, 2021): 129. http://dx.doi.org/10.17851/2238-3824.26.1.129-144.

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Resumo: O presente artigo, trabalho de pesquisa bibliográfica com viés qualitativo, empreende um recorte histórico das discussões em torno da metaficção historiográfica e da metabiografia num período que compreende o final do século XX. Esta investigação busca demonstrar o modo pelo qual estas narrativas se configuraram como respostas da arte e da cultura a fenômenos complexos, determinados pela crise do regime modernista de historicidade que encontrou ressonância também nas concepções pós-modernistas que, por sua vez, retomaram as discussões acerca das contradições do próprio modernismo e recuperaram o debate acerca da dicotomia entre altas artes e cultura de massa. A conjuntura pós-modernista se afigura ainda hoje também como espaço no qual se instauram debates sobre questões que emergem de uma sociedade fortemente marcada pelo capitalismo global e pelas tecnologias da comunicação que, produzindo uma sobrecarga de informações, gera a necessidade premente de frear este desgaste do tempo, organizar e apreender o passado, de onde surgem os discursos sobre a memória e todas as interpretações do tempo. Este apelo à releitura acaba por produzir uma poética da [re]criação que se alimenta dos resíduos culturais do passado. Como lastros teóricos das análises propostas sobre a metaficção, privilegia-se, sobretudo, o pensamento de Linda Hutcheon sobre as poéticas pós-modernistas em conjunção com o conceito de historiofagia de Walter Moser, bem como com as transformações no pensamento historiográfico promovido por Les Annales e desenvolvido pelo micro-história.Palavras-chave: metaficção historiográfica; metabiografia; poéticas pós-modernistas; Les Annales; micro-história.Abstract: This article is a bibliographic research with a qualitative bias on historiographical metafiction and metabiography in the last two decades of the 20th century, aiming to explain how these narratives arose as responses of art and culture to complex phenomena, determined by a crisis of the modernist regime of historicity that meets resonance also in the postmodernist conceptions that resume discussions about the contradictions of modernism itself and recover the debate about the dichotomy between high arts and mass culture. The postmodernist conjuncture also appears as a space in which debates on issues that emerge from a society strongly marked by global capitalism and communication technologies are established and, producing an information overload, generate the need to organize and apprehend the past, from where the speeches about memory and all interpretations of time arise. This appeal to re-reading ends up producing a poetics of [re]creation that feeds on the cultural residues of the past. As theoretical backbones of the proposed analyses of metafiction, Linda Hutcheon’s work about postmodernist poetics in conjunction with Walter Moser’s concept of historiography is privileged, as well as with the transformations in the historiographic thought promoted by Les Annales and developed by microhistory.Keywords: historiographical metafiction; metabiography; postmodernist poetics; Les Annales; microhistory.

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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.

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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.

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

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

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Stojanovic, Aleksandra. "MAPPING THE METAFICTIONAL / MAPIRANJE METAFIKCIJE." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 23 (November 10, 2020): 318–40. http://dx.doi.org/10.46352/23036990.2020.318.

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The aim of the paper is to present Aleksandar Hemon’s The Lazarus Project as a postmodern narrative which employs various strategies such as an altered view of history, namely history serving purely as material to construct a new narrative, a growing emphasis on the manner in which space affects one’s identity and overall hybridity in both the narrative structure and the characters themselves. We shall discuss Linda Hutcheon’s notion of historiographic metafiction as the key concept around which the narrative is formed, followed by a view of the characters’ search for identity in the metafictional labyrinth through Fredric Jameson’s concept of cognitive mapping. These two theories combined give us a more detailed look into the narrative structure of the novel and provide evidence of its postmodernity. The aforementioned hybridity will be presented in the context of the narrative structure resembling a loop due to its metafictional nature and through the amalgam of various nationalities in each character. The paper ultimately strives to express the postmodern characteristics of the narrative and draw attention to the way the themes of the literary work are emphasized by such a structure, more so than if any other narrative structure had been used.

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

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

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Popa, Catrinel. "Lost and Found Relics, Forgeries and Mystifications in 20th Century Historiographic Metafiction." Philobiblon. Transylvanian Journal of Multidisciplinary Research in the Humanities 26, no. 2 (2021): 169–76. http://dx.doi.org/10.26424/philobib.2021.26.2.02.

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Escobar, Patrick Maurer. "Fukasaku Kinji'sBattles Without Honor and Humanity:A historiographic metafiction of post-war Japan." Journal of Japanese and Korean Cinema 5, no. 1-2 (January 2013): 99–112. http://dx.doi.org/10.1080/17564905.2013.10820074.

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Syafruddin, Dudy. "RIAK-RIAK POSMODERN DALAM CERPEN ABRACADABRA KARYA DANARTO." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 4, no. 1 (December 6, 2010): 18. http://dx.doi.org/10.24036/ld.v4i1.7390.

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Literature is a product of culture keeping abreast of human mind. Literary works is a means for the authors to express the social phenomenon in his life. The discourses about postmodernism in the second half of twentieth century, as a part of the story of human mind, was a profound interest for the Authors. In Indonesia, the postmodern discourse has come up in the 1960s. This paper involves the elements of Postmodernism in the short story “Abacadabra” written by Danarto. The dominant elements in this short story are parody, fragmentary, and historiographic metafiction.

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de Rodriguez, Mercedes Mazquiaran. "In Their Own Voices: Autobiography as Historiographic Metafiction in Three Recent Spanish Novels." South Central Review 18, no. 1/2 (2001): 94. http://dx.doi.org/10.2307/3190304.

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Cross, Amy. "The (Im)possibility of Objectivity: Narrating the Past in Young Adult Historiographic Metafiction." ALAN Review 42, no. 3 (June 21, 2015): 12–21. http://dx.doi.org/10.21061/alan.v42i3.a.2.

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Castro, Paul Melo E. "José Cardoso Pires'sBalada da Praia dos Cães, Historiographic Metafiction, and the Detective Novel." Romance Studies 28, no. 2 (April 2010): 130–40. http://dx.doi.org/10.1179/026399010x12645114972378.

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Zimmerman, Tegan. "Unauthorized Storytelling: Reevaluating Racial Politics in Julia Alvarez’s In the Time of the Butterflies." MELUS 45, no. 1 (2020): 95–116. http://dx.doi.org/10.1093/melus/mlz067.

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Abstract This article revisits Julia Alvarez’s critically acclaimed historical novel In the Time of the Butterflies (1994). While much scholarship has paid attention to the novel as historiographic metafiction, its depiction of Rafael Leónidas Trujillo’s regime (1930-61), and its feminist perspective on the Dominican Republic, its racial politics are under-studied. In particular, scholars have overlooked Fela, the Afra-Dominican servant, spirit medium, and storyteller. I argue that studying Fela’s presence in the text as an unauthorized and unauthored voice not only adds complexity to the production of historiography and storytelling but also provides new insight into postcolonial feminist critiques of voice/lessness, narrative, and marginalized identities in the novel and criticism on it. Closely analyzing Fela’s voice—as it intersects with storytelling, historical slave narratives, Vodou, the maternal, and Haiti’s contribution to the Dominican Republic’s history—makes visible the unacknowledged yet essential role of the Afra-Dominican not only in this novel specifically but also to the Dominican Republic more generally.

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أیوب, هالة محمد کامل أمین. "Alternative Histories in Youssef Ziedan's Azazeel : Historiographic Metafiction in the Contemporary Arabic Historical Novel)." مجلة کلیة الآداب . القاهرة 81, no. 1 (April 1, 2021): 1–32. http://dx.doi.org/10.21608/jarts.2021.68428.1119.

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Lomakina, Irina N. "The Peculiarities of the Historiographic Metafiction (Based on Julian Barnes’s Novel Arthur & George)." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 3 (2020): 321–25. http://dx.doi.org/10.18500/1817-7115-2020-20-3-321-325.

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우정민. "Julian Barnes’ Reconstruction of Identity, Nationality and History: England, England as a Historiographic Metafiction." Journal of English Language and Literature 56, no. 2 (July 2010): 301–28. http://dx.doi.org/10.15794/jell.2010.56.2.006.

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Roilos, Panagiotis. "The Politics of Writing: Greek Historiographic Metafiction and Maro Douka's A Cap of Purple." Journal of Modern Greek Studies 22, no. 1 (2004): 1–23. http://dx.doi.org/10.1353/mgs.2004.0005.

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Schulze, Peter. "“Faço tábula da fábula rasa”. Decolonial rewriting of Brazil in Paulo Leminski’s Catatau." Veredas: Revista da Associação Internacional de Lusitanistas, no. 36 (August 11, 2022): 8–25. http://dx.doi.org/10.24261/2183-816x0136.

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As a particular form of historiographic metafiction dealing with the Dutch colonization of Brazil, Paulo Leminski’s “novel-idea” Catatau (1975) seems less concerned with factual history than with the epistemic dimensions of colonial discourse about Brazil. On the reading proposed here, Leminski’s novel is understood as a decolonial “thought instrument” (V. DAS) based on a performative aesthetic. Catatau’s textual strategies transform the protagonist, a fictionalised Descartes, into an echo chamber in which colonial rationalisms are denied by the appropriation of certain pretexts and genres and a prolific language of difference, resulting in a “de-interpretation” of Brazil as a way of “de-thinking” coloniality.

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Ahmetspahić, Adisa. "Elements of Historiographic Metadrama in Liz Lochhead’s Plays: Blood and Ice and Mary Queen of Scots got her Head Chopped off." Društvene i humanističke studije (Online) 7, no. 1(18) (March 4, 2022): 225–42. http://dx.doi.org/10.51558/2490-3647.2022.7.1.225.

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The most prominent concerns of contemporary British literature have been reserved for the revision of tradition and history and contestation of metanarratives through historiographic metafiction and historiographic metadrama. Liz Lochhead’s works are abundant in elements of historiographic metadrama which Lochhead uses to rewrite (hi)stories from a different angle, especially (hi)stories involving famous women and their position in the society, as is the case with Blood and Ice and Mary Queen of Scots Got Her Head Chopped Off. Blood and Ice focus on Mary Shelley’s process of writing her novel Frankenstein while Mary Queen of Scots got her Head Chopped Off presents Mary Queen of Scots and Elizabeth I in the light of their strained relations. Pertaining to Blood and Ice, the aim of this paper is to discuss the position of MaryShelley as a woman artist surrounded by Romanticists such as P.B. Shelley and Lord Byron and their liberal humanist ideology which shows great indebtedness to the patriarchal metanarrative. With regards to Mary Queen of Scots Got Her Head Chopped Off, the paper examines MaryStuart and Elizabeth I’s roles as women and monarchs, masculinity-femininity dichotomy surrounding the queens, the problematics of their historical representation, as well as the danger of their mythologization. The analysis of the elements of historiographic metadrama in the two plays shows that they are examples of ‘herstories’ that dismantle male-centered narratives as imposed rather than natural.

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Mulalić, Lejla. "Writing/Reading the Victorian Past through Spiritualist Séances in A. S. Byatt's "The Conjugal Angel"." ELOPE: English Language Overseas Perspectives and Enquiries 7, no. 1 (May 17, 2010): 73–85. http://dx.doi.org/10.4312/elope.7.1.73-85.

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One of the dominant concerns of postmodern writing is to discuss the importance and modes of knowing the past. The aim of this paper is to explore how the British novelist A.S. Byatt rereads the Victorian past in her novella “The Conjugal Angel” by using Victorian spiritualism as a multilayered metaphor for dynamic communication between the past and present. Spiritualist rituals will also be read as a cultural practice characterised by the playful undermining of gender roles and norms. Finally, the paper will discuss spiritualist séances as a metaphor for the writing and reading of historiographic metafiction seen as a process of restless summoning of and intense communicating with the ghosts/texts from the past.

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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.

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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.

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Staes, Toon. "The enduring stuff of narrative." English Text Construction 4, no. 1 (May 4, 2011): 1–17. http://dx.doi.org/10.1075/etc.4.1.01sta.

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The reevaluation of the past in Don DeLillo’s Underworld and Cosmopolis can be seen as a valuable counterargument to Francis Fukuyama’s triumphalistic claim that contemporary society heralds the end of history. The sublime multiplicity of history in both novels illustrates how time eventually collapses in the eternal present of capital and technology. Consequently, it appears that postindustrial society draws in the individual to create a system with no outside. DeLillo’s historiographic metafiction nonetheless shows how rewriting the past can prevent history from being conclusive and teleological. Narrative therefore provides an alternative to established History — in which all events connect in light of the inevitable — but it also resists the solipsistic void of speculation and hearsay.

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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.

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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.

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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.

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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.

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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.

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Vermeulen, Jeroen. "Keats's Haggard Shadow." International Journal of English Studies 21, no. 2 (December 26, 2021): 123–38. http://dx.doi.org/10.6018/ijes.440401.

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This article discusses how John Keats’s biography and poetry exerted influence on the development of the plot, structure, protagonists and metaphorical framework of Patrick McGrath’s novel Dr Haggard’s Disease (1993). Furthermore, it contends that the novel does not simply aim to pay tribute to Keats or to function as a literary emulation or even mimicry of Keats’s life and oeuvre. Instead, the novel suggests a postmodernist comment on Keatsian Romanticism as expressed in Keats’s poetry. An interpretation of Dr Haggard’s Disease as historiographic metafiction with an emphasis on the intertextual links between McGrath’s novel and Keats’s work makes clear that the novel’s narrator and protagonist, Edward Haggard, by way of subversion and distortion devaluates the Keatsian dichotomies of real/ideal and Truth/Beauty.

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

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

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Di Martino, Loredana. "Between “New Realism” and “Weak Thought”: Umberto Eco’s “Negative Realism” and the Discourse of Late Postmodern Impegno." Quaderni d'italianistica 33, no. 2 (February 9, 2013): 189–218. http://dx.doi.org/10.33137/q.i..v33i2.19424.

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The recent theory of a return of realism has sparked a lively and somewhat heated debate among contemporary italian thinkers, generating a split between the supporters of the philosophy of weak thought, and those who argue for an overcoming of postmodernism and the development of a new philosophy of realism. This article explores Umberto Eco’s contribution to this debate, focusing both on Eco’s theory of “negative realism” and on his latest historiographic metafiction. I argue that while Eco’s recent theory further distances the author from the philosophy of weak thought, it does not call, as does Maurizio Ferraris’s philosophy of new realism, for an overcoming of postmodernism. Instead, following the outward shift that is typical of late postmodern impegno, Eco’s later work creates a critical idiom that more clearly uses postmodernist self-awareness as a strategy to promote self-empowerment and social emancipation.

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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.

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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.

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