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Journal articles on the topic 'Italian fiction Historical fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Past, Elena. "Politics and Society in Italian Crime Fiction: An Historical Overview." Italian Culture 34, no. 2 (2016): 117–19. http://dx.doi.org/10.1080/01614622.2016.1158573.

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2

Pallotta, Augustus, and Cristina della Coletta. "Plotting the Past. Metamorphoses of Historical Narrative in Modern Italian Fiction." Italica 75, no. 1 (1998): 133. http://dx.doi.org/10.2307/479596.

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3

Coletta (book author), Cristina Della, and John Mastrogianakos (review author). "Plotting the Past. Metamorphoses of Historical Narrative in Modern Italian Fiction." Quaderni d'italianistica 19, no. 1 (1998): 155–59. http://dx.doi.org/10.33137/q.i..v19i1.9624.

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4

Pezzotti, Barbara. "“I am Just a Policeman”: The Case of Carlo Lucarelli’s and Maurizio de Giovanni’s Historical Crime Novels Set during Fascism." Quaderni d'italianistica 37, no. 1 (2017): 89–106. http://dx.doi.org/10.33137/q.i..v37i1.28280.

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This article analyzes two successful Italian novels set during the Ventennio and the Second World War, namely Carlo Lucarelli’s Carta bianca (1990) and Maurizio De Giovanni’s Per mano mia (2011). It shows how Lucarelli confronts the troubling adherence to Fascism through a novel in which investigations are continually hampered by overpowering political forces. By contrast, in spite of expressing an anti-Fascist view, De Giovanni’s novel ends up providing a sanitized version of the Ventennio that allows the protagonist to fulfil his role as a policeman without outward contradictions. By mixing

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5

Eckert, Elgin K. "Barbara Pezzotti, Politics and Society in Italian Crime Fiction: An Historical Overview." Forum Italicum: A Journal of Italian Studies 50, no. 3 (2016): 1249–51. http://dx.doi.org/10.1177/0014585816678800.

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6

Papantonakis, Georgios. "Colonialism and Postcolonialism in Science Fiction for Greek Children." MANUSYA 13, no. 1 (2010): 24–43. http://dx.doi.org/10.1163/26659077-01301003.

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In contemporary Greek history we do not encounter the historical and social phenomena of colonialism or postcolonialism with the exception of cases where nations conquered Greek islands; the Dodecanese Islands and the Eptanisa (Seven Islands) were conquered by the English and the Italians, and Cyprus was conquered by the British in the Middle Ages and in contemporary times. These historical situations have been transferred into certain historical Greek fictions in adult literature and in the literature of children and young adult. The focus of this essay is on investigating and depicting colon

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7

Lajta-Novak, Julia. "Father and Daughter across Europe: The Journeys of Clara Wieck Schumann and Artemisia Gentileschi in Fictionalised Biographies." European Journal of Life Writing 1 (December 5, 2012): 41–58. http://dx.doi.org/10.5463/ejlw.1.25.

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German pianist Clara Wieck Schumann and Italian painter Artemisia Gentileschi were both tutored by their fathers from an early age and made their mark as great European artists. Their art took them both across the continent, where they met many other famous historical persons. Their lives have not only been recorded in biographies but have also been retold in several novels, or ‘fictionalised biographies’. The fictionalised biography is an interesting hybrid genre, placed somewhat uncomfortably between historiography and the art of fiction, which permits it to disregard certain expectations ra

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8

Maher, Brigid, and Barbara Pezzotti. "Introduction: Hybridity in Giallo: The Fruitful Marriage between Italian Crime Fiction and Theatre, Literary Geographies, and Historical and Literary Fiction." Quaderni d'italianistica 37, no. 1 (2017): 9–16. http://dx.doi.org/10.33137/q.i..v37i1.28275.

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9

Francese, Joseph. "Leonardo Sciascia's L'affaire Moro: Re-writing fact, which can be stranger than fiction." Modern Italy 17, no. 3 (2012): 383–98. http://dx.doi.org/10.1080/13532944.2012.659449.

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The author contends that Leonardo Sciascia's L'affaire Moro is not a work of non-fiction, as Sciascia proposed, but of historical fiction, and that Sciascia's Moro is a literary character, more a spokesperson for Sciascia's political views than a reflection of the historical figure. Sciascia's Moro embodies the same qualities as many of Sciascia's other protagonists, such as a radical individualism and willingness to sacrifice all in order to protect their dignity and liberty. What emanates from the text is a ‘postmodern’ blend that interprets and imposes a narrative hierarchy on events, and c

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10

Carravetta, Peter. "Book Review: Plotting the Past: Metamorphosis of the Historical Novel in Modern Italian Fiction." MFS Modern Fiction Studies 43, no. 4 (1997): 1045–47. http://dx.doi.org/10.1353/mfs.1997.0075.

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11

Fernández Rodríguez, Carmen María. "Maria Edgeworth for Italian Readers: An Analysis of Bianca Milesi’s Benedetto (1839)." Revista Alicantina de Estudios Ingleses, no. 27 (November 15, 2014): 41. http://dx.doi.org/10.14198/raei.2014.27.03.

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Maria Edgeworth (1768-1849) was one of the most prominent British writers at the turn of the nineteenth century. In addition to pedagogical essays and feminocentric fiction, this Anglo-Irish authoress produced some tales for children which were quickly translated into a number of European languages. This paper is part of a larger project which considers the reception of Edgeworth’s oeuvre on the Continent, and analyzes the Italian version of one of her last fictions for children, Frank (1822). Bianca Milesi’s rendering of the text into Italian will be studied within the framework of translemic

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12

Willman, Kate. "Unidentified narrative objects: Approaching instant history through experiments with literary journalism in Beppe Sebaste’s H. P. Lady Diana’s Last Driver and Frédéric Beigbeder’s Windows on the World." Journalism 21, no. 7 (2017): 1007–22. http://dx.doi.org/10.1177/1464884917722722.

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The subjects of the two texts analysed in this article are two highly significant recent historical events: the death of Lady Diana in a car crash after being chased by paparazzi on 31 August 1997 and the attacks on the World Trade Center in New York City on 11 September 2001, which are addressed by the Italian writer Beppe Sebaste and the French writer Frédéric Beigbeder, respectively. An analysis of each text shows that they not only examine the events in question through reportage, but they are also strongly personal and subjective. Both texts also put forward literary writers to help ‘read

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13

Fernández García, Blanca. "“Carlo Ginzburg, microhistoria y escala. El caso del vinatero calvinista / Carlo Ginzburg, Microhistory and Scale: the Case of the Calvinist Vintner." Historiografías, no. 8 (December 28, 2017): 108. http://dx.doi.org/10.26754/ojs_historiografias/hrht.201482419.

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Over the past forty years historiography has been affected by typically postmodern epistemological crises, which have questioned two of its basic principles: the universality and the possibility to reach the truth in its narratives. In this article, we shall reflect on the Italian historian Carlo Ginzburg’s answer to this crossroads. His works, from the first steps of microhistory to the most recent debates on literary fiction, combine a methodology, which may be considered in principle as postmodern, with rigorous historical investigations. We analyze how this methodology contributes however

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14

Thomas, Keith. "Historians and Storytellers." Common Knowledge 25, no. 1-3 (2019): 163–64. http://dx.doi.org/10.1215/0961754x-7299222.

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This guest column comprises both a review of the English translation of Carlo Ginzburg’s book Threads and Traces: True False Fictive (2012) and some general comments on the merits and demerits of microhistory as a genre poised between historical writing and fiction. The column is published in the context of two others regarding this latter topic — one by Natalie Zemon Davis, the author of the microhistorical classic The Return of Martin Guerre, and one by Colin Rich-mond. Davis’s column is a response to Keith Thomas’s having drawn approving attention to the following remark of J. H. Elliott’s:

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15

Simpson, Tim. "Scintillant Cities: Glass Architecture, Finance Capital, and the Fictions of Macau’s Enclave Urbanism." Theory, Culture & Society 30, no. 7-8 (2013): 343–71. http://dx.doi.org/10.1177/0263276413504970.

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This article analyzes articulations among urban enclaves, finance capital, and glass architecture by exploring MGM’s corporate investments in the Las Vegas CityCenter development and the Chinese enclave of Macau. CityCenter is an unsuccessful $9 billion master-planned urban community financed by MGM and Dubai World. Macau is a former Portuguese colony and Special Administrative Region of the People’s Republic of China which has, since its return to the PRC in 1999, replaced Las Vegas as the world’s most lucrative site of casino gaming revenue. Taken together, CityCenter and Macau are illustrat

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16

Nord, Christiane. "Proper Names in Translations for Children." Meta 48, no. 1-2 (2003): 182–96. http://dx.doi.org/10.7202/006966ar.

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Abstract Drawing on a corpus of eight translations of Lewis Carroll’s Alice in Wonderland into five languages (German, French, Spanish, Brazilian Portuguese, Italian), the paper discusses the forms and functions of proper names in children’s books and some aspects of their translation. In Alice in Wonderland, we find three basic types of proper names: names explicitly referring to the real world of author and original addressees (e.g., Alice, her cat Dinah, historical figures like William the Conqueror), names implicitly referring to the real world of author and original addressees (e.g., Elsi

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17

Olivella, Jaume. "Mirant al cel/Eyes on the Sky: The (Im)possible Expiation of the Spectral Other." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (2020): 21–41. http://dx.doi.org/10.5399/uo/peripherica.1.2.3.

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This article analyzes the contribution of the new Catalan documentary in the current process of reclaiming the collective historical memory repressed by Francoism and by the Silence Deal established during the political transition to democracy after Franco’s death. This analysis will consider some films that use the family metaphor as a national allegory to represent the plight of the Catalan nation. The main thesis of this study is to underline the need for reparation regarding the crimes committed by Francoism during and after the Spanish Civil War and the fact that such a reparation has not

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18

Burdett, Charles, Alessandra Ferrini, Gaia Giuliani, Marianna Griffini, Linde Luijnenburg, and Gianmarco Mancosu. "Roundtable on Visuality, Race and Nationhood in Italy." Journal of Visual Culture 18, no. 1 (2019): 53–80. http://dx.doi.org/10.1177/1470412918822669.

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This Roundtable on Visuality, Race and Nationhood in Italy brings together scholars from the arts, humanities and social sciences to discuss historical constructions of Italian whiteness and national identity in relation to the current xenophobic discourse on race and migration, stressing their rootedness in as yet unchallenged modern notions of scientific racism. Building on postcolonial historian and anthropologist Ann Laura Stoler’s definition of the colonial archive as a ‘site of knowledge production’ and a ‘repository of codified beliefs’ in Along the Archival Grain: Epistemic Anxieties a

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19

Syrimis, Michael. "On the Seriousness of Things: Pirandello’s Ma non è una cosa seria from Page to Screen." Quaderni d'italianistica 39, no. 2 (2019): 35–60. http://dx.doi.org/10.33137/q.i..v39i2.33260.

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A study of Mario Camerini’s Ma non è una cosa seria (But It’s Nothing Serious [1936]), a film based on Luigi Pirandello’s eponymous 1918 play and typical of the 1930s Italian romantic comedy genre, elucidates the transformations that a literary conception undergoes when adapted for the screen, especially as those reflect the historical context of the film’s making. The challenge for the filmmaker when working on a literary adaptation for popular consumption is to identify the cinematic strategies most suitable to render a psychologically and philosophically nuanced discourse, such as Pirandell

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20

Medda, Laura. "Scrivere per il teatro Il mondo sardo nei racconti drammatici di Giuseppe Dessì." Revista Italiano UERJ 12, no. 1 (2021): 18. http://dx.doi.org/10.12957/italianouerj.2021.61943.

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ABSTRACT: Questo articolo riguarda i testi per il teatro dello scrittore sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Nell'ordine, presentiamo i Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e il dramma storico Eleonora D'Arborea (Mondadori, 1964). Importante autore di romanzi e racconti, in questi testi, Giuseppe Dessì rappresenta la complessità del mondo sardo in linea di continuità con quanto espresso nelle sue pagine narrative e saggistiche. Il teatro permette allo scrittore di sperimentare un nuovo linguaggio capace di rappresentare, attraverso i pers

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21

Bailey, Edward. "Science Fiction, Historical Fiction and Religion Fiction?" Implicit Religion 17, no. 4 (2014): 539–41. http://dx.doi.org/10.1558/imre.v17i4.539.

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22

Esber, Mary Jane. "Historical Fiction." JAMA 296, no. 14 (2006): 1781. http://dx.doi.org/10.1001/jama.296.14.1785.

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23

Thị Huệ, Đoàn. "Fiction and art fiction in historical novel." Journal of Science, Social Science 62, no. 2 (2017): 27–33. http://dx.doi.org/10.18173/2354-1067.2017-0004.

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24

EDN, Lois K. Hanson, Rosemary Twohey, et al. "Booksearch: Recommended Historical Fiction." English Journal 78, no. 1 (1989): 84. http://dx.doi.org/10.2307/818000.

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25

Wadham, Rachel Lynn, Andrew P. Garrett Garrett, and Emily N. Garrett. "Historical Fiction Picture Books." Journal of Culture and Values in Education 2, no. 2 (2019): 57–72. http://dx.doi.org/10.46303/jcve.02.02.4.

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Historical fiction picture books represent a small subset of titles in the broader scope of the format. However, these books are important to both readers and educators. As books are used in educational settings it is critical to assess their effectiveness in helping teach children. This is especially true of historical fiction which generates its own unique challenges. To deeply assess historical fiction picture books we gathered and analyzed a sampling of 126 titles to assess trends in the genre. We found that there were multiple conflicts between the genre and format. There were many books

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26

Lu. "Chinese Historical Fan Fiction." Pacific Coast Philology 51, no. 2 (2016): 159. http://dx.doi.org/10.5325/pacicoasphil.51.2.0159.

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27

Golinski, J. "HISTORICAL FICTION: Newton's Ghosts." Science 321, no. 5885 (2008): 40–41. http://dx.doi.org/10.1126/science.1160708.

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28

Rehberger, Dean. "Vulgar Fiction, Impure History: The Neglect of Historical Fiction." Journal of American Culture 18, no. 4 (1995): 59–65. http://dx.doi.org/10.1111/j.1542-734x.1995.1804_59.x.

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29

Salvatore Proietti and Arielle Saiber. "Symposium on Italian Science Fiction." Science Fiction Studies 42, no. 2 (2015): 232. http://dx.doi.org/10.5621/sciefictstud.42.2.0232.

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30

Caesar, Ann Hallamore, Maria Ornella Marotti, and Gabriella Brooke. "Gendering Italian Fiction. Feminist Revisions of Italian History." Modern Language Review 96, no. 2 (2001): 542. http://dx.doi.org/10.2307/3737436.

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31

Coletta, Cristina Della, Maria Ornella Marotti, and Gabriella Brooke. "Gendering Italian Fiction: Feminist Revisions of Italian History." Italica 78, no. 1 (2001): 119. http://dx.doi.org/10.2307/480238.

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32

Sepetys, Ruta. "Historical Fiction: The Silent Soldier." ALAN Review 42, no. 3 (2015): 79–83. http://dx.doi.org/10.21061/alan.v42i3.a.9.

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33

Rycik, Mary Taylor, and Brenda Rosler. "The Return of Historical Fiction." Reading Teacher 63, no. 2 (2009): 163–66. http://dx.doi.org/10.1598/rt.63.2.8.

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34

Peabody, Susan. "Reading and Writing Historical Fiction." Iowa Journal of Literary Studies 10, no. 1 (1989): 29–39. http://dx.doi.org/10.17077/0743-2747.1295.

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35

Menendez, Albert J. "Religious Liberty in Historical Fiction." Religion & Public Education 15, no. 4 (1988): 451–58. http://dx.doi.org/10.1080/10567224.1988.11488087.

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36

Tynan, Elizabeth. "Operation Buffalo: A historical fiction." History Australia 17, no. 3 (2020): 573–75. http://dx.doi.org/10.1080/14490854.2020.1798794.

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37

O'Gorman, Ellen. "Detective Fiction and Historical Narrative." Greece and Rome 46, no. 1 (1999): 19–26. http://dx.doi.org/10.1017/s001738350002605x.

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We know that Cicero successfully defended Sextus Roscius on a charge of parricide in 80 B.C.; we know that Vespasian became emperor after the civil wars of A.D. 69, and founded the Flavian dynasty which ended with his son Domitian's death in A.D. 96.

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38

Mickel, Emanuel J. "Fictional History and Historical Fiction." Romance Philology 66, no. 1 (2012): 57–96. http://dx.doi.org/10.1484/j.rph.5.100799.

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39

Nawrot, Kathy. "Making Connections with Historical Fiction." Clearing House: A Journal of Educational Strategies, Issues and Ideas 69, no. 6 (1996): 343–45. http://dx.doi.org/10.1080/00098655.1996.10114336.

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40

Heuer, Imke. "British Historical Fiction before Scott." Women's Writing 19, no. 3 (2012): 376–79. http://dx.doi.org/10.1080/09699082.2012.666421.

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41

Salvatore Proietti. "The Field of Italian Science Fiction." Science Fiction Studies 42, no. 2 (2015): 217. http://dx.doi.org/10.5621/sciefictstud.42.2.0217.

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42

Ruiz Carmona, Carlos. "The Fiction in Non-Fiction Film." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, no. 2 (2019): 10–31. http://dx.doi.org/10.7195/ri14.v17i2.1238.

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Over the past few decades film theory, major scholars and acclaimed filmmakers have established that documentary just like fiction must resort to ambiguous and subjective rhetorical figures in order to represent the world. This has led some scholars to conclude that documentary as a term referring to itself as being non-fictional might be disregarding its inevitable fictional elements. This may imply that both documentary and fiction use the same strategies and obtain the same results when representing the world: ficitionalize reality. If we accept this claim as true we need to ask wheth

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43

Saunders, Max. "Byatt, Fiction and Biofiction." International Journal for History, Culture and Modernity 7, no. 1 (2019): 87–102. http://dx.doi.org/10.18352/hcm.543.

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A. S. Byatt’s fiction is much possessed by ‘lives’ – not only the lives of her characters, but the ideas of the biographies of those characters, and of characters as biographers. The essay will explore the relation between fiction, biography and autobiography in her work, taking in such topics as portraiture, myth, creation and reading. It will ask why a novelist who has written about earlier historical periods has eschewed one of the defining devices of the historical novel – and postmodern biofiction – of using real historical figures as characters.

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44

Siderevičiūtė, Simona. "Science Fiction in Historical and Cultural Literary Discourse." Respectus Philologicus 25, no. 30 (2014): 172–84. http://dx.doi.org/10.15388/respectus.2014.25.30.13.

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This work intends to complement literary studies in science fiction. It discusses the history of global science fiction, overviews the most characteristic features of its historical periods, and provides an introduction to Lithuanian science fiction, indicating its main features and topics. In the context of culture, science fiction is often defined as a literary genre with the emphasis on its nature as fiction. Only rarely are the history of the origin of science fiction, its variations, and the pioneers of science fiction whose works are still highly valued taken into account. Science fictio

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45

White, Hayden. "Introduction: Historical Fiction, Fictional History, and Historical Reality." Rethinking History 9, no. 2-3 (2005): 147–57. http://dx.doi.org/10.1080/13642520500149061.

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46

Htut, U. Than, and U. Than Kaung. "Some Myanmar Historical Fiction and their Historical Context." MANUSYA 6, no. 3 (2003): 95–106. http://dx.doi.org/10.1163/26659077-00603006.

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47

Flothow, Dorothea. "Historical Crime Fiction as Popular Historiography." Crime Fiction Studies 1, no. 2 (2020): 203–20. http://dx.doi.org/10.3366/cfs.2020.0021.

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Due to the current history boom in the UK, which manifests itself in the conspicuous popularity of historical novels, costume dramas, and in rising visitor numbers to museums, the study of popular historiography has become a growing and vibrant field. Popular historiography formats such as costume dramas, historical romances, and re-enactments have been recognised as a key influence on the public's knowledge of the past. Consumed informally and voluntarily, entertaining and easily accessible, popular histories are often more significant for the public's perception of ‘historical fact’ than ‘ac

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48

HADEBE, SAMUKELE. "The Significance of Ndebele Historical Fiction." Matatu 34, no. 1 (2007): 77–89. http://dx.doi.org/10.1163/9789401205665_006.

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49

Teo, Hsu-Ming. "Historical fiction and fictions of history." Rethinking History 15, no. 2 (2011): 297–313. http://dx.doi.org/10.1080/13642529.2011.570490.

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50

Hannabuss, Stuart. "Historical dictionary of British spy fiction." Reference Reviews 30, no. 8 (2016): 19–20. http://dx.doi.org/10.1108/rr-06-2016-0152.

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