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Artículos de revistas sobre el tema "Historical fiction"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Košmrlj, Lea. "The Paradox of Historical Fiction." Acta Neophilologica 57, no. 2 (2024): 45–61. https://doi.org/10.4312/an.57.2.45-61.

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In light of the fact/fiction divide, this paper delves into the literary genre of historical fiction for young adults and re-examines the disputed boundaries between fact and fiction. Exploring Lois Lowry’s Number the Stars, a work of historical fiction for young adults about life in Nazi-occupied Denmark, this discussion addresses the paradoxical nature of historical fiction: it is the fictional elements of historical fiction that play the crucial part in bringing historical facts closer to the young adult reader.

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2

Monterde, José Enrique. "Algunas observaciones sobre el documental histórico." Tripodos, no. 16 (December 20, 2004): 23–36. https://doi.org/10.51698/tripodos.2004.16.23-36.

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After making certain terminological clarifications and then situating the historical documentary in the dual position of non-fictional cinema and "historical cinema", the author reaffirms the common discourse which assumes both documentary and fiction to be of a historical order, which, however, does not prevent the clarification of those aspects which justify the typological diferentiation between film fiction and non-fiction. Fully situated in the orbit of non-fictional cinema, this paper establishes a repertoire of the diverse modalities included in this ambit: filmed news events, news bull

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3

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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4

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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5

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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6

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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7

Fitzpatrick, Noel. "The question of Fiction – nonexistent objects, a possible world response from Paul Ricoeur." Kairos. Journal of Philosophy & Science 17, no. 1 (2016): 137–53. http://dx.doi.org/10.1515/kjps-2016-0020.

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Abstract The question of fiction is omnipresent within the work of Paul Ricoeur throughout his prolific career. However, Ricoeur raises the questions of fiction in relation to other issues such the symbol, metaphor and narrative. This article sets out to foreground a traditional problem of fiction and logic, which is termed the existence of non-existent objects, in relation to the Paul Ricoeur’s work on narrative. Ricoeur’s understanding of fiction takes place within his overall philosophical anthropology where the fictions and histories make up the very nature of identity both personal and co

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8

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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9

Dr., Prakash Eknath Navgire. "A STUDY OF POSTMODERN NARRATIVE TECHNIQUE IN GITA MEHTA'S 'RAJ'." Educreator Research Journal ISSN: P-2455-0515 E- 2394-8450 www.aarhat.com/erj VIII, no. VI (2021): 23–31. https://doi.org/10.5281/zenodo.5931812.

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<strong>Abstract:</strong> <em>Gita Mehta is postmodern historical writer; she intentionally intermingles the history in her fiction. The presentation of history and the political ideologies are presented through her novels. The development of the character and story happens around proper political and historical background. The historical incidents make changes or affects the life of characters in the fiction. This is one type of intermingling historical events in the fiction. The real historical characters and events are used with the fictitious character in the novel.  The facts are fi

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10

Raghunath, Riyukta. "Possible worlds theory, accessibility relations, and counterfactual historical fiction." Journal of Literary Semantics 51, no. 1 (2022): 1–18. http://dx.doi.org/10.1515/jls-2022-2047.

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Abstract Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relat

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11

Dr., Prakash Eknath Navgire. "A STUDY OF POSTMODERN NARRATIVE TECHNIQUE IN GITA MEHTA'S 'RAJ'." Educreator Research Journal ISSN: P-2455-0515 E- 2394-8450 VIII, no. VI (2022): 23–31. https://doi.org/10.5281/zenodo.6016928.

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<em>Gita Mehta is postmodern historical writer; she intentionally intermingles the history in her fiction. The presentation of history and the political ideologies are presented through her novels. The development of the character and story happens around proper political and historical background. The historical incidents make changes or affects the life of characters in the fiction. This is one type of intermingling historical events in the fiction. The real historical characters and events are used with the fictitious character in the novel.  The facts are fictionalised in her work. Th

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12

Park, J. P. "Art-Historical Fiction or Fictional Art History?" Archives of Asian Art 72, no. 2 (2022): 181–219. http://dx.doi.org/10.1215/00666637-9953432.

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Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since it provides accounts of paintings by artists whose works are no longer extant. But there is one major problem: the book is a forgery. What is more, Zhang also forged paintings to match the documentation he created, so he could also profit from trading in them. Interestingly, the book also echoes unfounded claims register

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13

Susan, Mabel, and Hemachandran Karah. "Pedagogical-historical Fiction." Caribbean Quarterly 70, no. 1 (2024): 32–53. http://dx.doi.org/10.1080/00086495.2024.2323377.

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14

Descher, Stefan. "Satirical Novels of the Late Enlightenment and the Practice of Fiction. A Methodological Proposal for Investigations Into the History of Fiction." Journal of Literary Theory 14, no. 2 (2020): 147–72. http://dx.doi.org/10.1515/jlt-2020-2003.

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AbstractThe paper examines German satirical novels of the late Enlightenment period, published roughly between 1760 and 1790, under the following question: Is there any evidence that the historical practice of fiction (concerning this time and these texts) deviates from the modern practice of fiction as described by institutional accounts of fictionality? First, it is explained what, in this essay, is meant by the ›modern practice of fiction‹. Four ›core rules‹ are identified that, according to institutional accounts of fictionality, characterize the practice of reading works of fiction. These

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15

Dutta, Nandana. "Amitav Ghosh and the Uses of Subaltern History." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 8 (December 1, 2015): 14. http://dx.doi.org/10.12681/syn.16209.

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The interface between history and fiction has been an area of rich potential for the postcolonial novelist in South Asia and this is evident in the practice of many novelists from the region who have used historical material as backdrop but have also used fiction to comment on recent events in their countries. In this paper I examine the work of Amitav Ghosh as offering a fictional method that has evolved out of his immersion in subaltern historical practice and one that successfully bridges the gap between these two genres. I show this through his deployment of historical material in the thre

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16

He, Yufei. "The Innovation of the TV Drama Nirvana in Fire in the Adaptation of Alternate Historical Novels." Arts Studies and Criticism 6, no. 1 (2025): 62. https://doi.org/10.32629/asc.v6i1.3597.

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The popularity of costume dramas has driven the adaptation of historical novels, yet the historical fiction elements within these novels pose significant challenges for adapters. Many current TV dramas adapted from fictional works are set in specific historical periods to address the complexities of adapting fictional fiction. However, the TV series Nirvana in Fire has distinguished itself by preserving the alternate historical setting of its source material, while still being recognized as a high-quality costume drama by audiences. This paper examines the innovative adaptation strategies empl

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17

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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18

Kyomugisha T, Asiimwe. "The Role of Fiction in Shaping the Public Perception of Science." RESEARCH INVENTION JOURNAL OF CURRENT RESEARCH IN HUMANITIES AND SOCIAL SCIENCES 4, no. 1 (2025): 37–41. https://doi.org/10.59298/rijcrhss/2025/413741.

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Science fiction and other fictional portrayals of science play a significant role in shaping public perception and understanding of scientific principles, discoveries, and ethical dilemmas. Fiction serves as a bridge between scientists and the general public, introducing complex scientific ideas in accessible and engaging narratives. Historically, literature and film have influenced how society perceives technological advancements, scientific progress, and the potential consequences of innovation. While fiction can inspire curiosity and enthusiasm for science, it can also contribute to misconc

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19

O'Callaghan, Evelyn. "Historical Fiction and Fictional History: Caryl Phillips's Cambridge." Journal of Commonwealth Literature 28, no. 2 (1993): 34–47. http://dx.doi.org/10.1177/002198949302800205.

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20

De Roest, Karla. "Maak een vuist als je geen hand hebt. Inclusiviteit in (pre)historische jeugdromans." Paleo-aktueel, no. 33 (July 16, 2024): 39–48. http://dx.doi.org/10.21827/pa.33.39-48.

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The one-handed hero: Inclusiveness in historical fiction for childrenHaving grown up with a sister in a wheelchair meant that I took this normalcy into the fictional world of the past. So when I crossed paths with Drem in Rosemary Sutcliff’s 1958 novel Warrior Scarlet, he was to me just a boy with one functional arm. It was not until much later that I realised he was one of the very few protagonists in historical fiction with a disability. A lack of inclusiveness is problematic, first, when it comes to readers identifying with the physical condition of the hero(ine) and, second, because, from

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21

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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22

Fileva, Iskra. "HISTORICAL INACCURACY IN FICTION." American Philosophical Quarterly 56, no. 2 (2019): 155–70. http://dx.doi.org/10.2307/48570835.

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Abstract I ask whether and when historical inaccuracy in a work of art constitutes an aesthetic flaw. I first consider a few replies derived from others: conceptual impossibility, import-export inconsistency, failure of reference, and imaginative resistance. I argue that while there is a grain of truth to some of these proposals, none of them ultimately succeeds. I proceed to offer an alternative account on which the aesthetic demerits of historical inaccuracies stem from a violation of the conversational contract between author and audience. The key question is what that contract implies.

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23

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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24

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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25

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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26

Shrestha, Ravi Kumar. "Representation of History in Postmodern Fiction." Patan Prospective Journal 4, no. 2 (2024): 106–16. https://doi.org/10.3126/ppj.v4i2.79248.

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This paper shows that history is portrayed as a fiction in postmodern fiction. As postmodern fiction is an art form, it narrates history in the form of a story. So, the postmodern fiction becomes the fusion of history and fiction. In other words, it is structured as rewriting of history challenging the traditional history. It deconstructs the traditional history of fictionalizing history. The narrative becomes more important than the facts and information. Since the postmodern era is the era of questioning reality, truth, facts and so on which were judged objectively, the history is written an

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27

Tyers, Rhys William. "Historiographic Metafiction and the Metaphysical Detective in Roberto Bolaño’s Amulet." MANUSYA: Journal of Humanities 24, no. 2 (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 an

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28

WILSON, KIM. "The Past Re-imagined: Memory and Representations of Power in Historical Fiction for Children." International Research in Children's Literature 1, no. 2 (2008): 111–24. http://dx.doi.org/10.3366/ircl.2008.0001.

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This article argues that historical fiction functions as a collective memory: it provides a social framework for recollections that speak of a national agenda often through personal experiences. Taking as its examples three Australian and New Zealand fictions for children and young adults, from the late twentieth and early twentieth-first century, the article examines texts that focus on how we remember the past and what aspects of that past should be remembered: Memorial (1999), a picture book by Gary Crew (author) and Shaun Tan (illustrator), The Divine Wind (1998) by Garry Disher, and The S

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29

Adhikari, Tara Prasad. "Allegorization of History in Burial at Sea." International Research Journal of MMC 5, no. 4 (2024): 92–100. http://dx.doi.org/10.3126/irjmmc.v5i4.70700.

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The paper titled “Allegorization of History in Burial at Sea” investigates Khushwant Singh's novel as an allegorized history of post-independent India. Published in 2005, Singh's narrative intertwines the lives of fictional characters with historical figures. Using a combination of textual analysis and historical data, this study examines how Singh's portrayal of these characters serves as an allegorical representation of broader historical narratives. By analyzing the allegorical elements within the novel, the study reveals how Singh's fictionalization serves to critique the idealized images

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30

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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31

Forter, Greg. "Atlantic and Other Worlds: Critique and Utopia in Postcolonial Historical Fiction." PMLA/Publications of the Modern Language Association of America 131, no. 5 (2016): 1328–43. http://dx.doi.org/10.1632/pmla.2016.131.5.1328.

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This essay traces the meanings and effects of postcolonial authors' recent refashioning of classical historical fiction. That refashioning has two aims: a materialist cartography that counters the nationalist vocation of classical historical fiction by revealing the supranational, global aspirations of colonial capitalism as a system; and an effort to retrieve from colonial modernity the residues of premodern, often presecular modes of solidarity that persist in yet lie athwart the colonial-modern. The analysis focuses on two novels: Barry Unsworth's Sacred Hunger (1992) and Amitav Ghosh's Sea

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32

Muwati, I., D. E. Mutasa, and M. L. Bopape. "The Zimbabwean liberation war: contesting representations of nation and nationalism in historical fiction." Literator 31, no. 1 (2010): 147–74. http://dx.doi.org/10.4102/lit.v31i1.41.

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This article examines the array of macro and micro historical factors that stirred historical agency in the 1970s war against colonial settlerism as depicted in selected liberation war fiction. This war eventually led to a negotiated independence in April 1980. Historical fiction in the early 1980s is characterised by an abundance of fictional images that give expression to the macrofactors, while historical fiction in the late 1980s onwards parades a plethora of images which prioritise the microhistorical factors. Against this background, the article problematises the discussion of these fact

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33

Grajo, Jeanette. "Recreating the Past and Revealing the Postmodern Construction of Anabella of Silay in Rosario Cruz-Lucero’s “Doreen’s Story”: A Historiographic Metafiction." International Journal on Culture, History, and Religion 7, no. 1 (2025): 167–82. https://doi.org/10.63931/ijchr.v7i1.77.

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This paper explores Rosario Cruz-Lucero’s novella "Doreen’s Story" as historiographic metafiction, specifically examining the postmodern construction of Anabella of Silay. Historiographic metafiction challenges traditional historical narratives through layered storytelling, intertextual references, and blending of fact and fiction. The character Anabella is analyzed comparatively alongside real-life Hiligaynon writer Magdalena Jalandoni, whose life parallels the fictional protagonist in numerous aspects. Employing comparative character analysis and historiographic metafiction as frameworks, th

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34

Macharashvili, Giorgi T. "RHYMED HISTORICAL TEXTS: BIBLIOGRAPHY OF GEORGIAN MANUSCRIPTS." History, Archeology and Ethnography of the Caucasus 19, no. 3 (2023): 676–90. https://doi.org/10.32653/ch193676-690.

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Historical fiction and rhymed history are two distinct genres of literature that deal with historical events and characters, but their approaches to history are different. Rhymed history, as a type of poetry, presents historical events in verse form, prioritizing historical accuracy, while in historical fiction, the story itself is fictional, with invented characters, events and scenarios. Georgian literature contains many poetic works of various genres, including rhymed historical texts. Rhymed history was widespread in Georgia, especially from the 18th century. The poetic form makes historic

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35

Chew, Ng Kim, and Po-Hsi Chen. "Why Does a Failed Revolution Also Need Fiction?" Prism 19, no. 2 (2022): 411–27. http://dx.doi.org/10.1215/25783491-9966717.

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Abstract The historical relationship between the categories of Malayan Communist fiction and People's Republic of China revolutionary historical fiction remains to be clarified, just as the Malayan Communist revolution was covertly, but undeniably, connected to the Chinese Communist Party. This essay attempts to take the PRC's revolutionary historical fiction as a reference point to reinvestigate Malayan Communist fiction, which was characterized as “historical fiction” by left-wing writers. Examples include Jin Zhimang's Hunger, Liu Jun's Wind Blowing in the Woods, and Tuo Ling's The Hoarse M

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36

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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37

Rowland, Antony. "Fiction as Testimony." Literature & History 33, no. 1 (2024): 37–52. http://dx.doi.org/10.1177/03061973241245758.

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This article explores the fraught relationship between the terms ‘fiction’, ‘creativity’, ‘literature’ and ‘testimony’ in Holocaust and trauma studies. It argues that the main challenge in reading witness literature is to read testimony as both factual and potentially fictional at the same time when no metatextual corroboration is available. This anxiety of testimony originates in some key texts in Holocaust and trauma studies: I analyse for the first time the repercussions of fictional passages in Primo Levi's If This is a Man (1947), The Truce (1963) and Charlotte Delbo's Auschwitz and After

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38

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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39

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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40

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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41

Parimala, Gudala, and Prof P. Rajendra Karmarkar. "Historical Fiction and Hilary Mantel." International Journal of English Literature and Social Sciences 7, no. 1 (2022): 241–45. http://dx.doi.org/10.22161/ijels.71.32.

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42

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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43

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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44

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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45

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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46

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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47

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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48

Iammarino, Denna. ":Renaissance Historical Fiction." Sixteenth Century Journal 43, no. 2 (2012): 505–6. http://dx.doi.org/10.1086/scj24245455.

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49

Pavonetti, Linda M. "Historical Fiction-New and Old." Voices from the Middle 9, no. 2 (2001): 78–82. http://dx.doi.org/10.58680/vm20012389.

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Offers brief descriptions of 41 books of historical fiction that may interest intermediate and middle school students, many of them new releases that tackle unusual historical topics. Argues that historical fiction is an ideal medium for taking intermediate and middle school students out of their day-to-day surroundings and into other times and places, helping them learn more about the world.

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50

Ağarı, Murat. "Historical Roots and Syntactic Nature of Languages." Journal of History Culture and Art Research 10, no. 4 (2021): 32–43. http://dx.doi.org/10.7596/taksad.v10i4.3138.

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All languages have a common, ontological nature, and this nature cannot be changed. Although there are some differences in the fictions of languages, the general course of this ontological nature is the same in all languages. Although we are talking about an ontological nature that is the same in all languages, the differences that exist between languages affect and determine the attitudes of societies that use this language. In another respect, history is a totality of social attitudes. Therefore, the language used by society can affect the attitude of that society. In other words, societies

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