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Jagodzinski, Mallory Diane. „Love is (Color) Blind: Historical Romance Fiction and Interracial Relationships in the Twenty-First Century“. Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1440101084.
Der volle Inhalt der QuelleLewis, Cassandra. „Sunshowers in Winter: A Novel“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1584.
Der volle Inhalt der QuelleRosales, Lauren N. „"Dismissed outright": creating a space for contemporary genre fiction within neo-Victorian studies“. Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6259.
Der volle Inhalt der QuelleWaage, Fred. „The Birth Spoon“. Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1939289572.
Der volle Inhalt der Quellehttps://dc.etsu.edu/etsu_books/1009/thumbnail.jpg
Buitendach, Samantha Angelique. „Selling translation rights in trade publishing : case studies of Dutch translations of Afrikaans fiction in the Netherlands and Belgium“. Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/66256.
Der volle Inhalt der QuelleDissertation (MIT)--University of Pretoria, 2017.
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Hughes, Helen Muriel. „Changes in historical romance, 1890s to the 1980s : the development of the genre from Stanley Weyman to Georgette Heyer and her successors“. Thesis, University of Bradford, 1988. http://hdl.handle.net/10454/4224.
Der volle Inhalt der QuelleAlmeida, Marcos Vinícius Lima de. „A lógica do espectro: romance histórico, necromancia e o lugar do morto“. Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21322.
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Under the premise that our history is constituted under the impact of catastrophes, and that in this context, writing a historical novel will never be a neutral gesture, this paper proposes to investigate the historical novel in contemporary Brazilian fiction, from the perspective of theory and literary creation. This work proposes a hypothesis for the hypothesis of the hypothesis of Lukács (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) and Weinhardt (2011) and Bastos (2007). the reading of the contemporary historical novel. From two key notions, 1) what will be defined in this work as a spectrum logic, 2) and writing as a burial rite, the central premise of this work is to look at history as a fundamentally necromantic practice. These notions are tested, or developed, from the critical reading of two contemporary works: O marechal de costas, by José Luiz Passos (2016) and De mim já nem se lembra, by Luiz Ruffato (2015). If the sign (sema) is a tomb and the writing of history and the relationship with the past is a kind of burial rite (as Jeanne-Marie Gagnebin asserts, in the wake of Michel de Certeau), which separates the past from the present world of the living dead of the world), the past not properly elaborated, not buried, returns as specter: and haunts and defiles the present. In this sense, it is possible to read the contemporary historical novel as a kind of attempt to burial the specters of the past that haunt the present. In the practical section, this work presents a novel, a historical fiction, freely inspired by the figure of Januário Garcia Leal
Sob a premissa que nossa história se constitui sob impacto de catástrofes, e que, nesse contexto, escrever um romance histórico nunca será um gesto neutro, esse trabalho se propõe a investigar o romance histórico na ficção contemporânea brasileira, da perspectiva da teoria e da criação literária. Sem abandonar totalmente as concepções de Lukács, (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) e Weinhardt (2011) e Bastos (2007), esse trabalho propõe uma hipótese para a leitura do romance histórico contemporâneo. A partir de duas noções chave, 1) aquilo que será definido nesse trabalho como lógica do espectro, 2) e a escrita enquanto rito de sepultamento, a premissa central deste trabalho é olhar para a história enquanto prática fundamentalmente necromante. Essas noções são testadas, ou desenvolvidas, a partir da leitura crítica de duas obras contemporâneas: O Marechal de costas, de José Luiz Passos (2016) e De mim já nem se lembra, de Luiz Ruffato (2015). Se o signo (séma) é um túmulo e a escrita da história e a relação com o passado uma espécie de rito de sepultamento (como afirma Jeanne-Marie Gagnebin, na esteira de Michel de Certeau), que separa o passado do presente (o mundo dos mortos do mundo vivos), o passado não devidamente elaborado, não enterrado, retorna como espectro: e assombra e contamina o presente. Nesse sentido, é possível ler o romance histórico contemporâneo como uma espécie de tentativa de sepultamento dos espectros do passado que assombram o presente. Na seção prática, esse trabalho apresenta um romance, uma ficção histórica, livremente inspirada da figura de Januário Garcia Leal
Brook, Madeleine E. „Popular history and fiction : the myth of August the Strong in German literature, art, and media“. Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cb7df46e-ab52-4f27-a084-41d7fab5b54e.
Der volle Inhalt der QuelleVasconcelos, Arlene Fernandes. „A verdade dispensa a verossimilhanÃa: o fato e a ficÃÃo no romance historico As Minas de Prata, de Jose de Alencar“. Universidade Federal do CearÃ, 2011. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=6038.
Der volle Inhalt der QuelleNo romance histÃrico As minas de prata, de Josà de Alencar, pode-se perceber uma clara preocupaÃÃo com o registro dos fatos histÃricos para alÃm do que està gravado nos livros. Isto Ã: esse romance permite ao leitor fazer contato com grandes vultos histÃricos, mas, principalmente, com personagens menores â pessoas comuns, sem qualquer relevÃncia para a historiografia oficial. Portanto, o contato com o acontecimento nÃo se faz de forma distanciada, mas Ãntima, e o envolvimento do leitor à bem maior, pois se dà na identificaÃÃo que tem com o personagem de ficÃÃo, atravÃs da verdade pessoal do prÃprio personagem, que se revela em suas aÃÃes. Essa constituiÃÃo de um herÃi, com buscas pessoais acima das questÃes de lealdade à pÃtria e ao seu povo, torna EstÃcio, o personagem central da obra, mais prÃximo de personagens problemÃticos da modernidade, apesar de envolto em uma aura Ãpica, e outros personagens servem para acentuar um ou outro aspecto. Um estudo minucioso da obra revela o uso que o autor faz do fato histÃrico como instrumento de nacionalizaÃÃo da literatura brasileira no sÃculo XIX. Alencar pretende criar a consciÃncia histÃrica do povo, aproximando os acontecimentos reais passados do prÃprio leitor, de forma a gravar-lhe no espÃrito o sentimento de nacionalidade. Ao ser transportado para a vida de uma das personagens, o leitor sente-se intimamente ligado a ela, participando dos acontecimentos que se desenrolam, tomando consciÃncia do desenvolvimento polÃtico e social de seu paÃs, descobrindo suas origens, convivendo atà com figuras ilustres do passado, sem o distanciamento que a histÃria oficial impÃe. Essa aproximaÃÃo se dà atravÃs da identificaÃÃo do leitor com as paixÃes que movem os personagens, reveladoras de suas verdades pessoais.
In the historical novel As minas de prata, written by Josà de Alencar, one may notice a clear intent to keep records of historical facts beyond what it was kept in History books. In other words, this novel gives the reader the opportunity to know important historical facts, but, mainly, get to know minor characters â average people, with no relevance to the official historiography. Therefore, the approach to the facts does not happen from a distant perspective, but an intimate one. The reader gets involved in a broader way, since he identifies himself with the fiction characters. Such relationship happens through personal truths the characters convey, revealed through their actions. The making of a hero, with personal pursuits above subjects such as loyalty to motherland and his people, make EstÃcio the main character of the novel, closer to problematic characters of modern times, despite being wrapped in an epic aura and with other characters who serve to enhance other aspects. A meticulous study of the novel reveals the authorâs choice to use a historical fact as an instrument of the nationalization of Brazilian literature in the 19th century. Alencar intended to create peopleâs historical conscience, bridging the gap between the real facts from the past and the reader, in order to engrave in his spirit the nationality pride. By being carried away to the world of one of the characters, the reader feels intimately connected to that character, by participating of the daily life, by being conscious of his countryâs social and political development, by finding his origins, even living with notorious characters from the past â without the detachment that official accounts impose. This approach occurs through the readerâs identification with the passion that moves the characters, revealing their personal truths.
Petit, Aimé. „L'anachronisme dans les romans antiques du XIIe siècle“. Lille : Centre d'études médiévales et dialectales de l'Université de Lille III, 1985. http://catalog.hathitrust.org/api/volumes/oclc/13978956.html.
Der volle Inhalt der QuelleLeigh, Megan Breen. „A Wind River Romance“. PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/394.
Der volle Inhalt der QuellePettersson, Petter. „What about historical fiction? : Ways to use historical fiction in an ESL-classroom setting“. Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-35275.
Der volle Inhalt der QuelleSakai, Luiz Guilherme Fernandes da Costa. „Denegação e desidentidade: a metaficção historiográfica em Nove noites, de Bernardo Carvalho“. Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14725.
Der volle Inhalt der QuelleCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This study discusses the identity construction and interpellation in Brazilian contemporary literature through historical novel and historiographical metafiction, concepts studied by Györg Lukács and Linda Hutcheon, respectively. These two subgenres reveal a relation that is different from the truthful events in which the novel is based. The historical novel, emerged in 19th century, uses them to attest their fictional verisimilitude, and in the national context, it has joined the taskwork to build a Brazilian identity. The historiographical metafiction, which emerged in the second half of 20th century, uses the truthful events to question, destabilize and rewrite them. Nove noites, from the author Bernardo Carvalho, gets close to this second subgenre. However, a survey of Carvalho s critical fortune has indicated a supposed inverisimilitude trace in his literary production; this discovery questions not only the historical speech, but also the fiction itself. From this starting point, our study is going to investigate, especially in the chosen novel, the bounds between fiction and reality (linked to history) and identity and non-identity in a dialog with the historical novel and the historiographical metafiction. Presenting also Carvalho s critical production, it s evident in this research that he appreciates an experimental and inventive fiction, and denies trends and common sense in relation to literature. Therefore, this research challenges the hypothesis that, by one side, Nove noites has some historiographical metafiction characteristics and points out to a non-identity dimension, concept used by Italo Moriconi to define the crisis in which the Latin-American thought has been facing in this globalized scenery. In the other hand, when he destabilizes his own construction of sense, he overacts the subgenre in which he was primarily associated and strengthen, in another level, the position the writer registers in this critical texts
Este estudo discute a questão da construção e interpelação da identidade na literatura contemporânea brasileira pela via do romance histórico e da metaficção historiográfica, estudados por Györg Lukács e Linda Hutcheon, respectivamente. Essas duas vertentes do gênero literário romance revelam uma díspar relação com os acontecimentos verídicos de que se apropriam. O romance histórico, surgido no século XIX, utiliza-os para atestar a sua verossimilhança ficcional e, no contexto nacional, aliou-se à empreitada de formar uma identidade aos brasileiros. Ao passo que a metaficção historiográfica, que surgiu já na segunda metade do século XX, vale-se deles para questioná-los, desestabilizá-los e reescrevê-los. Nove noites, do ficcionista e crítico Bernardo Carvalho, aproxima-se dessa segunda vertente. Contudo, um levantamento da fortuna crítica desse escritor indicou um traço supostamente inverossímil em sua produção literária, que põe em xeque o sentido não apenas do discurso histórico, mas também da própria ficção. É partindo disso que este estudo objetiva investigar as fronteiras entre ficção e realidade (atrelada à história) e identidade e desidentidade em diálogo com o romance histórico e com a metaficção historiográfica. Apresentando também sua produção crítica, torna-se patente, nesta pesquisa, que Carvalho valoriza uma ficção experimental, inventiva, e refuta modismos e lugares-comuns em relação à literatura. Por isso, este trabalho coloca à prova a hipótese de que, por um lado, Nove noites, possuidor de características da metaficção historiográfica, ilustra e aponta para a dimensão da desidentidade, termo utilizado por Italo Moriconi para definir a crise pela qual o pensamento latino-americano tem passado no cenário globalizado. Por outro, o romance de Bernardo Carvalho, ao desestabilizar sua própria construção de sentido, extrapola a vertente a que inicialmente se associa, reforçando, em outro nível, o posicionamento que o escritor registra em seus textos críticos
Nichols, Ian. „Hybrid texts and historical fiction“. Thesis, Curtin University, 2011. http://hdl.handle.net/20.500.11937/2060.
Der volle Inhalt der QuelleVasconcelos, Arlene Fernandes. „A Verdade Dispensa a Verossimilhança: O Fato e a Ficção no Romance Historico as Minas de Prata, de Jose de Alencar“. http://www.teses.ufc.br, 2011. http://www.repositorio.ufc.br/handle/riufc/2907.
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In the historical novel As minas de prata, written by José de Alencar, one may notice a clear intent to keep records of historical facts beyond what it was kept in History books. In other words, this novel gives the reader the opportunity to know important historical facts, but, mainly, get to know minor characters – average people, with no relevance to the official historiography. Therefore, the approach to the facts does not happen from a distant perspective, but an intimate one. The reader gets involved in a broader way, since he identifies himself with the fiction characters. Such relationship happens through personal truths the characters convey, revealed through their actions. The making of a hero, with personal pursuits above subjects such as loyalty to motherland and his people, make Estácio the main character of the novel, closer to problematic characters of modern times, despite being wrapped in an epic aura and with other characters who serve to enhance other aspects. A meticulous study of the novel reveals the author’s choice to use a historical fact as an instrument of the nationalization of Brazilian literature in the 19th century. Alencar intended to create people’s historical conscience, bridging the gap between the real facts from the past and the reader, in order to engrave in his spirit the nationality pride. By being carried away to the world of one of the characters, the reader feels intimately connected to that character, by participating of the daily life, by being conscious of his country’s social and political development, by finding his origins, even living with notorious characters from the past – without the detachment that official accounts impose. This approach occurs through the reader’s identification with the passion that moves the characters, revealing their personal truths.
No romance histórico As minas de prata, de José de Alencar, pode-se perceber uma clara preocupação com o registro dos fatos históricos para além do que está gravado nos livros. Isto é: esse romance permite ao leitor fazer contato com grandes vultos históricos, mas, principalmente, com personagens menores – pessoas comuns, sem qualquer relevância para a historiografia oficial. Portanto, o contato com o acontecimento não se faz de forma distanciada, mas íntima, e o envolvimento do leitor é bem maior, pois se dá na identificação que tem com o personagem de ficção, através da verdade pessoal do próprio personagem, que se revela em suas ações. Essa constituição de um herói, com buscas pessoais acima das questões de lealdade à pátria e ao seu povo, torna Estácio, o personagem central da obra, mais próximo de personagens problemáticos da modernidade, apesar de envolto em uma aura épica, e outros personagens servem para acentuar um ou outro aspecto. Um estudo minucioso da obra revela o uso que o autor faz do fato histórico como instrumento de nacionalização da literatura brasileira no século XIX. Alencar pretende criar a consciência histórica do povo, aproximando os acontecimentos reais passados do próprio leitor, de forma a gravar-lhe no espírito o sentimento de nacionalidade. Ao ser transportado para a vida de uma das personagens, o leitor sente-se intimamente ligado a ela, participando dos acontecimentos que se desenrolam, tomando consciência do desenvolvimento político e social de seu país, descobrindo suas origens, convivendo até com figuras ilustres do passado, sem o distanciamento que a história oficial impõe. Essa aproximação se dá através da identificação do leitor com as paixões que movem os personagens, reveladoras de suas verdades pessoais.
Christie, Edwina Louise. „Dissimulating romance : the ethics of deception in seventeenth-century prose romance“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:292cf3cf-7ecf-4b1d-a4ca-d2f5c65ab0a0.
Der volle Inhalt der QuelleChivers, Marian. „The warrior woman in contemporary romance fiction“. Thesis, Federation University Australia, 2014. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/96448.
Der volle Inhalt der QuelleThe warrior woman is a recurring figure in myth and history. She could be seen as an ambiguous character as she challenges patriarchal assumptions about gender roles with her capability for masculine aggression while being recognisably female and “feminine”. In the new millennium, she has reappeared as the action heroine in films, televisions, comics and video games and she has also infiltrated romance fiction, a genre often considered one of the most conservative genres in terms of gender roles and equality. The Silhouette Bombshell line was created by the multinational publisher Harlequin to capitalise on the popularity of “action heroines” in popular culture. The romance genre, perhaps the most derided of all scorned literature, is often accused, particularly by feminist critics, of reinforcing the patriarchal structure of society. This thesis examines how this character type in romance fiction can provide a means to question and even subvert traditional or patriarchal gender expectations. It will undertake the close examination of the first six books of the Athena Force series, which were published in 2004-2005 as part of the Silhouette Bombshell line. Both the warrior woman and the romance genre are defined and historically reviewed, together with an outline of the workings of the contemporary romance industry with regard to category, genre and publishing guidelines. There follows a detailed analysis of the warrior woman character as she appears in the Athena Force series with regard to agency, violence, sisterhood, professional career, performance of femininity and romantic relationships. This study of the warrior woman in romance fiction challenges many critical and social preconceptions about the romance genre in general, and its treatment of gender roles in particular
Ast, Bernard Edward Jr 1963. „"The Plague" in Albert Camus's fiction“. Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/288839.
Der volle Inhalt der QuelleTait, Meg. „Taking sides : Stefan Heym's historical fiction“. Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624152.
Der volle Inhalt der QuellePetit, Aimé. „L'anachronisme dans les romans antiques du XIIe siècle : le "Roman de Thèbes", le "Roman d'Énéas", le "Roman de Troie", le "Roman d'Alexandre /“. Paris : H. Champion, 2002. http://catalogue.bnf.fr/ark:/12148/cb388862146.
Der volle Inhalt der QuelleBavasah, Tessa. „Parodic imagination and resistant form in historical fiction: A study of Ann Harries' manly pursuits“. Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5657_1242111847.
Der volle Inhalt der QuelleIn this dissertation, the author examines the historical novel Manly pursuits (1999), by Ann Harries. The novel deals with the late nineteenth century in Oxford, England, and inparticular the year 1899 in Cape Town. The focus of the novel is on Cecil John Rhodes and his entourage, and their obsession with empire, which culminates in the South African war in 1900. Featured characters include Chamberlain, Jameson, Kipling, Oscar Wilde, Charles Dodgson, John Ruskin and Olive Schreiner. Harries novel is interpreted as showing resistance to the Victorian society which is the framework which is seen to developed the class and gender-based valued and imperialist thinking of Rhodes and his following. as such the novel is showing resstance to imperialist thinking, the Anglo-Boer war, apartheid and all the resulting legacies for South Africa.
Barletta, Sandra A. „Cougars, grannies, evil stepmothers, and menopausal hot flashers : roles, representations of age and the non-traditional romance heroine“. Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/72686/3/Sandra_Barletta_Thesis.pdf.
Der volle Inhalt der QuelleHadley, Louisa A. „Rewriting historical narratives in neo-Victorian fiction“. Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/24661.
Der volle Inhalt der QuelleKellar, Pinard Katrina. „Settler Feminism in Contemporary Canadian Historical Fiction“. Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39608.
Der volle Inhalt der QuelleMelhop, Val. „Romance and realism : New Zealand short fiction, 1865-1965“. Thesis, University of Canterbury. English, 1991. http://hdl.handle.net/10092/7060.
Der volle Inhalt der QuelleWatt, James. „Disputing Gothic : the contestation of romance 1764-1832“. Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243053.
Der volle Inhalt der QuelleDantas, Gregorio Foganholi. „Metaforas da historia : uma leitura dos romances de Helder Macedo“. [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270332.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A presente tese pretende realizar uma leitura dos romances do escritor português Helder Macedo - Partes de África, Pedro e Paula, Vícios e virtudes e Sem nome - considerando três pontos principais de análise: a elaboração de um narrador caprichoso que se filia a uma determinada tradição literária; a apropriação de referências intertextuais e o discurso metaficcional; a estrutura narrativa construída a partir de oposições ou antinomias, presentes em todos os níveis de seus romances. Para tanto, faremos uso de um corpus de ensaios de autoria de Helder Macedo e que tratam da tradição literária evocada em seus romances. Deste modo, pretendemos interpretar seus livros a partir dos critérios adotados pelo próprio autor para interpretar as obras ficcionais de sua eleição.
Abstract: The present thesis intends to undertake a reading of the novels by the Portuguese author Helder Macedo -- Partes de África, Pedro e Paula, Vícios e virtudes and Sem nome -taking into account three major points of analysis: the elaboration of a capricious narrator who affiliates himself to a certain literary tradition; the appropriation of intertextual references and the metafictional discourse; the narrative structure built up from oppositions or antinomies, present in all levels of his novels. In order to do so, we'll make use a corpus of essays by Helder Macedo concerning the literary tradition evoked in his novels. Thus, we intend to interpret his books from the criteria adopted by the very author to interpret the fictional works of his election.
Doutorado
Literatura Portuguesa
Doutor em Teoria e História Literária
Kocela, Christopher. „Fetishism as historical practice in postmodern American fiction“. Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38213.
Der volle Inhalt der QuelleDavies, Richard Blaine Davies Richard Blaine. „Historical fiction makes American history come to life!“ [Boise, Idaho : Boise State University, 2002. http://education.boisestate.edu/bdavies.
Der volle Inhalt der QuelleWeb site. Master's project includes an explanatory text and CD-ROM entitled: Historical fiction : a web site supporting secondary U.S. history courses of study-Idaho Department of Education. Includes bibliographical references.
Redfern, Rachel Yvette. „Layering the March: E. L. Doctorow's Historical Fiction“. BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2229.
Der volle Inhalt der QuelleBiancato, Adriana Aparecida. „A escrita híbrida de História e Ficção de María Rosa Lojo – Amores Insólitos de nuestra historia (2001) – a revisitação literária de encontros históricos inusitados“. Universidade Estadual do Oeste do Paraná, 2018. http://tede.unioeste.br/handle/tede/4138.
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Based upon the hybrid history and fiction narratives, as possibilities of reinterpreting the past, we proposed a research that aimed at establishing possible approximations among a series of historical short stories selected from the book Amores Insólitos de nuestra historia (2001), by María Rosa Lojo, with the most recent theoretical approach about the mediation contemporary historical novel, which reveals the mixture of a-critical modalities - the classical and the traditional - with deconstructionist aspects – historical novels of Latin American and historiographic metafictions. In the short stories, as well as in the novels of the most recent modality, we saw a hybrid plot that Fleck (2017) classifies as being a "mediator" between traditionalism and the Latin American criticism / deconstructionism. From the point of view of Lojo's past (2001), we intend to highlight the conquest and the settlement of America through her short narratives, which privileges the expression of excluded voices, as they are not considered by the hegemonic history perspective and which, in many fictional narratives, the Argentinean identity is portrayed under the perspective of the unusual love of female protagonists. This way, we reveal about the possible actions of literature in the face of this silencing, especially, when it comes to the female voice in historiographical reports, with emphasis on the perspectives of the past recorded in the annals of history and reinterpreted by fiction. The corpus that served as the basis for this study and analysis are compound of four short stories from the selected work, being: “La historia que Ruy Díaz no escribió” (p. 45-64), “El Maestro y la Reina de las Amazonas” (p. 127-145), “Amar a un hombre feo” (p. 191-213), and “Otra historia del Guerrero y de la Cautiva” (p. 215-245). Furthermore, as inserted in studies proposals of hybrid genres of history and fiction, carried by the Research Group "Reinterpreting the past in America: processes of reading, writing and translation of hybrid genres of history and fiction - pathways to decolonization", we highlight how the characters are represented on the historical extraction of Lojo's short stories, and, we point out at the mediating aspects that constitute these narratives. The theoretical basis that allowed us to establish the relationship between the hybrid historical novel and historical short tale are anchored in studies by Aínsa (1991), Menton (1993), Fernández Prieto (2003), Esteves (2010), Fleck (2011; 2017), among others.
Com base nas narrativas híbridas de história e ficção como possibilidades de releitura do passado, a pesquisa efetuada procurou estabelecer as aproximações possíveis entre uma série de contos históricos selecionados da obra Amores Insólitos de nuestra historia (2001), de María Rosa Lojo, com os pressupostos teóricos mais recentes sobre o gênero romance histórico contemporâneo de mediação, o qual revela a mescla de aspectos das modalidades acríticas – clássica e tradicional – com os aspectos daquelas mais desconstrucionistas – novos romances históricos latino-americanos e metaficções historiográficas. Nos contos, assim como nos romances da modalidade mais recente, vimos uma escrita híbrida que Fleck (2017) classifica como “mediadora” entre o tradicionalismo e o criticismo/desconstrucionismo latino-americano. Sob a ótica da releitura do passado de Lojo (2001), evidenciamos a conquista e povoação da América por meio de narrativas curtas que privilegiam a expressão das vozes excluídas, que não foram consideradas pela história hegemônica e que, em muitas narrativas ficcionais, são as protagonistas dos amores insólitos retratados na construção da própria identidade argentina. Dessa maneira, revelamos as possíveis ações da literatura frente a este silenciamento, principalmente, da voz feminina nos relatos historiográficos, com ênfase às perspectivas do passado registradas nos anais da história e ressignificadas pela ficção. O corpus que serviu de base para o estudo parte da análise de quatro contos da obra selecionada: “La historia que Ruy Díaz no escribió” (p. 45-64), “El Maestro y la Reina de las Amazonas” (p. 127-145), “Amar a un hombre feo” (p. 191-213) e “Otra historia del Guerrero y de la Cautiva” (p. 215-245). Desse modo, inseridos nas propostas dos estudos sobre gêneros híbridos de história e ficção, impulsionados pelo Grupo de Pesquisa “Ressignificações do passado na América: processos de leitura, escrita e tradução de gêneros híbridos de história e ficção – vias para a descolonização”, evidenciamos como se dá a representação das personagens de extração histórica na contística de Lojo e, especificamos os aspectos mediadores que constituem essas narrativas. Os pressupostos teóricos que nos permitiram estabelecer a relação entre os gêneros híbridos romance histórico e conto histórico estão ancorados em estudos de Aínsa (1991), Menton (1993), Fernández Prieto (2003), Esteves (2010), Fleck (2011; 2017), entre outros.
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