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Vint, Sherryl. "Science Fiction." Perspectives on Science and Christian Faith 74, no. 3 (September 2022): 191–92. http://dx.doi.org/10.56315/pscf9-22vint.
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SCIENCE FICTION by Sherryl Vint. Cambridge, MA: The MIT Press, 2021. 224 pages. Paperback; $15.95. ISBN: 9780262539999. *Science Fiction is the story of the romance between fiction and science. The goal of the book is not to define the history or essence of science fiction, but rather to explore what it "can do" (p. 3). How does fiction affect scientific progress? How does it influence which innovations we care about? In the opposite direction, what bearing does science have on the stories that are interesting to writers at a point in time? Science Fiction references hundreds of books to paint a cultural narrative surrounding science fiction. Throughout the book, Vint refers to the fiction as ‘sf' in order to avoid distinctions between science fiction and speculative fiction. The dynamic between science and fiction is a relationship defined by both scientific progress and by forming judgments of the direction of development through a lens of fiction. Fiction is cause and effect; we use fiction to reflect upon changes in the world, and we use fiction to explore making change. *Vint, Professor of Media and Cultural Studies and of English at the University of California, Riverside, gives overviews of different areas of sf. These include some of the most common sf elements, such as utopias and dystopias (chap. 2), as well as relatively recent concerns, such as climate change (chap. 7). Through these questions, she is navigating one question: how does sf engage with the world? It is more complex than the commonly reflected-upon narrative that sf is an inspiration to inventors--it is a relationship moving in both directions and involves value judgments as well as speculation about scientific possibilities. *The book also navigates the attitudes at the root of sf. Vint presents sf as a fundamentally hopeful, perhaps even an optimistic, genre. She describes sf as "equally about frightening nightmares and wondrous dreams" (p. 13). Yet even dystopian stories require hope for a future. Showing the world gone wrong still requires "the seeds of believing that with better choices we might avoid these nightmares" (p. 32). This is certainly true in the discussion of climate change sf. Where nonfiction writing often focuses on the impartial mitigation of disasters, the heart of fiction offers "the possibility to direct continuous change toward an open future that we (re)make" (p. 136). *The most surprising chapter is the penultimate one, focusing on economics (chap. 8). Vint discusses the recent idea of money as a "social technology" (p. 143) and the ways our current economy is increasingly tied to science, including through AI market trading and the rise of Bitcoin. The chapter also focuses on fiction looking at alternative economic systems--how will the presence or absence of scarcity, altered by technology, change the economic system? Answers to this and similar questions have major implications on the stories we tell and the way we seek to structure society. *As Christians, we have stories to help us deal with our experiences in life and our hope for the future. Science Fiction discusses sf as the way that our communities, including the scientific community, process life's challenges and form expectations for the future. We must not only repeat the stories from scripture, but also participate in the formation of the cultural narratives as ambassadors of Christ. While Science Fiction does not discuss the role of religion in storytelling, the discussion of our ambitions and expectations for the future is ripe for a Christian discussion. *Vint describes sf as a navigational tool for the rapid changes occurring in the world. Science Fiction references many titles that illustrate the different roles sf has played at historical points and that continue to form culture narratives. While some pages can feel like a dense list of titles, it is largely a book expressing excitement about the power and indispensability of sf. I would recommend this book for those who want to think about interactions between fiction, science, and culture, or learn about major themes of sf, as well as those interested in broadening the horizons of their sf reading. *Reviewed by Elizabeth Koning, graduate student in the Department of Computer Science, University of Illinois at Urbana-Champaign, Urbana, IL 61801.
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Henigman, Laura. "Stowe and Her Foremothers: The Newport Female Society in The Minister's Wooing." Prospects 30 (October 2005): 135–55. http://dx.doi.org/10.1017/s0361233300002015.
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The publication of The Minister's Wooing in 1859 marked a turn in Harriet Beecher Stowe's fictional output. Having published two antislavery novels earlier in the decade, the first of which, of course, made her an international celebrity, she turned to what we think of now as the next phase of her writing career, a series of nostalgic, partly autobiographical novels about historic New England, following Minister's Wooing with The Pearl of Orr's Island (1862), Oldtown Folks (1978), and Poganuc People (1878).Set in 18th-century Newport, Rhode Island, The Minister's Wooing is built around the historical character of Samuel Hopkins, one of the generation of New Divinity theologians, who, having studied under Jonathan Edwards, attempted to carry on his legacy. Stowe's Hopkins is historically accurate to the extent that he is identified in the book with one of the theological teachings for which he was known, “disinterested benevolence,” which meant for him that a true Christian duty was to accede to one's own damnation for the glory of God; he is also, as was the historical Hopkins, an antislavery activist, prodding his Newport congregants who are slave owners or are profiting by the slave trade to exercise that disinterested benevolence in a socially conscious way and withdraw from the sinful practice, even though it may cost them dearly. What Stowe adds is the romance plot alluded to in the title: Hopkins falls in love with the daughter of his landlady, Mary Scudder; she loves a young sailor, James Marvyn, who has been her companion since youth but who is, it seems, unre-generate.
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Manuwald, Henrike. "Fictionality and Pleasure. Traces of a Practice of Fictionality in Medieval German Short Verse Narratives?" Journal of Literary Theory 14, no. 2 (September 25, 2020): 215–40. http://dx.doi.org/10.1515/jlt-2020-2005.
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AbstractDespite an intense debate over the past decades the question of whether the concept of fictionality can be regarded as universal or whether it needs to be historicised is still unresolved. The same question applies to the practice (or practices?) of fictionality, which come into focus once an institutional theory of fictionality is applied. In addition to the problem that literary practices can only be reconstructed incompletely for past epochs, it is methodically difficult to determine which practices should be identified, given that the practice of fictionality might have changed over time. One possible solution is to search for historical literary practices displaying similarities to what is regarded as the contemporary practice of fictionality. This article adduces a subtype of medieval German short verse narratives (Mären) as a test case for the scope of this approach and arrives at a twofold result:The controlled anachronism implicit in the approach makes it possible to show that literary practices sketched in some Mären display parallels to the contemporary practice of fictionality (in the sense that the truth value of single predications becomes indifferent). This result contributes to our understanding of the history of the practice of fictionality, while placing the parallels in their historical contexts demonstrates that the category of ›fictionality‹ cannot capture the essence of the literary practices relevant to Mären.This approach has the advantage of making it possible to describe in a phenomenon-orientated way literary practices only potentially linked to a practice of fictionality before narrowing down the view to pre-defined features of a practice of fictionality. For the textual examples analysed it can thus be shown that the emotional effect of literature, especially the potential to arouse pleasure, is a feature regarded as decisive for the reception of a literary text. This observation opens up further links to research on the fictionality of post-medieval texts, especially the ›paradox of fiction‹.The argument builds on the assumption that we can speak of a practice of fictionality if the truth value of the sentences of a text becomes indifferent for its production and reception. Although this is a definition with universal scope, it is timebound in so far as it highlights that truth concepts depend on a propositional level of a text, while for a medieval audience the ›true meaning‹ of a text would probably have been more important. In the article this problem is illustrated by the genre of exemplary narratives. Of these the subtype of Mären is singled out in order to study literary practices. This selection is also motivated by the fact that in medieval studies Mären have received less attention in debates on fictionality than e. g. Arthurian romances or chronicles.The textual analysis focuses on prologues and other self-reflexive passages from selected late medieval Mären, where literary practices are being alluded to in an explicit way. Notwithstanding that these passages do not allow the reconstruction of actual practices, they convey an impression of what was regarded as plausible practices. Truth claims or references to sources in the selected Mären confirm that the expectation of truthfulness (whether on the literal or a deeper level) was a kind of default mode for the production and reception of narratives. However, various strategies to undermine this default mode can be observed: in some cases the truth claims are ironically questioned within the texts themselves, in other cases the aesthetic quality and/or the emotional effect of the narratives is foregrounded so that the question of authenticity becomes irrelevant. This strategy suggests a mode of reception that parallels the contemporary practice of fiction as outlined above.Since the capacity of the Mären to arouse pleasure is highlighted in the sources, the pre-modern debate of delectatio and utilitas is established here as the historical context for the self-reflexive passages of the analysed Mären. These categories were discussed in the medieval period in relation to the aspect of ›truthfulness‹, at least in normative theological discourse, and can thus be linked to questions of fictionality. This makes it possible to define a place for a practice of fictionality within a medieval Christian framework, the possibility of which had been doubted in research on medieval concepts of fictionality.On a systematic level, the foregrounding of the emotional effects of literature in some Mären opens up the opportunity to draw parallels to institutional theories of fictionality stressing the need of imaginative engagement with the text on the part of the recipient. The examples suggest that questions such as the ›paradox of fiction‹ should receive attention within a diachronic framework, too, in order to obtain a fuller picture of the history of the practice of fiction.
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Tiao, Wang. "The Ethics of Romance: Edward Bellamy and American Historical Fiction." Interlitteraria 22, no. 2 (January 16, 2018): 312. http://dx.doi.org/10.12697/il.2017.22.2.9.
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The author examines The Duke of Stockbridge: A Romance of Shays’ Rebellion (1879), a historical novel written by Edward Bellamy (1850–1898) in order to examine the ethics of Romance in the treatment of historical fiction. Edward Bellamy, most famous for his socialist novel, Looking Backwards (1888), himself looks backwards to examine the popular rebellion during the early post-revolutionary American democracy before the US Constitution was established. The striking feature of this novel is the way that it superimposes the romance genre onto political and historical events. Using the ethical criticism of J. Hillis Miller, Martha Nussbaum, Alasdair MacIntyre, and others, the paper examines the romance genre in relation to virtue ethics to analyze the ethical impulse in Bellamy’s historical novel. To what degree does romance – a literary genre that combines stock characters and stereotypical action – open itself up to analysis in terms of the “virtue ethics” of Nussbaum, MacIntyre, and others? To what degree does an analysis of Bellamy’s novel in these terms allow us to understand what I call the “rhetorical ethics” of a critic like Miller? An examination of the Genteel Literary Tradition prevalent at the time of Bellamy’s novel – as it manifests itself in language and historical representation – allows us to see more closely the relations among rhetoric, character and ethics in the historical novel.
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Levin, David, and Emily Miller Budick. "Fiction and Historical Consciousness. The American Romance Tradition." Journal of American History 76, no. 4 (March 1990): 1231. http://dx.doi.org/10.2307/2936598.
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Derrick, Scott, and Emily Miller Budick. "Fiction and Historical Consciousness: The American Romance Tradition." American Literature 62, no. 2 (June 1990): 326. http://dx.doi.org/10.2307/2926925.
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Boccardi, Mariadele. "Postmodernism and the past : A romance." Recherches anglaises et nord-américaines 36, no. 1 (2003): 111–17. http://dx.doi.org/10.3406/ranam.2003.1673.
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British contemporary historical fiction is the genre that most closely, extensively and fruitfully explores the questions concerning the nature and scope of representation raised by postmodern historical and narrative theory. One interesting trait, common to the most speculative works of historical fiction published in the last fifteen years, is the adoption of Romance in all its modes — as a motif of the plot (the love story) and as a narrative mode (defining itself against the novel). Indeed Romance is the means by which the contemporary historical novel first dramatises and then investigates the representation of the past in the context of postmodernism. Lindsay Clarkes The Chymical Wedding (1989) and A. S. Byatt’s Possession (1990), both subtitled A Romance, epitomise the tendency described above. Their discussion in this paper will reveal not only the strategies by which these works deal with the intersection of postmodernism and representation, but also the Romantic elements inherent in postmodernism itself.
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Markova, M. V. "Georgette Heyer, history, and historical fiction." Voprosy literatury, no. 1 (February 5, 2024): 198–203. http://dx.doi.org/10.31425/0042-8795-2024-1-198-203.
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The review discusses a volume of scholarly articles edited by Samantha Rayner and Kim Wilkins that sets out to present a comprehensive body of research into the oeuvre of the English novelist Georgette Heyer. The book comprises several sections: gender, genre, sources, and circulation and reception. Heyer is the renowned founder of Regency romance, whose work is noted for exceptional attention to historical facts and reconstruction of the aristocratic slang of the period. Her novels, however, remained largely ignored by scholars. The volume’s editors succeed in producing an invaluable compilation enriching the studies of 1920s English genre literature by considering Heyer’s work in the context of post-war culture, with its heightened interest in the Napoleonic era, as well as in relation to literary tradition, especially Jane Austen’s works, but also referencing adventure novels of Heyer’s older contemporaries Baroness Orczy and Rafael Sabatini.
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Kamitsuka, Margaret D. "Prolife Christian Romance Novels: A Sign that the Abortion-as-Murder Center Is Not Holding?" Christianity & Literature 69, no. 1 (March 2020): 36–52. http://dx.doi.org/10.1353/chy.2020.0002.
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Abstract: In the field of evangelical Christian romance fiction, there is a little-known subset of novels about abortion. In general, prolife proponents fall into two camps: those who condemn any pregnancy termination as murder, and those who argue for compassion for women who turn to abortion. This essay analyzes the use of popular prolife tropes about the psychological and medical harms of abortion in Francine Rivers's The Atonement Child . Rivers's story about a pregnancy from rape perpetuates abortion myths and offers a fairy tale picture to her female Christian readers who statistically make up the largest segment of those getting abortions today.
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Nagy, Ladislav. "Historical Fiction as a Mixture of History and Romance: Towards the Genre Definition of the Historical Novel." Prague Journal of English Studies 3, no. 1 (September 1, 2014): 7–17. http://dx.doi.org/10.2478/pjes-2014-0014.
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Abstract This article focuses on Walter Scott’s Waverley and its classification as the founding text of the historical novel by Georg Lukacs. The author attempts to show that Lukacs takes Scott too much at his word and posits Waverley in the tradition of the English historical novel as it developed from Defoe and Fielding, while neglecting the close ties that Waverley has with marginalized genres such as romance. The author also argues that rather than being an expression of class consciousness, Waverley is an attempt to justify a certain change in political attitude, from radicalism to conservatism
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Roth, Pinchas, and Jonathan Rubin. "A Medieval Hebrew Adaptation of Two Crusading Texts: Presentation, Analysis and Edition." Medieval Encounters 23, no. 6 (December 7, 2017): 508–30. http://dx.doi.org/10.1163/15700674-12340010.
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Abstract A Hebrew manuscript in the Parma Palatinate Library, produced in the fourteenth century, probably in Provence, contains adaptations from Latin/Romance texts, including two that originate in the Christian crusading tradition. These two sections consist mainly of historical and geographical data relating to the Levant. The Hebrew adaptations, although selective, are religiously neutral, reflecting the redactor’s keen interest in the history and geography of the Orient and his willingness to absorb information about it from Christian sources.
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Weinhardt, Marilene. "Guerra dos mascates, crônica dos tempos coloniais de Alencar: um antimodelo do romance histórico oitocentista." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 04 (2020): 28–42. http://dx.doi.org/10.53943/elcv.0120_04.
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The novel A guerra dos mascates, published by José de Alencar in two volumes (1873-1874), was considered by the author’s contemporaneous critics as roman à clé and is included in the literary historiography as a minor work. Nonetheless, if read without taking the romantic historical novel as a paradigm, the perception is different. This reading proposes to apprehend the elements of comedy that appear in the narrative, as well as some common procedures in late-nineteenth century historical fiction.
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Abdul Aziz, Sohaimi. "The Secession of Singapore from Malaysia: a Historical Interpretation of the Novel Satu Bumi." Malay Literature 27, no. 1 (June 1, 2014): 53–71. http://dx.doi.org/10.37052/ml.27(1)no3.
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History has often become the inspiration for writers, as it has for Isa Kamari in the case of his novel Satu Bumi ( One Earth ) (1998). What were the historical sources for this author, and how were they employed in his fiction? What was the author’s aim in fictonalizing these historical sources? These are the questions that receive attention in this paper. Using a historical approach and textual analysis, the historical facts found in the novel Satu Bumi and the author’s aims behind fictionalizing them are examined in this study. The study finds that the novel Satu Bumi is based on the history of Malaysia and Singapore, and fictionalizes the historical events using elements of romance and drama. However, even in this romantic and dramatic setting, the historical elements used do not merely serve to record the history of Malaysia and Singapore but are also employed to predict the future of the Malay community in Singapore. It is an alarming state due to the island state’s physical development and a political situation that could be deemed racist, apart from the attitude of the Malay community itself. Keywords: history, historical fiction, Malays, Singapore, Malaysia
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ZHUNDIBAYEVA, Aray, and Meyirgul MURALBEK. "Genre of non-fiction works of Serik Abikenovich and methods of teaching it." ОҚМПУ ХАБАРШЫСЫ – ВЕСТНИК ЮКГПУ 27, no. 1 (March 2021): 76–84. http://dx.doi.org/10.47751/skspu-1937-0029.
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The article examines non-fiction f Serik Abikenuly and considers of his work in terms of a time of events in a plot, characters, a historical reality of toponymic names and teaching of his written works. The author of the article relied on the critical opinions of scientists-researchers of the Romance genre, demonstrating an artistic solution and a reality of life. In the analysis of his written works, it was proved that the place, time of the event, the existence of characters in life was proved by the example of the works of other scientists and writers. The article considers S. Abikenuly's documentary prose that are contributed in reviving of historical figures, family names, secret legends of the kazakh steppe, heroes of the early xx century, the role of knowledge of the remnants of the past in the formation of historical consciousness. Teaching of a written work based on historical data plays an important role in the formation of historical knowledge and national identity of learners. Therefore, in addition to the analysis of literature, the article shows the methods of teaching it.
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Gullace, Nicoletta F. "A (Very) Open Elite:Downton Abbey, Historical Fiction and America's Romance with the British Aristocracy." Journal of British Cinema and Television 16, no. 1 (January 2019): 9–27. http://dx.doi.org/10.3366/jbctv.2019.0453.
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This article argues that the success of Downton Abbey hinges on the superimposition of progressive values onto the conservative nostalgia of heritage film. By depicting unequal class relations as consensual and allowing a measure of sexual freedom among its characters, Downton creates an alluring Tory past which is nevertheless acceptable to modern viewers. Fans' belief in the historical accuracy of the Downton fantasy and their intense desire for connection with it has left academic historians struggling to make sense of the show. The article draws on the author's experience of participating in audience events designed to promote the programme
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Bianchi, Diana, and Adele D’Arcangelo. "Translating History or Romance? Historical Romantic Fiction and Its Translation in a Globalised Market." Linguistics and Literature Studies 3, no. 5 (September 2015): 248–53. http://dx.doi.org/10.13189/lls.2015.030508.
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Maalouf, May. "Byron’s “The Island”: Dialogism of Genre and Gender." International Journal of Arabic-English Studies 12, no. 1 (January 1, 2011): 67–90. http://dx.doi.org/10.33806/ijaes2000.12.1.5.
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Often dubbed as a romance, a Polynesian fantasy, The Island is one of Byron's finest examples of Romantic dialogism, prefiguring the indeterminate nature of modern literature. However, Byron scholars have shied away from a serious reading of this poem due to its slippery and supposedly “un”-Byronic quality. Written concurrently with Don Juan, The Island enjoys much of Byron’s poetic maturity and social concern with the liberal/radical individualism, represented by Christian Fletcher and anti-social existence of his fellow mutineers. The paper will argue that in this poem, the cultural, political, and gender/genre dialectics of binary oppositions are playfully deconstructed and that Byron, by overriding the femininity of the romance genre and transgressing the "politically correct" master narrative of the imperial discourse, anticipates in The Island Bakhtin’s chronotope through the title of the poem, the overlapping of history and fiction; and the opposition between the narrative and the genre. Hoodwinked with the romance formal trappings and entangled with Byron’s polyphonic voices critics have undervalued The Island as one of the mature poems of Byron, which actualizes Hume’s fear of the romance genre’s threat of subverting the power politics of gender/genre/race, in an attempt to project possibilities of a new social order. .
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Knight, Mark. "The Limits of Orthodoxy in a Secular Age: The Strange Case of Marie Corelli." Nineteenth-Century Literature 73, no. 3 (December 1, 2018): 379–98. http://dx.doi.org/10.1525/ncl.2018.73.3.379.
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Mark Knight, “The Limits of Orthodoxy in a Secular Age: The Strange Case of Marie Corelli” (pp. 379–398) This essay explores the eclectic spirituality of the late-nineteenth-writer Marie Corelli, with specific reference to her fiction. I look to her first novel, A Romance of Two Worlds (1886), as a case study with which to explore the relationship between Christian orthodoxy and heterodoxy in a secular age. In doing so, I draw on recent theoretical contributions to our understanding of the sacred and the secular in the late nineteenth century, and I question the tendency of many critics to presume that Corelli’s interest in spirituality has little or nothing to do with Christianity. Corelli wrote that her “creed has its foundation in Christ alone,” and although there are good reasons for investigating that claim more closely, these investigations do not have to result in a secular reading and/or an interpretation that breaks from Christianity. By situating Corelli’s fiction within the Christian tradition, I show how she helps us rethink the way in which we draw and redraw the boundaries of religious belief at the fin de siècle.
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Piper, Kevin. "A Faithful Account: Postsecular History and Agape in the Devout Catholic Fiction of Dena Hunt." Christianity & Literature 69, no. 4 (December 2020): 511–28. http://dx.doi.org/10.1353/chy.2020.0064.
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Abstract: The article examines the contribution of contemporary devout Catholic fiction to postsecular conversations around the mediation of religious experience by secular history with specific attention to a novel not yet discussed within literary studies: Dena Hunt's Treason , a work of historical fiction about Catholic suppression in Elizabethan England. The article argues that (1) Treason analyzes early formations of secular institutions and narratives within Elizabethan England as co-opting Christian expressions of agapeic love, and (2) responds to that co-optation by engaging in a historical method of constructing narratives rooted in instances of self-denying affection and devotion found within religious communities.
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Mujahid Hussain. "Interrelationships Between Urdu Fiction And Travelogue." Tasdiqتصدیق۔ 2, no. 1 (January 13, 2021): 29–41. http://dx.doi.org/10.56276/tasdiq.v2i1.20.
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If we examine the structure, form, elements, and shape of important genres of Urdu fiction (fable, novel, short story, drama), common traits and features can be found in fiction and travelogue despite their factual and predetermined generic individuality and status. Nonetheless, according to the artistic requirements of genres mentioned in these common traits, there can be a difference of length, material, characters and events, reality and imagination, supernatural elements and scientific approach, scene and background, style and form; and it should be. But important elements like plot, story, events, characters, qualities, and drawbacks of character, love, adventure, the eternal conflict between good and evil, ethics, romance, realism, social norms, dogmatic beliefs, historical and scientific facts, narration, diction, similes and metaphors, proverbial style, clarity, formal way of writing, dialogues, screenwriting, artistic features of language and narration, objectivity and philosophy of life can be found in fiction one way or the other with a little bit difference of structural requirements.
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Pérez Rodríguez, Eva. "The Unlikely Heroine beyond Family Trauma: Four Women’s Fictions of the Second World War in Greece." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 31 (December 16, 2022): 97–120. http://dx.doi.org/10.35869/afial.v0i31.4299.
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My analysis of Victoria Hislop’s The Island (2005), Leah Fleming’s The Girl under the Olive Tree (2013), Sofka Zinovieff’s The House on Paradise Street (2012), and Brenda Reid’s The House of Dust and Dreams (2010) examines their treatment of the exotic setting of Greece in the specific historical context of World War II, while following the conventions of popular romance or popular women’s fiction. As a consequence of the conflict, the traditional family structure is compromised. This is particularly evident in the case of the female protagonists, heroines who refuse to fall within the traditional happyever-after ending and opt for a fulfilling career, a longfelt vocation, singlehood or simply unusual friendships of their choice. As a result, even in novels categorized as “romances”, the presence of a hero or lover is questioned and redefined. My analysis starts with Victoria Hislop’s The Island, a historical narrative of the leper colony at Spinalonga, around the time of the Second World War. For comparative purposes regarding the treatment of popular fiction elements, Brenda Reid’s The House of Dust and Dreams and Leah Fleming’s The Girl under the Olive Tree are discussed as being more generically romantic. Finally, Sofka Zinovieff’s The House on Paradise Street offers an example of a cohesive, compact combination of political confrontation and popular romance, while at the same time England appears as the counterpoint to the exoticism of Greece.
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Chatterjee, Choi. "Transnational Romance, Terror, and Heroism: Russia in American Popular Fiction, 1860–1917." Comparative Studies in Society and History 50, no. 3 (June 25, 2008): 753–77. http://dx.doi.org/10.1017/s0010417508000327.
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Scholars of Russian-American relations in the late nineteenth century have long been concerned with the personalities and writings of university-based experts, journalists, diplomats, and political activists. We are well acquainted with the observations of various American commentators on the backward state of Russian state, society, economy, and politics. While the activities of prominent men such as George Kennan have effortlessly dominated the historical agenda, the negative discourses that they produced about Russia have subsumed other important American representations of the country. Since the period of early modern history, European travelers had seen Russia as a barbarous land of slave-like people, responsive only to the persuasions of the whip and the knout wielded by an autocratic tsar. Subsequently, Larry Wolff has shown that Voltaire and other Enlightenment philosophers created images of a despotic and backward Eastern Europe in order to validate the idea of a progressive, enlightened, and civilized Western Europe.
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Grieve, Patricia E. "Conversion in Early Modern Western Mediterranean Accounts of Captivity: Identity, Audience, and Narrative Conventions." Journal of Arabic Literature 47, no. 1-2 (July 11, 2016): 91–110. http://dx.doi.org/10.1163/1570064x-12341319.
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In the late sixteenth and early seventeenth centuries captivity narratives written by Spanish and English captives abounded. There is a smaller corpus of such texts by Muslim captives in Spain and England, and by some travelers from the Ottoman Empire who observed their fellow Muslims in captivity. A comparative analysis illuminatingly reveals similar usage of narrative conventions, especially of hagiography and pious romances, as well as the theoretical stance of “resistance literature” taken on by many writers. I consider accounts written as truthful, historical texts alongside fictional ones, such as Miguel de Cervantes’ “The Captive’s Tale,” from Don Quixote, Part I. Writers both celebrated monolithic categories such as Protestant, Catholic, Spanish, English, and Muslim, and challenged them for differing ideological reasons. Writers constructed heroic narratives of their own travails and endurance. In the case of English narratives, didacticism plays an important role. In one case, that of John Rawlins, the account reads like Christian theology: to keep in mind, no matter how grim the situation of captivity may be, one’s identity as an Englishman. Raḍwān al-Janawī used his letters about Muslims in captivity in Portuguese-occupied Africa, in which he points out the vigorous efforts of Christian rulers to secure the liberty of their own people, to criticize Muslim rulers who, in his opinion, exerted far too little energy in rescuing their brothers and sisters from captivity. Ultimately, this essay explores the fictionality of truthful narratives and the truth in fictional ones, and the ways in which people from different cultures identified their own identities, especially against those of “the enemy.”
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Osmukhina, O. Yu, A. D. Karpov, and E. A. Beloglazova. "Christian Context of Historical Novel (Zakhar Prilepin’s “Abode”)." Nauchnyi dialog, no. 9 (September 29, 2021): 181–99. http://dx.doi.org/10.24224/2227-1295-2021-9-181-199.
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The specificity of the synthesis of elements included in the historical narrative, and Christian motives, images in the novel of the largest contemporary Russian prose writer Zakhar Prilepin is comprehended in the article. The relevance of the article is due to the need to build a coherent and consistent history of the development of Russian literature over the past two decades, an important part of which is the legacy of the popular writers. The scientific novelty of the work lies in the fact that for the first time in Russian literary criticism “Abode” is considered from the proposed perspective: its genre specificity is analyzed in a Christian context. It has been established that, despite the presence of elements of documentary, adventurous, love-psychological novels, in terms of genre, “The Abode” can be attributed to a historical novel (it depicts a turning point in Russian history through a conflict between historical figures and fictional “average” heroes, combines historical facts and fiction). At the same time, an interest in eternal moral issues, problems of life and death, conscience and duty, love and fidelity in their Christian understanding becomes a feature of Prilepin’s understanding of the historical theme. In their work, the authors of the article used comparative historical, biographical, socio-cultural methods, as well as the method of a holistic analysis of a work of art.
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Cronin, Michael G. "‘Ransack the histories’: Gay Men, Liberation and the Politics of Literary Style." Review of Irish Studies in Europe 5, no. 1 (May 25, 2022): 73–88. http://dx.doi.org/10.32803/rise.v5i1.2971.
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It is now twenty years since the publication of Jamie O’Neill’s At Swim, Two Boys (2001). O’Neill’s novel was not the first Irish novel to depict same-sex passion, and not even the first Irish gay novel of the post-decriminalisation period. However, it did attain a wider and higher level of recognition among mainstream Irish, and international, readers. This may have been at least partly due to O’Neill’s decision to write a historical romance – a genre which still retains its enduring appeal for readers. By adapting this genre, O’Neill uses fiction to unearth, and imaginatively recreate, an archaeology of same-sex passions between men in revolutionary Ireland. As such, his novel speaks powerfully to a yearning to make the silences of history speak and is motivated by the belief that, as Scott Bravmann puts it in a different context, ‘lesbian and gay historical self-representation – queer fictions of the past – help construct, maintain and contest identities – queer fictions of the present.’ Revisiting O’Neill’s novel now – after two decades of remarkable social change for Ireland’s LGBT communities, and after almost a decade of national commemoration of the revolutionary period – is a timely opportunity to reflect on the relationship between history, fiction and how we imagine sexual liberation.
Keywords: Gay Men in Irish Culture; Historical Fiction; Jamie O’Neill; Denis Kehoe; ANU Theatre Company
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Добролюбська, Ю. А., and O. М. Присяжнюк. "Obscure philosophical heritage of Christian FÜrchtegott Gellert: An Experience of ConceptualizationObscure philosophical heritage of Christian FÜrchtegott Gellert: An Experience of Conceptualization." Grani 22, no. 4 (June 26, 2019): 36–44. http://dx.doi.org/10.15421/171941.
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In the department of Rare Books at the Library of the South Ukrainian National Pedagogical University named after K. D. Ushinsky two distinctive works by Christian Fürchtegott Gellert published in 1790 were found. The current level of the use of early publications as sources for historical research is largely dependent on the accounting and scientific level of describing the sights of print within the institution. This fact is specifically important for the early printed books and rare editions as the study of those allow restoration of historical memory and the eliminate white spots in the history. Almost forgotten by descendants, the work of C. F. Gellert represents a holistic philosophical, historical and pedagogical system whose specificity is determined by the personality of the writer: his spirituality, worldview, life, and experience. Gellert’s theoretical treatises represent not only a collection of his didactic ideas and concepts, but they are also the philosophical and aesthetic foundation of the literary work of the author. All works created by Gellert, whether fables and parables, moving comedies and romance, spiritual wings and songs, have a theoretical justification. At the same time, it is important for the author to translate their ideas and views into life. Also, to visualize the artistic material to show the reader the possibility of solving educational problems with a help of artistic creativity.
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YAQIN, AMINA. "Truth, Fiction and Autobiography in the Modern Urdu Narrative Tradition." Comparative Critical Studies 4, no. 3 (October 2007): 379–402. http://dx.doi.org/10.3366/e1744185408000086.
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From its various beginnings in the nineteenth century and ever since the rise of print capitalism on the Indian subcontinent, the Urdu novel has become a prime medium of expression for writers seeking to fuse the narrative traditions of both the East and the West. As a hybrid genre which took shape during the nineteenth century, the Urdu novel's early beginnings were associated with the theme of historical romance; this eventually gave way to the influence of realism in the first half of the twentieth century. By and large, the Urdu novel incorporates influences encompassing the fantastical oral storytelling tradition of the dastan or the qissa (elaborate lengthy heroic tales of adventure, magic and honour), the masnavi (a form of narrative poem), Urdu grammars, religious pamphlets and journals, and the European novel.
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Ye, Hanwen. "An Analysis of the Female Ghost Images in Ancient Chinese Novels on the Theme of Romantic Relationship Between Man and Ghost." Communications in Humanities Research 28, no. 1 (April 19, 2024): 1–7. http://dx.doi.org/10.54254/2753-7064/28/20230005.
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From Jin to Qing Dynasty of China, there are a large number of novels depicting human-ghost romance. In this literature, female images, femininity and gender relationship patterns reflect the patriarchal values of a specific historical period. Previous research on ancient Chinese female ghost novels often focused on their romantic story with a male human and the awakening consciousness of female, but the research on Character depiction of female ghost was very few. Therefore, this paper aims to investigate the relationship between the image shaping of female ghosts and the values of contemporary Chinese ancient patriarchal society, existing in the stories of the ancient Chinese romances novels of Song, Yuan and Ming dynasty. Studies have suggested that the female ghosts in ancient Chinese "human-ghost romance" novels are essentially projections of the male author's ideals, reflecting the phallocentrism of ancient Chinese ghost fiction.
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Meisel, Perry. "The Feudal Unconscious: Capitalism and the Family Romance." October 159 (January 2017): 19–36. http://dx.doi.org/10.1162/octo_a_00280.
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A close reading of Freud's texts reveals that they make a surprising historical argument by virtue of their metaphors. The fantasy world of the family romance (primary process or the unconscious) and the world of consciousness (secondary process or the ego) are represented, respectively, by the vocabularies of feudalism and capitalism. Even after Freud's mid-career revision of his model of the mind, in which the difference between consciousness and the unconscious and between ego and libido becomes less important, he continues to use the metaphors to describe primary and secondary processes. The author demonstrates how durable and precise this double tropology is, and how clearly it conforms to representations of feudalism in classical historiography and Christian theology and to representations of capitalism in Hegel, Marx, and John Maynard Keynes. The result is a picture of the Freudian psyche as a storehouse of the concrete, material history from which modern subjectivity derives.
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Abramov, Roman N. "Russian science fiction in the Genre of Alternative History as a Reflection of Mass Consciousness: Sociological Approaches." Sotsiologicheskie issledovaniya, no. 4 (2023): 106–16. http://dx.doi.org/10.31857/s013216250024079-9.
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In Russia, fiction in the genre of alternative history has become popular over the past ten years. Book series of this kind are actively published and have a significant readership. This genre is part of ideological and utopian landscape of the Russian mass consciousness. It helps to understand imperial historical traumas, nostalgia for the Soviet past, and a high level of anxiety about the present and future. The theoretical part of the analysis is based on the G. Rosenfeld ideas about a close connection of this genre with the experience of the present and about ontological pluralization of the past. The article also includes M. Laruelle's thesis about the ideological function of this genre and its role in ideological mobilization. The concept of E. Shatsky's utopia as a chronic escapism is an important element in the analysis of this genre in Russia. Russian science fiction in the genre of alternative history mirrors ideological and utopian unconscious, which articulates affective historical traumas of society. Alternative history novels actively experiment with genres, and it contains elements of a political detective story, adventure and spy novel, conspiracy theories, personal nostalgic memoirs about childhood and adolescence, mysticism, military action movie, romance, crypto-fiction. Many authors perceive their novels as a historical experiment, and they are concerned with problematizing the causes of the collapse of the Soviet Union. The modern Russian wave of science fiction in the genre of alternative history is a more painful reaction of a part of society to the deep historical faults associated with the collapse of the USSR. The source of the analysis is the materials of interviews with the authors of works in the genre of alternative history, readers' reviews on thematic online platforms and the content of the works.
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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 (June 9, 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 crime fiction and history, Lucarelli intervenes in the revisionist debate of the 1980s and 1990s by attacking the new mythology of the innocent Fascist. Twenty years later, following years of Berlusconi’s propaganda, De Giovanni waters down the hybridization of crime fiction and history with the insertion of romance and the supernatural in order to provide entertaining stories and attract a large audience. In the final analysis, from being functional to political and social criticism in Lucarelli’s series, the fruitful hybridization of crime fiction and history has turned into a mirror of the political and historical de-awareness of Italian society of the 2000s in De Giovanni’s series.
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Novaes, Priscila Borges de, and Adriana de Borges Gomes. "As relações interseccionais entre literatura e história no romance Essa Gente, de Chico Buarque." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 26, no. 2 (December 30, 2022): 46–53. http://dx.doi.org/10.34019/1982-0836.2022.v26.39077.
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O presente artigo se propõe a analisar como História e Literatura dialogam no romance Essa Gente (2019), de Chico Buarque. Literatura e narrativa histórica caracterizam-se como formas eficazes de construção de memórias e identidades sociais, uma vez que a literatura pode ser considerada uma testemunha importante dos acontecimentos históricos, embora não tenha primordialmente o compromisso de retratá-los. Porém, ao optar por adicionar fatos históricos à sua narrativa, a literatura se configura como mais uma fonte de conhecimento acerca dos mesmos. Por outro lado, faz-se pertinente pontuar que a História também utiliza os recursos da subjetividade e da ficção para compor o fato histórico. O trabalho objetiva trazer problematizações da confluência e dos meandros que circundam Literatura e Ficção nesse romance buarquiano, observando como a narrativa ficcional de Essa Gente pode contribuir na compreensão da recente realidade política histórica-social brasileira. O aporte teórico-metodológico de pesquisa bibliográfica está fundamentado pelas obras de Roland Barthes (2004) e Hayden White (1991), dentre outros. Dessa forma, em decorrência dessas discussões, pode-se mensurar a uma leitura histórico-social da realidade brasileira sob a ótica deste relato ficcional de Chico Buarque, visto que, os relatos feitos no livro aludem às situações vivenciadas por grande parte da sociedade brasileira. Palavras-chave: História. Literatura. Chico Buarque. THE INTERSECTIONAL RELATIONS BETWEEN LITERATURE AND HISTORY IN THE NOVEL ESSA GENTE, BY CHICO BUARQUE ABSTRACT: This article aims to analyze how History and Literature dialogue in the novel Essa Gente (2019), by Chico Buarque. Literature and historical narrative are characterized as effective ways of building memories and social identities, since literature can be considered an important witness of historical events, although it is not primarily committed to portraying them. However, by choosing to add historical factes to its narrative, literature is configured as another source of knowledge about them, On the other hand, it is pertinent to point out that History also uses the resources of subjectivity and fiction to compose the historical fact. The work aims to bring up problematizations of the confluence and the meanders that surround Literature and fiction in this Buarquian novel, observing how the fictional narrative of Essa Gente, can contribute to the understanding of the recent Brazilian social-historical political reality. The theoretical-methodological contribution of bibliographic research is based on the works of Roland Barthes (2004) and Hayden White (1991), among others. Thus, as a result of these discussions, one can measure a historical-social reading of Brazilian reality from the perspective of this fictional account by Chico Buarque, since the reports made in the book allude to situations experienced by a large part of Brazilian society. Keywords: History. Literature. Chico Buarque.
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Zheng, Huili. "Enchanted Encounter: Gender Politics, Cultural Identity, and Wang Tao’s (1828–97) Fictional Sino-Western Romance." Nan Nü 16, no. 2 (December 16, 2014): 274–307. http://dx.doi.org/10.1163/15685268-00162p03.
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Wang Tao (1828–97) was a late Qing translator, political commentator, and fiction writer who spent time in England, France and Scotland, and served as an important literary link between China and the West. In examining Wang’s tales of Sino-Western encounters and drawing from the long literary tradition of depicting foreign “Others,” this paper shows that Wang’s image of the West in his literary tales is ambivalent. Further, it argues that Wang’s gender positioning of the Chinese “Self” and Western “Other” is rather ambiguous. By interpreting his representation of the West against his immediate historical context (e.g., a China facing unprecedented political and cultural challenges), this study investigates Wang’s use of various rhetorical strategies from an existing discourse on foreign “Others” (particularly the theme of “foreign woman marrying Chinese man”) to appropriate, domesticate and even contain the West. It also shows how Wang complicates and even subverts these older rhetorical strategies as a way to cope with the new historical reality.
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Martínez-López, Enrique. "Sobre la amnistía de Roque Guinart: El laberinto de la bandosïtat catalana y los moriscos en el Quijote." Cervantes 11, no. 2 (September 1991): 69–85. http://dx.doi.org/10.3138/cervantes.11.2.069.
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Contemporary history ostensibly steps into the space of fiction when the bandit Roque Guinart plays himself in Don Quixote, 1615. Cervantes, however, here as in other instances in which his texts suggest views not in agreement with the official (hi)story, transforms historical data into a fiction that ingeniously conveys indiscreet truth. First, Guinart is presented as a just and reluctant bandit in 1614, although he had been honorably serving the king since 1611. Then his criminal life is linked to Catalan dissent, and his “future” to the fate of the Moriscos (the Ricote family). Finally, both the bandit and the Moriscos’ stories are constructed in the romance mode, a typical feature in Cervantes’ ideological texts. The 1616 reader of the novel thus was able to perceive dissenting views on the Catalan and Morisco issues, both handled by the government in a disastrous manner.
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Kopanski, Ataullah Bogdan. "Historicity of the Qur’anic Dhu al-Qarnayn and the Myths of Alexander." Journal of Islam in Asia (E-ISSN: 2289-8077) 9, no. 2 (January 14, 2013): 126. http://dx.doi.org/10.31436/jia.v9i2.351.
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Several verses of SËrah al-Kahf (the Qur’an 18:85-98) contains a didactic lesson of history which unlike the moralistic lesson of Plato on the rise, growth and fall of mythical Atlantis, is an abridged record on events in the unnamed Eurasian empire threatened by terror of the raiding hordes of ferocious nomads from the Northeast in the Iron Age. It is neither history of Alexander the Macedon’s conquest of Greece, Phoenicia, Egypt, Persia and India reported by Arrian, Quintus Curtius, Diodorus Siculus, Polybius, Appian, Plutarch and Justin nor the Alexandrine Romance composed by the anonymous Syrian Christian writer (or writers) in the early Middle Ages of the Mediterranean. Didactica of this Qur’anic SËrah is not based on the Persian Iskander-name, either. Like the life of the historical Prophet Isa (Jesus,a.s.), the historicity of Qur’anic monotheistic ruler DhË al-Qarnayn deeply divides the Muslim, Jewish, Christian and agnostic readers of the ancient history. Their opinions are intellectual mirrors of continuous struggle between monotheism, henotheism and secularism, contextualized into historical drama of divided nations and empires.
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Ajdačić, Dejan. "O genetski izazvanim bolestima u romanu „Kralj Bola i skakavac” (Król Bólu i pasikonik) Jaceka Dukaja." Slavica Wratislaviensia 177 (December 30, 2022): 221–29. http://dx.doi.org/10.19195/0137-1150.177.19.
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The author discusses the historical changes in attitudes towards infectious diseases in the mythological, Christian-religious and scientific worldview before and after the discovery of the causes of these diseases in the context of the types of futuristic fiction. One narrative line of the novel by contemporary Polish writer Jacek Dukaj King of Pain and the Grasshopper (Król Bólu i pasikonik, 2010) is centred on to the production of retroviruses and carcinogenic agents by genetic engineering companies that cause epidemics and destroy wildlife in the southern hemisphere. The text points out the specifics of the author’s descriptions of the cause of the plague and discusses Dukaj’s speculative projections of futuristic fiction.
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Rosen, Tova. "Love and Race in a Thirteenth-Century Romance in Hebrew, with a Translation of The Story of Maskil and Peninah by Jacob Ben El‘azar." Florilegium 23, no. 1 (January 2006): 155–72. http://dx.doi.org/10.3138/flor.23.010.
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This romance, composed by a thirteenth-century Jewish author living in Christian Toledo, is written in biblical Hebrew and cast it in the form of the Arabic maqamāh. The plot (an army invades an Arab territory; its commander, the "King of Beauty," falls in love with a female captive; the couple encounter a giant black warrior, kill him, and live happily ever after) invites a three-tiered reading: (a) a literal reading of the work as a conventional romance, in which the lovers are young and noble, the geography is mythical, and the hero wins his beloved after slaying a giant; (b) an allegorical reading of the union of Maskil (representing Intellect) and Peninah (signifying Beauty) as illustrative of the Platonic nexus of Eros, Beauty, Intellect, and the Good, while the monstrous Cushan represents unbridled sexuality, ugliness, bestiality, and evil; and (c) a historicized reading, anchoring the work in the religio-ethnic politics of the Reconquista (according to which Maskil is Christian, Peninah is an Andalusian Arab, and the giant Cushan is in an Almohad warrior, either a dark-skinned Berber or a sub-Saharan African). Read thus, the story problematizes historical issues of territory, border, conflict, contact, relocation, cultural transition, and hybridity.
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Perkins, Judith. "Fictive Scheintod and Christian Resurrection." Religion and Theology 13, no. 3-4 (2006): 396–418. http://dx.doi.org/10.1163/157430106779024671.
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AbstractIn his chapter titled 'Resurrection' in Fiction as History, Glen Bowersock examines examples of 'apparent death' (Scheintod) in Graeco-Roman narrative fictions. He concludes his analysis by questioning 'whether the extraordinary growth in fictional writing, and its characteristic and concomitant fascination with resurrection' might be 'some kind of reflection of the remarkable stories that were coming out of Palestine in the middle of the first century A.D.' In this essay I will offer that rather than seeing a relation of influence between fictive prose narratives and Christian discourse (especially Christian bodily resurrection discourse) of the early centuries C.E., these sets of texts should be recognised as different manifestations of an attempt to address the same problem, that of negotiating notions of cultural identity in the matrix of early Roman imperialism. That these texts share similar motifs and themes – gruesome and graphic descriptions of torture, dismemberment, cannibalism and death – results not necessarily from influence, but that they converge around the same problem, drawing from a common cultural environment in the same historical context.
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Gonneau, Pierre. "L’or, les esclaves, les femmes et les paladins dans l’Histoire de Kazan." Russian History 42, no. 1 (February 6, 2015): 49–63. http://dx.doi.org/10.1163/18763316-04201006.
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“War and Chivalry in the Land of the Tatars: Gold, Slaves, Women and Warriors in the Kazanskaia istoriia”. Kazanskaia istoria (circa 1564–1565?) is a first try at a historical romance in the Russian literary tradition. Inspired by the conquest of Kazan by Russian troops (1552), it enriches the factual narrative with literary themes such as the fabulous and dangerous wealth of the Tatar world: gold, silk, slaves and women. It also expresses a chivalry code and a sense of honor transcending the divide between Christian Russians and Muslim Tatars. These themes will be extensively developed in later Russian literature.
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Fornos, José Luis. "A ESCRITA DA HISTÓRIA E DA FICÇÃO: UMA ANÁLISE DO ROMANCE ANATOMIA DOS MÁRTIRES, DE JOÃO TORDO." Revista Prâksis 1 (January 11, 2021): 118. http://dx.doi.org/10.25112/rpr.v1i0.2394.
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O presente artigo discorre inicialmente sobre as considerações realizadas por Paul Ricoeur em sua obra Tempo e narrativa em torno das características dos discursos da história e da literatura. De acordo com Ricoeur, história e ficção partilham de recursos narrativos similares; ao mesmo tempo, preservam diferenças. Ainda que não recuse o caráter tropológico da narrativa histórica, o filósofo observa que a historiografia é pressionada pelo evento e pela prova documental que exercem uma coerção ética, atribuindo compromissos ao trabalho do historiador. Também o escritor possui responsabilidades ao representar, através da sua obra, os fatos passados. Frente à liberdade da criação literária, a coerção que aprisiona o escritor é o estabelecimento da verossimilhança, categoria ética tão forte quanto à dívida do historiador na restituição da consciência histórica. Para dimensionar as reflexões de Paul Ricoeur, o artigo recorre ao romance Anatomia dos mártires, de João Tordo, observando as preocupações da narrativa com as práticas historiográficas, ilustrando-as a partir das ações da personagem central que procura resgatar um importante episódio na vida nacional portuguesa durante o período salazarista.Palavras-chave: Paul Ricoeur. História, Ficção. Romance Português. João Tordo.ABSTRACTThis study initially discusses the considerations made by Paul Ricoeur on the characteristics of history and literature discourses, based on the reading of the three volumes of Time and narrative. According to Ricoeur, history and fiction share similar narrative resources, but at the same time they preserve differences. Although the tropological character of the historical narrative is not rejected, the philosopher observes that historiography is held down by the event and by documentary evidence, which exert ethical coercion, attributing commitments to the historian’s craft. Writers also bring responsibilities when representing past facts in fiction. Faced with the freedom of literary creation, the coercion that imprisons a writer is the establishment of verisimilitude, an ethical category as strong as the debt of historians in restoring historical consciousness. In order to measure the reflections of Paul Ricoeur, this study draws on the novel The anatomy of martyrs, by João Tordo, observing the concerns of such narrative with historiographical practice. This is illustrated from the action of the main character, who seeks to revisit an important episode in Portuguese national life during the Salazar period.Keywords: Paul Ricoeur. History, Fiction. Portuguese Novel. João Tordo.
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Fornos, José Luis. "A ESCRITA DA HISTÓRIA E DA FICÇÃO: UMA ANÁLISE DO ROMANCE ANATOMIA DOS MÁRTIRES, DE JOÃO TORDO." Revista Prâksis 1 (January 11, 2021): 118. http://dx.doi.org/10.25112/rpr.v1i0.2394.
Full textAbstract:
O presente artigo discorre inicialmente sobre as considerações realizadas por Paul Ricoeur em sua obra Tempo e narrativa em torno das características dos discursos da história e da literatura. De acordo com Ricoeur, história e ficção partilham de recursos narrativos similares; ao mesmo tempo, preservam diferenças. Ainda que não recuse o caráter tropológico da narrativa histórica, o filósofo observa que a historiografia é pressionada pelo evento e pela prova documental que exercem uma coerção ética, atribuindo compromissos ao trabalho do historiador. Também o escritor possui responsabilidades ao representar, através da sua obra, os fatos passados. Frente à liberdade da criação literária, a coerção que aprisiona o escritor é o estabelecimento da verossimilhança, categoria ética tão forte quanto à dívida do historiador na restituição da consciência histórica. Para dimensionar as reflexões de Paul Ricoeur, o artigo recorre ao romance Anatomia dos mártires, de João Tordo, observando as preocupações da narrativa com as práticas historiográficas, ilustrando-as a partir das ações da personagem central que procura resgatar um importante episódio na vida nacional portuguesa durante o período salazarista.Palavras-chave: Paul Ricoeur. História, Ficção. Romance Português. João Tordo.ABSTRACTThis study initially discusses the considerations made by Paul Ricoeur on the characteristics of history and literature discourses, based on the reading of the three volumes of Time and narrative. According to Ricoeur, history and fiction share similar narrative resources, but at the same time they preserve differences. Although the tropological character of the historical narrative is not rejected, the philosopher observes that historiography is held down by the event and by documentary evidence, which exert ethical coercion, attributing commitments to the historian’s craft. Writers also bring responsibilities when representing past facts in fiction. Faced with the freedom of literary creation, the coercion that imprisons a writer is the establishment of verisimilitude, an ethical category as strong as the debt of historians in restoring historical consciousness. In order to measure the reflections of Paul Ricoeur, this study draws on the novel The anatomy of martyrs, by João Tordo, observing the concerns of such narrative with historiographical practice. This is illustrated from the action of the main character, who seeks to revisit an important episode in Portuguese national life during the Salazar period.Keywords: Paul Ricoeur. History, Fiction. Portuguese Novel. João Tordo.
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Arnaut, Ana Paula. "Os naufrágios de Camões (Mário Cláudio): os passos perdidos do poeta(?) / Os naufrágios de Camões (Mário Cláudio): the lost steps of the poet(?)." Revista do Centro de Estudos Portugueses 38, no. 59 (November 1, 2018): 23. http://dx.doi.org/10.17851/2359-0076.38.59.23-38.
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Resumo: Partindo da reescrita do que poderão ter sido os últimos anos da vida do poeta Luís de Camões, e recuperando algumasreferências já nossas conhecidas de Tiago Veiga. Uma biografia, Mário (re)constrói um universo em que encena um mundo possível onde se esbatem as fronteiras entre realidade e ficção, entre verdade histórico-literária e imaginação, num jogo que contamina o romance com traços do que Brian Richardson classifica como narrativa não natural.Palavras-chave: Os Lusíadas; realidade; ficção;narrativa não natural.Abstract:Based on the rewriting of what may have been the last years of the life of the poet Luís de Camões, and recovering some of our already known references fromTiago Veiga. A biography, Mário Cláudio (re)constructs a universe in which he stages a possible world that erases and plays with the boundaries between reality and fiction, between historical-literary truth and imagination, thus contaminating the novel withtraces of what Brian Richardson classifies as unnatural narrative.Keywords: Os Lusíadas; reality; fiction; unnatural narrative.
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Tasdelen, Esra. "Race and Racism in Historical Fiction: The Case of Jurji Zaydan’s Novels." Humanities 10, no. 4 (November 10, 2021): 119. http://dx.doi.org/10.3390/h10040119.
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This paper analyzes the conceptualization of ideas of race in three historical novels in the fictional work of Jurji Zaydan (1861–1914), a Syrian Christian intellectual who wrote on the Golden Ages of Islamic History through serialized, popular works of historical fiction. In the novels analyzed, Fath al-Andalus (Conquest of Andalusia), Abbasa Ukht al-Rashid (The Caliph’s Sister), and al-Amin wa al-Ma’mun (The Caliph’s Heirs), Zaydan depicts hierarchies of race that are delineated by certain features and categories, especially within the Abbasid among household slaves, and also centers the conflict within the novels around issues of differences in race and lineage. Zaydān shows the importance of rifts in Islamic history stemming from categorizations and distinctions between Arab and non-Arab, or Arab and Persian, or mawāli. The novels also reflect the self-conceptualization of Egyptians in relation to their perceptions of the Sudanese, at a time of the rise of Arab nationalism, in late 19th and early 20th centuries.
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Smith, Michael G. "Cosmic Plots in Early Soviet Culture: Flights of Fancy to the Moon and Mars." Canadian–American Slavic Studies 47, no. 2 (2013): 170–99. http://dx.doi.org/10.1163/22102396-04702003.
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This article explores two classics of Soviet science fiction – Konstantin Tsiolkovskii’s Beyond the Earth (1918) and Aleksei Tolstoi’s Aelita (1923) – in their related historical contexts. Both had their origins in the popular nineteenth-century “cosmic romance,” owing to their staple characters, settings, and plots. These were extraordinary adventures into the heavens, modern signposts of how the fantastic was becoming real. Yet both novels also became leading texts in the genre of Stalinist Socialist Realism, stories that made “fairy tales come true.” Tsiolkovskii and Tolstoi both appealed to the Bolshevik Revolution as a radical break in time here on earth, much as they predicted that the rocket would become a radical new means to reach beyond into outer space. They centered their stories on real science and technology, articles of comprehension and anticipation. They created characters that revealed the utopian potential of human beings to create new regimes of equality and freedom. Part inheritance from abroad, part innovation at home, the cosmic romance in their hands became a successful medium to situate and justify the Soviet experience.
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Brown-Syed, Christopher, and Charles Barnard Sands. "SOME PORTRAYALS OF LIBRARIANS IN FICTION - A DISCUSSION." Education Libraries 21, no. 1-2 (September 5, 2017): 17. http://dx.doi.org/10.26443/el.v21i1-2.111.
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This article explores portrayals of librarians in selected works of fiction, notably those involving mystery or detection. It begins with a summary of information derived from descriptions of about one hundred and twenty contemporary or recent works, then discusses particular stories involving detection or mystery, with occasional references to other genres such as science fiction, historical fiction, espionage, and romance. In 1996, we began to compile a bibliography of fiction involving librarians to accompany a graduate course introducing the profession. Entries were obtained through searches of online catalogues and databases, as well as through queries posted over Internet LISTSERVs. About 120 individual works and about a dozen bibliographies were included in the resulting list. In many instances, librarians and their places of work were presented as intrinsically interesting and appealing. In more than half of the works, librarians played leading or major supporting roles. Following a categorization of the roles of librarians in these works, the article examines images of the profession in the works of Umberto Eco, L.R. Wright, and Charlotte McLeod. We contend that, even in works which present casual glimpses of the profession, or even in those which stress less desirable images of its members, accurate details of its techniques and working realities are sometimes discernible. We suggest that further research concentrate upon the work done by fictitious librarians and upon their centrality to plots.
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Moore, Kenneth. "TOLKIEN'S UNIQUE RECEPTION OF PYTHAGOREAN ‘DISSONANCE’ IN THE AINULINDALË OF THE SILMARILLION." Greece and Rome 71, no. 1 (March 6, 2024): 1–21. http://dx.doi.org/10.1017/s0017383523000207.
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This article is about J. R. R. Tolkien's adaptation of Pythagorean musical elements in the ‘Song of the Ainur’ of the Silmarillion. It details Tolkien's use of Pythagorean dissonance, along with what that amounts to in terms of musical theory, and explores the epistemological origins of the concept and how it found its way into this work of fiction. On the latter point, Platonism, Neoplatonism, and early Christian theology are considered. This includes the likes of Prudentius, pseudo-Dionysius, Augustine, and Aquinas, among others. The article observes that Tolkien has deliberately chosen a somewhat esoteric element of Pythagorean musical theory, albeit highly relevant to his own historical context, in order to explore concepts of morality along with the traditional, Christian conundrum of predestination vs. free will.
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Guyton, Adele. "Marvellous Conquests: The Adventures of Christianity and Astronomy in the Boy’s Own Paper (1889–1900)." Victorian Popular Fictions Journal 5, no. 2 (December 20, 2023): 58–72. http://dx.doi.org/10.46911/qnjo8229.
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This article argues two things about astronomy in the fiction of the Boy’s Own Paper (BOP) in the long 1890s: that astronomy is used to inspire muscular Christian moral improvement, broadly understood, and that we should understand this representation as enabled by the state of contemporary astronomy. At the close of the century, astronomy was an extremely popular science, and the locus of astronomical authority was unclear, permitting a wide variety of ideological positions within popularisation. This article first employs close readings of astronomical passages in the BOP from the 1890s to show that writers link adventure and heroism in frontier spaces to astronomy by using its most popular and engaging features alongside uncontested facts. Second, a discussion of A Marvellous Conquest: A Story of the Bayouda (1889), a serialised scientific romance by André Laurie, further demonstrates that the most important aspect of the use of astronomy within the BOP’s didactic project is its resonances with muscular Christianity rather than its scientific accuracy for educational purposes.
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Lossl, Josef. "Satire, Fiction and Reference To Reality in Jerome's Epistuia 117." Vigiliae Christianae 52, no. 2 (1998): 172–92. http://dx.doi.org/10.1163/157007298x00092.
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AbstractSatire is essentially a non-fictional literary form. Its point of departure is a real setting, which is directly referred to. But the way satirists magnify certain aspects of the reality they refer to distorts their picture.' Satires therefore are not realistic in the sense of providing reliable eye witness accounts of given situations. But they usually keep to rules, which provide hermeneutical keys for interpreting them with regard to the reality behind their distortions. How concrete that reality is, whether it just reflects a general or stereotype picture of a society or culture in a given age or whether the satire is directed against concrete historical figures, has to be established individually. The text discussed in the following has to be treated with such questions in mind. It is extant as a letter, but its addressees are not named and it is doubted whether they were historical figures. At a closer look it turns out to be a satire, but it seems at first sight to lack the concrete context that would give meaning and purpose to a satire. However, if it is a satire, and we may assume it is, it must have that context and we may try to reconstruct it using material provided by this text as well as others in its historical and literary vicinity; and although we may not succeed in finding definite answers to all the questions raised by this text, we hope nevertheless to shed some new light on this gripping little piece of ancient Christian literature.
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Peters, Rebecca Anne. "When Your Motherboard Replaces the Pearly Gates: Black Mirror and the Technology of Today and Tomorrow." Comparative Cinema 8, no. 14 (May 22, 2020): 8–32. http://dx.doi.org/10.31009/cc.2020.v8.i14.02.
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This paper considers five episodes from Charlie Brooker’s dystopian science fiction anthology series, Black Mirror (2011–present). The episodes selected are those that—as argued in this text—depict the role of technology as replacing that of religion. To build this claim, they will be compared to one another, to the Christian biblical concepts they mirror, and to historical events related to theological debates within Christianity.Throughout the history of Western civilization, Christian belief has played an important role in shaping cultural ideologies. For that reason, it could be argued that Christian ideas continue to penetrate our cultural narratives today, despite declining self-recognition in the West as religious or spiritual. Concepts of the afterlife, omniscience, vengeance, ostracism and eternal suffering spring up in some of the least expectedplaces within popular culture today. This paper argues that Black Mirror depicts the materialization of these concepts through imagined worlds, thus signaling the modern-day specters of Christianity.
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Malzahn, Manfred. "Imagined Histories: The Novels of Walter Scott." International Journal of Arabic-English Studies 12, no. 1 (January 1, 2011): 91–100. http://dx.doi.org/10.33806/ijaes2000.12.1.6.
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This article examines the historical fiction of Sir Walter Scott, in its dual function not only as a reflection of history, but likewise as an active influence on the shaping of 19th century historical consciousness. This dual role is analysed with particular regard to the special position of Scotland in Great Britain and in the wider world before, during, and after Scott’s lifetime. The main focus of analysis is on the dialectic of attraction and revulsion that permits readers to indulge in the author’s imaginative recreation of a colourful and adventurous past, while at the same time retaining or reinforcing a belief in the superiority of the present. Walter Scott is thus defended against accusations of mere literary escapism or of promoting sentimental nostalgia for an idealised lost world of romance, and rather portrayed as a literary advocate for the overcoming of divisions within Scotland and within Britain, through a healing process based on an ultimate recognition of the pastness of the past, and of the inevitability of progress. Finally, a parallel is drawn between divergent uses and perceptions of the historical imagination in western literature and in the Arab world..