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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.
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Lewis, Cassandra. "Sunshowers in Winter: A Novel." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1584.
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This is the beginning of a historical novel set in 1960’s Little Rock, Arkansas. The main character, Elsie Robinson, is forced to come home from her life in New York because of the sudden death of her father. She stays to look after her mother. She then meets Freddie, a white man, who somehow feels completely comfortable in her black community. In a time when everything seems to be falling apart, Freddie is a beam of light. If only their relationship weren’t illegal.
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Rosales, 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.
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Neo-Victorian studies is a burgeoning subfield which seeks to examine contemporary representations of the Victorian period. For the last decade, neo-Victorian scholars have offered up definitions of what makes a text “neo-Victorian”; often, this has been via a description of what the neo-Victorian is not. The ‘ruling’ definition—i.e., the definition most consistently repeated—hails from the introduction to Neo-Victorianism: The Victorians in the Twenty-First Century by Ann Heilmann and Mark Llewellyn: “the Neo-Victorian is more than historical fiction set in the nineteenth century. […] texts (literary, filmic, audio/visual) must in some respect be self-consciously engaged with the act of (re)interpretation, (re)discovery and (re)vision concerning the Victorians” (4). This short delineation significantly comes at the expense of historical fiction, which is a move repeated throughout neo-Victorian efforts to define itself. Neo-Victorian studies has largely concerned itself with literary novels, operating with a heavy anxiety that ‘other’ fiction set in the nineteenth century is escapist and nostalgic in the sense that it simply perpetuates problematic past systems of oppression while evoking the fashionable aesthetic trappings of the Victorian. My dissertation argues that contemporary genre fiction, long derided as ‘simply’ escapist in nature, can also be neo-Victorian. In each of my chapters I analyze texts from a specific genre—steampunk, popular romance, detective fiction, and Sherlock Holmes pastiche—in order to offer a basis for investigating genre fiction with a neo-Victorian lens. I analyze the depiction of corsets and feminist protagonists in three steampunk novels, explore the exhibition of unlikely romantic heroines and Romany romantic heroes in Lisa Kleypas’ historical romance series about the Hathaway family, examine representations of class and gender as well as germane social issues in Anne Perry’s William Monk detective series, and highlight the feminist potential of Carole Nelson Douglas’ series of Sherlock Holmes pastiche featuring Irene Adler. Each chapter considers the Victorian period as represented alongside Victorian novels and literary periodicals in order to demonstrate the shape of these neo-Victorian revisions and make the case the genre fiction can be self-conscious despite its lack of metafictional content.
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Waage, Fred. "The Birth Spoon." Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1939289572.
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This mystery is set in the early 1980s and based on actual events. A high-school student unearths dark and deadly secrets of his Appalachian community. The explosive consequences forever mark his own life, his family's, and his town's.https://dc.etsu.edu/etsu_books/1009/thumbnail.jpg
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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.
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The reading and buying market for Afrikaans fiction is limited due to historical and economical reasons. It can thus be argued that in order to expand the market for South African Afrikaans trade publishers and authors' novels, a work needs to be translated via the selling of translation rights with the assistance of the publisher or literary agents, into a language that has similar needs in terms of cultural consumption, for example book reading culture. Due to the colonial influence of the Dutch on South African culture and the development of Afrikaans, this study explores the selling of translation rights of Afrikaans fiction to trade publishers in The Netherlands and Belgium. The polystem theory is also used to illustrate the movement of languages from a peripheral position to semi-peripheral and central position within a global literary polysystem. A qualitative and exploratory research design is used. Secondary research in the form of a literature review combines theoretical information, clarifies terms and provides context from which primary research develops. In terms of primary research, interviews with key informants in the Belgian, Netherlands and South African publishing industry were conducted. Case studies of South African crime author Deon Meyer, and historical romance author Irma Joubert provide in-depth analysis of success factors, process and factors that influenced the selling of subsidiary rights to Dutch trade publishers. Lastly, visibility and discoverability of Afrikaans fiction on an international rights trading platform, as well as interaction amongst South African and foreign publishers were observed, at the largest book rights fair, the Frankfurt Book Fair. The findings of this study provide practical information and act as reference guide to role players in the publishing industry, including authors, trade publishers and literary agents. Recommendations for best practice in the selling of subsidiary rights are included, as well as initiatives for further research, experimentation, investment and development of the selling of subsidiary rights to European trade publishers to ultimately grow the Afrikaans fiction book buying and reading markets.Dissertation (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.
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Almeida, 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
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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.
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This thesis concerns the function of fiction in the creation of an historical myth and the uses that that myth is put to in a number of periods and differing régimes. Its case study is the popular myth of August the Strong (1670-1733), Elector of Saxony and King of Poland, as a man of extraordinary sexual prowess and the ruler over a magnificent, but frivolous, court in Dresden. It examines the origins of this myth in the late seventeenth and early eighteenth century, and its development up to the twenty-first century in German history writing, fiction, art, and media. The image August created for himself in the art, literature, and festivities of his court as an ideal ruler of extremely broad cultural and intellectual interests and high political ambitions and abilities linked him closely with eighteenth-century notions of galanterie. This narrowed the scope of his image later, especially as nineteenth-century historians selected fictional sources and interpreted them as historical sources to present August as an immoral political failure. Although nineteenth-century popular writers exhibited a more varied response to August’s historical role, the negative historiography continued to resonate in later history writing. Ironically, the myth of August the Strong represented an opportunity in the GDR in creating and fostering a sense of identity, first as a socialist state with historical and cultural links to the east, and then by examining Prusso-Saxon history as a uniquely (East) German issue. Finally, the thesis examines the practice of historical re-enactment as it is currently employed in a number of variations on German TV and in literature, and its impact on historical knowledge. The thesis concludes that, while narrative forms are necessary to history and fiction, and fiction is a necessary part of presenting history, inconsistent combinations of the two can undermine the projects of both.
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Vasconcelos, 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.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorNo 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.
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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.
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Leigh, Megan Breen. "A Wind River Romance." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/394.
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A first-person narrative adult novel explores the theme of abandonment with its residual and enduring effects, and its antithetical theme of loyalty that is continually tested and measured. The protagonist, editor of the local newspaper in a small, isolated agricultural community in the mid-1960s, provides the narrative nexus of two families. His is a community which is a mix of characters that are quirky by virtue of their natures or the remote circumstances of their existence. Both families in focus have treasure troves of secrets. Only after the appearance of a mysterious young woman and her subsequent murder do the tightly bound secrets of the families and the larger community begin to unravel. The narrator reveals his personal story as it relates to how he reacts and responds to the events at hand. Adding to his personal experience in the community, the narrator offers texture and enhancement to the story through archived newspaper articles and his interpretation of short silent movie reels chronicling the town's history from its earliest days until the end of World War II. Characters from within and without the community assume disguises to maintain their lifestyle or achieve a nefarious purpose while other characters hide behind the falsehoods of their comfortable, everyday lives. The one honest character becomes a victim of his own purity, despite attempts of the narrator to intervene. Not until forty years after the events that changed so many lives is it safe for the truth to bubble to the surface.
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Pettersson, 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.
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Sakai, 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.
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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
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Nichols, Ian. "Hybrid texts and historical fiction." Thesis, Curtin University, 2011. http://hdl.handle.net/20.500.11937/2060.
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The Bloodiest Rose is based on the premise that the fair copies of Shakespeare’s plays are discovered, and a production of his previously unknown Henry VII takes place in Sydney. It is an attempt to create a narrative which is factual, entertaining and truthful. The exegesis is an analysis of how fiction is able to form a framework by which the facts may be told differently, but still faithfully, as human truths.
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Vasconcelos, 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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VASCONCELOS, Arlene Fernandes. A verdade dispensa a verossimilhança: o fato e a ficção no romance historico as Minas de Prata, de Jose de Alencar. 2011. 164 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2011.Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-22T12:37:23Z No. of bitstreams: 1 2011_DIS_AFVASCONCELOS.pdf: 1081903 bytes, checksum: 6829a53d7ddc915add5c49f09cae8b23 (MD5)
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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.
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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.
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This thesis argues that seventeenth-century English prose romances are motivated by anxieties over truth-telling and the ethical practice of deception. From the title of MacKenzie's 'Aretina: A Serious Romance' (1660), I take the collocation 'serious romance' to refer to the philosophically and politically engaged prose romances of the seventeenth century. Following Amelia Zurcher's work on the concept of 'interest' in 'serious romance', this thesis examines a separate but related aspect of the genre's moral philosophical engagement: its investigation of the ethics of dissimulation. By dissimulation, I mean the art of lying by concealment. Dissimulating techniques include controversial rhetorical tools such as equivocation and mental reservation, but dissimulation is also implicated in laudable virtues such as prudence and discretion. The thesis traces arguments about the ethical practice of dissimulation and other types of lie through English prose romances from Sidney's 'Arcadia' (1590) to Orrery's 'Parthenissa' (1651-69) to suggest that seventeenth-century romances increasingly espoused theories of 'honest dissimulation' and came to champion the theory of the 'right to lie'. The thesis examines a range of works which have hitherto received scant critical attention, notably Roger Boyle's 'Parthenissa' (1651-69), Percy Herbert's 'The Princess Cloria' (1652-61), the anonymous 'Theophania' (1655) and 'Eliana' (1661) and John Bulteel's 'Birinthea' (1664), alongside better studied romances such as Sidney's 'Arcadia' (1590), Wroth's 'Urania' (1621) and Barclay's 'Argenis' (1621). It situates readings of these original English romances within the context of the French romances of D'Urfé, Scudéry and La Calprenède, as well as within the context of contemporary moral philosophy.
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Chivers, Marian. "The warrior woman in contemporary romance fiction." Thesis, Federation University Australia, 2014. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/96448.
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Master of Arts by ResearchThe 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
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Ast, Bernard Edward Jr 1963. ""The Plague" in Albert Camus's fiction." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/288839.
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This dissertation catalogues and examines Albert Camus's thematic repetitiveness as seen in his fiction and in how this repetitiveness relates to the world view presented in the so-called guillotine passage in his novel The Plague: that the world consists of scourges, victims, and an elusive third domain. A scourge can be an aggressor. It causes suffering and even death. The plague and other infirmities, both physical and mental, are aggressors. They are indiscriminate, merciless, and oftentimes deadly. Tyrants, too, are aggressors, some of which cling to the arbitrary, while others have a considerably more formal agenda. An aggressor can be metaphysical: the inner plague. Some aggressors, Like poverty and the climate, can also have a positive side to them. A scourge can also be an aggression--what the aggressor causes. They usually cannot be justified (existential separation, death, murder, execution, suicide), but some aggressions lead to enlightenment or positive change (exile, imprisonment, separation from loved ones). Yet one aggression, solitude of a certain kind, can actually be a desired and pleasant experience. Victims are the second domain. Camus focuses primarily on children, artists, clergy, judges and lawyers. The first three groups are presented in a balanced fashion, with emphasis on both the positive and the negative. Judges and lawyers are presented in a negative light, with only slight deviations. The third domain consists of true doctors (true friends) and peace/happiness, with true doctors--who are not necessarily doctors--contributing to the attainment of happiness or at least an improvement in circumstances. Light, the sea, other aspects of nature and sensual pleasures can also contribute to finding peace/happiness.
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Tait, Meg. "Taking sides : Stefan Heym's historical fiction." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624152.
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Petit, 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.
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Bavasah, 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.
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In 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.
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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.
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Cougars, Grannies, Evil Stepmothers, and Menopausal Hot Flashers: Roles, Representations of Age and the Non-traditional Romance Heroine is an examination of the stereotyped roles of age and the under-representation of women over forty as worthy protagonists in romance fiction.
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Hadley, Louisa A. "Rewriting historical narratives in neo-Victorian fiction." Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/24661.
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This thesis explores the contemporary form of neo-Victorian fiction in relation to both contemporary and Victorian literature. I argue that neo-Victorian fiction needs to be considered in relation to but as distinct from postmodern literary practices. Although neo-Victorian texts are often considered postmodern, I argue that they should be differentiated from the categories of postmodernism. Whilst interrogating history, often considered a postmodern characteristic, neo-Victorian fiction retains a commitment to the historical specificity of the Victorian era. The interrogation of history undertaken in these texts is intimately connected to Victorian forms of historical narratives. Chapter 1 examines theoretical frameworks of postmodernism, revealing the limitations of such models for neo-Victorian fiction .The subsequent chapters explore the treatment of different historical narratives in these texts. Chapter 2 discusses The French Lieutenant’s Woman and ‘Morpho Eugenia’ and examines the role of meta-narratives in both Victorian and contemporary society, particularly Darwinism and Marxism. This chapter also addresses the grand narrative of literary history in its consideration of the double relationship between Victorian and neo-Victorian literature, illustrated through a detailed examination of endings in both Victorian and neo-Victorian fiction. Chapter 3 explores the issues surrounding genealogical narratives in The Quincunx as well as its engagement with the late Victorian genre of detective fiction. Chapter 4 considers The Biographer’s Tale and The Dark Clue in relation to Victorian forms of biography and developments in photography. This discussion leads on to an examination of the problematic relationship between historical and fictional figures within these texts and the implications it has for their status as historical novels. The final two chapters explore approaches to resurrecting the past within neo-Victorian fiction. Chapter 5 addresses the continued presence of the past, through both spiritualism and literature, in Possession and ‘The Conjugial Angel’. The final chapter discusses the process of ventriloquism, focusing on the incorporation of Victorian and pseudo-Victorian texts in Possession and ‘The Conjugial Angel’. This is extended to address the intertextual relationship of Victorian and neo-Victorian fiction.
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Kellar, Pinard Katrina. "Settler Feminism in Contemporary Canadian Historical Fiction." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39608.
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Canada has seen a veritable explosion in the production and popularity of historical fiction in recent decades. Works by women that present a feminist revision of national narratives have played a key part in this phenomenon. This thesis discusses three contemporary Canadian historical novels: Gil Adamson’s The Outlander (2007), Ami McKay’s The Birth House (2006), and Margaret Atwood’s Alias Grace (1996). By examining these novels through a settler colonial lens and with a specific interest in the critique of settler feminism, this thesis offers readings that can reveal how feminism operates within the confines of the settler fantasy. These readings suggest that women’s historical fiction offers an opportunity to consider different aspects of feminism in the settler setting and to consider different aspects of critiques of patriarchy in settler contexts. This thesis suggests that these novels present a settler women’s history that cannot be properly understood through the simplistic logic of male/female or colonizer/colonized oppositions, and that the ways the novels depict women’s interactions with patriarchal settler structures and institutions can contribute to critical understandings of a colonial history with which Canada continues to reckon.
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Melhop, Val. "Romance and realism : New Zealand short fiction, 1865-1965." Thesis, University of Canterbury. English, 1991. http://hdl.handle.net/10092/7060.
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This thesis examines changes in the relationship between romance and realism in the New Zealand short story over a period of one hundred years, from approximately 1865 to 1965. I argue that the short story is inherently a romantic genre and that both realism and romance are constant elements. My purpose is to show an evolving pattern between the two modes of writing during the rise of realism which began in the nineteenth century and peaked in the postwar period. Because there is a fluctuating relationship between the two modes in New Zealand short fiction, it is possible, through the psychoanalytical approach to the stories which I employ, to establish the prevailing emotional climate of each era.
Beginning with the colonial period, I show how the magazine influenced fiction writing by initiating some important changes to the European New Zealand short story. I discuss the attempt by male writers of the 1930s to dominate the literary scene by using realism as a weapon. Then, with Katherine Mansfield and Frank Sargeson as the models for postwar writers, I illuminate through my analysis of the texts, a new coalition of romantic realism.
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Watt, 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.
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Dantas, Gregorio Foganholi. "Metaforas da historia : uma leitura dos romances de Helder Macedo." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270332.
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Orientador: Vilma Sant'Anna AreasTese (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
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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.
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This study contends that postmodern American fiction dramatizes an important shift of philosophical perspective on the fetish in keeping with recent theories of fetishism as a cultural practice. This shift is defined by the refusal to accept the traditional Western condemnation of the fetishist as primitive or perverse, and by the effort to affirm more productive uses for fetishism as a theoretical concept spanning the disciplines of psychoanalysis, Marxian social theory, and anthropology. Analyzing the depiction of fetishistic practices in selected contemporary American novels, the dissertation utilizes fetish theory in order to clarify the unique textual and historiographic features of postmodernist fiction. It also emphasizes the way in which conventional ideas about history and teleology are necessarily challenged by an affirmative orientation toward the fetish. Part One of the dissertation, comprising the first two chapters, traces the lineage of Western thinking about fetishism from Hegel, Marx, and Freud to Derrida, Baudrillard, and Jameson, among others. Recognizing that traditional theories attribute the symbolic power of the fetish to its mystification of historical origins, Part One posits that poststructuralist and postmodernist contributions to the subject enable, but do not develop, an alternative concept of fetishism as a practice with constructive historical potential. Part Two of the study seeks to develop this historical potential with reference to prominent descriptive models of postmodernist fiction, and through close readings of five contemporary American authors: Thomas Pynchon, Kathy Acker, Robert Coover, John Hawkes, and Don DeLillo. The four chapters of Part Two each examine the fictional representation of fetishism within a different theoretical framework, focusing on, respectively: temporality and objectivity in postmodern fiction theory; the interrelation between psychoanalytic theory and female fetishism in novels by Pynchon and Acker
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Davies, Richard Blaine Davies Richard Blaine. "Historical fiction makes American history come to life!" [Boise, Idaho : Boise State University, 2002. http://education.boisestate.edu/bdavies.
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Thesis (M.A.)--Boise State University, 2002.Web 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.
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Redfern, Rachel Yvette. "Layering the March: E. L. Doctorow's Historical Fiction." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2229.
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E.L. Doctorow implements ideas of intertextuality and metafiction in his 2007 novel, The March, which is most notably apparent through its resemblance to the 1939 film, Gone with the Wind. Using Michel de Certeau's theory of spatial stories and Linda Hutcheon's of historiographic metafiction, this thesis discusses the layering of Doctorow's The March from the film seen in the character of Pearl from the novel and Scarlett from the film and Selznick's version of the burning of Atlanta and Doctorow's burning of Columbia.
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Biancato, 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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Morrissey, Katherine. "Fanning the flames of romance an exploration of fan fiction and the romance novel /." CONNECT TO ELECTRONIC THESIS, 2008. http://hdl.handle.net/1961/6198.
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Das, Nandini. "Romance and the development of prose fiction in Renaissance England." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421696.
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Guldimann, Colette. "Bessie Head : re-writing the romance : journalism, fiction (and gender)." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18704.
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This thesis examines the relationship between Bessie Head's work as a journalist during the late 1950s and two of her novels: the first written just after she had left formal journalism and the second a decade later. I claim, in this thesis, that early journalistic writing by Head, which has been critically ignored, and even dismissed, not only merits critical attention but, furthermore, that knowledge this work will yield new insights into Head's fictional writing for which she is famous. Between 1959 and 1960, before she left South Africa, Bessie Head wrote two weekly columns for children and teenagers, some book reviews and had a role in the production of "True Romance" stories for Home Post, a tabloid supplement to the Sunday newspaper Golden City Post. Head was involved in the production of these romances for over a year and I provide an analysis of the "True Romance" stories published in Home Post. I maintain that these romances, like all texts in popular romance genre (which I discuss) constructs the feminine in very particular ways. I locate this analysis within wider, but related, discussion about the representation of women in both Golden City Post and Drum magazine as they were both considered to be the authoritative newspapers representing black South African life in the 1950s. Head's columns, I claim, especially the one for teenagers, present constructions of the feminine, as well as the masculine, which are significantly at odds with the dominant representations of the feminine, and masculine, in the media I have mentioned, during the late 1950s. A close reading of the representations of gender which Head set up in this column, together with the book reviews she wrote, will give us new insight into her fictional work, particularly The Cardinals which is an early work written and set during this period but only published posthumously in 1993. Reading this novel against the background of the journalistic work and world Head was engaged in just before she wrote it will enable us to read its complexities, specifically those regarding gender and romance. I claim that Head also gave us what is probably the earliest gender perspective, and critique, of 1950s black journalism - a period generally considered to be a vibrant one for black journalism and writing in South Africa. In The Cardinals, which fictionally recreates the black journalistic milieu of the late 1950s in South Africa, Head suggests that black women journalists (and writers) found themselves facing a very different situation from black male journalists. Finally I suggest that with romance structure and the role which gender plays in the novel. Although critics have persistently read this novel as an idealistic, and unrealistic, romance with a happy ending, I suggest, in this thesis, that one can read the novel, in the light of Head's earlier work, as being a radical subversion of the romance.
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Cabrera, Marta Jimena. "Writing civilisation the historical novel in the Colombian national project /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050307.143257/index.html.
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Harris, Katharine. "The neo-historical aesthetic : mediations of historical narrative in post-postmodern fiction." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/76623/.
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Merlin, Bailey. "Sentinel." Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/496.
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Devastated by the mysterious death of her guardians, Elizabeth Davenport finds herself thrust into a new world that proves to be scintillating and dangerous. Can she trust those who claim to be her friends? Or will her trust lead her into trouble? When a mysterious letter presents itself and proves that her guardians might have been more than they ever let on, Elizabeth must gather her courage and pursue the truth, whatever the cost.
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Balma, Philip. "Literature in "Transit" the fiction of Edith Bruck /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3290755.
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Thesis (Ph.D.)--Indiana University, Dept. of French and Italian Studies, 2007.Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4724. Adviser: Andrea Ciccarelli. Title from dissertation home page (viewed May 22, 2008).
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McGuire, Myles T. "Fruitful approaches: Queer Theory and Historical Materialism in contemporary Australian fiction." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/230862/1/Myles_McGuire_Thesis.pdf.
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"Fruitful approaches: Queer Theory and Historical Materialism in contemporary Australian fiction" investigates the application of Historical Materialist ontologies to gay-themed, contemporary Australian novels, examining these subjects through the lens of totality and reification.
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Martin, Patricia L. "Minority protagonists in the young adult historical fiction novel." [Denver, Colo.] : Regis University, 2007. http://165.236.235.140/lib/PMartin2007.pdf.
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Dodwell-Groves, Laura. "The seventh bulb : a middle grade historical fiction novel." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31562.
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In this work of historical fiction, a twelve-year-old girl called Emmetje journeys
from the streets of Constantinople to the decks of a smuggling boat and on to the back
streets and canals of 17t h century Amsterdam. In her pocket she carries the bulb of a
unique blue tulip, and in her hand is a strange treasure map that uncovers the heart of a
nation's strange obsession.
Emmetje's mother had drawn tulips. Hovering beside the elegant petals she drew
butterflies, and on their wings she drew her map. Compelled by curiosity and an
adventurous spirit, Emme sets out to discover where her mother's map might lead. Her
journey is shared by her three-legged tabby cat and a cabin boy called Sander. Emmetje's
journey inevitably becomes one of self-discovery where fathers, mothers and horticulture
all play their part. The blue tulip bulb is the silent hero, but the not so silent metaphor for
Emmetje's identity. Precious, protected, rich with potential and waiting to bloom.Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate
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Tiedemann, Heidi. "After the fact, contemporary feminist fiction and historical trauma." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ63656.pdf.
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King, Nadia-Lisa. "Opening a window into the past with historical fiction." Thesis, King, Nadia-Lisa (2019) Opening a window into the past with historical fiction. Honours thesis, Murdoch University, 2019. https://researchrepository.murdoch.edu.au/id/eprint/54724/.
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A fundamental challenge facing historical fiction writers is how to provide a 'real' window into the past. This thesis explores how writers use the literary devices of point of view and setting to create 'true' accounts of historical events. Historical fiction balances the tension between the creation of fiction to entertain and the need for historical accuracy. I argue that by focusing on the minutiae or specific details of setting, readers can be transported to the time and place of the story and a window into the past can be opened. The writer uses point of view to position the telling of the story offering a relationship with the intended reader. The lens, or point of view, used to tell a story, is a mechanism which can bring an historical event into sharper focus for the reader giving them a perspective, albeit a fictionalised one, into history. The literary devices of setting and point of view are explicated in this discussion through my own creative writing resulting in a series of vignettes imaginatively depicting the events leading up to and including the execution of Martha Rendell, the last and only woman hanged at Fremantle Prison in Western Australia.
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Raghunath, Riyukta. "Alternative realities : counterfactual historical fiction and possible worlds theory." Thesis, Sheffield Hallam University, 2017. http://shura.shu.ac.uk/19154/.
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The primary aim of my thesis is to offer a cognitive-narratological methodology with which to analyse counterfactual historical fiction. Counterfactual historical fiction is a genre that creates fictional worlds whose histories run contrary to the history of the actual world. I argue that Possible Worlds Theory is a suitable methodology with which to analyse this type of fiction because it is an ontologically centred theory that can be used to divide the worlds of a text into its various ontological domains and also explain their relation to the actual world. Ryan (1991) offers the most appropriate Possible Worlds framework with which to analyse any fiction. However, in its current form the theory does not sufficiently address the role of readers in its analysis of fiction. Given the close relationship between the actual world and the counterfactual world created by counterfactual historical fiction, I argue that a model to analyse such texts must go beyond categorising the worlds of texts by also theorising what readers do when they read this type of fiction. For this purpose, in my thesis I refine Ryan's Possible Worlds framework so that it can be used to more effectively analyse counterfactual historical fiction. In particular, I introduce an ontological domain which I am calling RK-worlds or reader knowledge worlds to label the domain that readers use to apprehend the counterfactual world presented by the text. I also offer two cognitive concepts – ontolological superimposition and reciprocal feedback – that support a Possible Worlds analysis of counterfactual historical fiction and model how readers process such fiction. In addition, I redefine counterpart theory, transworld identity, and essential properties to appropriately theorise the way readers make the epistemological link between a character and their corresponding actual world individual. The result is a fully fleshed out Possible Worlds model that addresses the reader's role by focusing on how they cognitively interact with the worlds built by counterfactual historical fiction. Finally, to demonstrate my model's dexterity, I apply it to three texts – Robert Harris' Fatherland (1992), Sarban's The Sound of his Horn (1952), and Stephen Fry's Making History (1996). I conclude that the Possible Worlds model that I have developed is rigorous and can be replicated to analyse all fiction in general and counterfactual historical fiction in particular.
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Drake, George A. "Historical space in the eighteenth-century novel /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9425.
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Rodman, Jeffrey Stanley. "A world of romance : the Wessex fiction of John Cowper Powys." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385355.
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Barletta, Sandra Anne. "A first kiss is still a first kiss : romancing the mid-life reader and heroine." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/19205/1/Sandra_Barletta_-_A_Basic_Renovation.pdf.
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Through its depiction of heroines, romance fiction has the capacity to reflect the attitudes and concerns women face in society. However, the depiction of heroines in romance novels is bound by the constraints publishers place upon them. A vibrant, passionate mid-life heroine gets pushed into a subgenre where romance no longer exists as an option, while a mid-life reader in search of a romance heroine to identify with is relegated to novels where romance is a marginal issue, rather than the main impetus that leads the story. This study, and the novel A Basic Renovation, addresses a neglected demographic of reader and heroine who are marginalised within the romance genre. As well, it gives reasons why heroines need not be characterised in particular roles or situations as they age, and a rationale for why their underrepresentation as romance heroines should end.
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Barletta, Sandra Anne. "A first kiss is still a first kiss : romancing the mid-life reader and heroine." Queensland University of Technology, 2008. http://eprints.qut.edu.au/19205/.
Full textAbstract:
Through its depiction of heroines, romance fiction has the capacity to reflect the attitudes and concerns women face in society. However, the depiction of heroines in romance novels is bound by the constraints publishers place upon them. A vibrant, passionate mid-life heroine gets pushed into a subgenre where romance no longer exists as an option, while a mid-life reader in search of a romance heroine to identify with is relegated to novels where romance is a marginal issue, rather than the main impetus that leads the story. This study, and the novel A Basic Renovation, addresses a neglected demographic of reader and heroine who are marginalised within the romance genre. As well, it gives reasons why heroines need not be characterised in particular roles or situations as they age, and a rationale for why their underrepresentation as romance heroines should end.
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Piep, Karsten H. "Embattled Homefronts: Politics and Representation in American World War I Novels." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1109634736.
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Taylor, Leslie Charles. "The Greatest is Love." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3661.
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THE GREATEST IS LOVE is a collection of ten short stories showing the painful manifestations of romantic relationships in the lives of contemporary American characters from many walks of life.
As in the stories of D.H. Lawrence, these characters are often driven towards what may be bad for them, finding that love overrides their rational thoughts. In “The Mechanic” a woman whose legal career has left her isolated becomes irresistibly attracted to her friend’s ex-husband. Three stories center on one character, Charles, whose early failures both in college and at work lead him to become a detective, only to be tempted to betray his new calling by a woman who leads him astray.
As in Italo Calvino’s Difficult Loves, the stories in THE GREATEST IS LOVE combine the pain and comedy of passion. Even when it is challenging, love offers characters irresistible glimmers of hope.