Journal articles on the topic 'Fiction, Romance, Historical Fiction"'
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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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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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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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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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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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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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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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Leane, Elizabeth, and Stephanie Pfennigwerth. "Antarctica in the Australian imagination." Polar Record 38, no. 207 (October 2002): 309–12. http://dx.doi.org/10.1017/s003224740001799x.
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AbstractAntarctica and Australia share a geographical marginality, a commonality that has produced and continues to reinforce historical and political ties between the two continents. Given this close relationship, surprisingly few fulllength novels set in or concerned with the Antarctic have been produced by Australian authors. Until 1990, two latenineteenth- century Utopias, and two novels by Thomas Keneally, were (to our knowledge) the sole representatives of this category. The last decade, however, has seen an upsurge of interest in Antarctica, and a corresponding increase in fictional response. Keneally's novels are ‘literary,’ but these more recent novels cover the gamut of popular genres: science fiction, action-thriller, and romance. Furthermore, they indicate a change in the perception of Antarctica and its place within international relations. Whereas Keneally is primarily concerned with the psychology of the explorer from the ‘Heroic Age,’ these younger Australian writers are interested in contemporary political, social, and environmental issues surrounding the continent. Literary critics have hitherto said little about textual representations of Antarctica; this paper opens a space for analysis of ‘Antarctic fiction,’ and explores the changing nature of Australian-Antarctic relations as represented by Australian writers.
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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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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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Flothow, Dorothea. "Historical Crime Fiction as Popular Historiography." Crime Fiction Studies 1, no. 2 (September 2020): 203–20. http://dx.doi.org/10.3366/cfs.2020.0021.
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Due to the current history boom in the UK, which manifests itself in the conspicuous popularity of historical novels, costume dramas, and in rising visitor numbers to museums, the study of popular historiography has become a growing and vibrant field. Popular historiography formats such as costume dramas, historical romances, and re-enactments have been recognised as a key influence on the public's knowledge of the past. Consumed informally and voluntarily, entertaining and easily accessible, popular histories are often more significant for the public's perception of ‘historical fact’ than ‘academic’ forms of historiography. This article examines historical crime fiction as a genre of popular historiography with a special focus on recent novels set in the late seventeenth century, a period that has lately been the focus of a number of exciting crime series. As a genre mostly written to a formula, concentrating on a narrow theme (i.e. crime and violence), and typically showing the life of ‘the mean streets’, crime fiction has a genre-specific view of the past. Due to its focus on the everyday, it shows aspects of history which are particularly popular with a wider public. Additionally, as it is frequently preoccupied with history's dark secrets, crime fiction is especially suited to re-writing established images of the past.
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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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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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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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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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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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Huq, Sabiha. "Images of Bangladesh in Niaz Zaman’s Novels." Asiatic: IIUM Journal of English Language and Literature 12, no. 1 (July 9, 2018): 9–24. http://dx.doi.org/10.31436/asiatic.v12i1.1206.
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Niaz Zaman, a renowned Bangladeshi writer in English, has employed realism in all three novels she has thus far written: The Crooked Neem Tree (1982), A Different Sita (2011) and The Baromashi Tapes (2011). Against the backdrop of Bangladesh at different points in time, Zaman’s novels focus on women’s struggles in ways that according to critics like Toril Moi, may seem to be a feministic realism in woman’s fiction. The worlds depicted in her novels differ in a variety of ways but not in focal themes, as she draws upon women’s experiences in pre†and postâ€independence Bangladesh with a singularity of style, adhering to historical facts. Representation of regular lives with the most commonplace details like clothing, food, rituals, daily habits, etc. is sometimes mingled with romance, rebellion and accidents; and this blend infuses her stories with glorious and extraordinary journeys of ordinary women. Quite expectedly, imperfections of human life also become significant parts of such narratives of lived experiences, and that often becomes an aesthetic experience in Zaman’s fiction. The women in her novels are given as much moral strength as needed for women to become leading figures in events carried out single-handedly without the presence of men. This paper is an attempt at reading how Zaman has used her fictional work to depict an essentially Bangladeshi reality.
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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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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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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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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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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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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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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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Simões, Maria João Albuquerque. "Personagens, espaço e níveis narrativos em Os Memoráveis de Lídia Jorge / Characters, space and narrative levels in Os Memoráveis by Lídia Jorge." Revista do Centro de Estudos Portugueses 41, no. 65 (December 27, 2021): 261. http://dx.doi.org/10.17851/2359-0076.41.65.261-279.
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Resumo: Dentro do universo ficcional do romance Os Memoráveis de Lídia Jorge, as personagens estabelecem ligações dinâmicas entre elas de acordo com o jogo ficcional implicado nas intrigas, as quais se configuram diferentes níveis narrativos. Este estudo tem como objetivo analisar as relações das personagens entre si, o jogo de perspetivas utilizado e a complexidade da estrutura narrativa onde se inserem. Investigar-se-á o modo como as personagens perseguem os seus propósitos, a composição dos níveis narrativos relacionada com o agenciamento das intrigas (de acordo com a investigação de Raphael Baroni) e, ainda, a importância da ambientação, do cenário e dos enquadramentos para a constituição da representatividade simbólica das figuras históricas representadas no romance. Palavras-chave: personagem, espaço, ficção, narrativa, Lídia Jorge.Abstract: Within the fictional universe of the novel Os Memoráveis, by Lídia Jorge, characters establish dynamic connections between them according to the fictional games involved in the plots, which configure different narrative levels. This study aims to analyze the relationships of the characters with each other, the interplay of perspectives employed and the complexity of narrative structure where they are inserted. It will be investigated the way characters try to achieve their purposes, the composition related with agency of narrative levels (according to the research presented by Raphael Baroni) and also the importance of ambience and setting for the drawing up of symbolic representativeness of the fictionalized historical figures of the novel.Keywords: character, space, fiction, narrativa, Lídia Jorge.
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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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Alfiatin Niamah and Anita Rahmah Dewi. "Masculinity In Spark’s The Best Me And Yanagihara’s A Little Life : A Study Of Comparative Literature." JELP: Journal of English Language and Pedagogy 2, no. 1 (January 31, 2023): 1–13. http://dx.doi.org/10.58518/jelp.v2i1.1466.
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This study aims to explain the differences and similarities of masculinity depicted in the 17th American novel The Best of Me (2011) by Nicholas Sparks which is ranked 2 of the top 10 lists in weekly publishers, with romance and fiction genres, with Novel A Little Life (2015) the work of the United States novelist Hanya Yanagihara who won both the 2015 Man Booker Prize, the Goodreads choice awards for the best fiction category and the national book award for fiction. Using the fiction genre, this research is comparative literature. It uses gender theory with masculine concepts from John Beynon (2002) which is written in his book entitled Masculinities and Culture. This study uses a context-oriented approach,Data Collection Techniques using literature study by reading, taking notes, and documenting data. After the data is collected, data reduction is carried out. The data that has been selected will be classified to take action to analyze the differences and similarities of masculinity in the male main character Dawson Cole in the Novel The Best of Me with Jude in the Novel A Little Life. The author finds some differences in reading aspects of masculinity according to John Beynon in the two characters. The difference lies in aspects: Age & Physical, Education, Sexual Orientation, Class & Occupation, Status & Lifestyle. The author finds similarities in reading aspects of masculinity according to John Beynon in Dawson and Jude in the Historical Location aspect. Both of them have pasts that they dont not want to open up.
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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.
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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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Morton, Graeme. "The Social Memory of Jane Porter and her Scottish Chiefs." Scottish Historical Review 91, no. 2 (October 2012): 311–35. http://dx.doi.org/10.3366/shr.2012.0104.
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Formed within the interplay of history, culture and cognition, the concept of social memory is introduced to evaluate a key element of Scotland's nineteenth-century national tale. Being never more than partially captured by state and monarchy, and only imperfectly carried by institutions and groups, the national tale has comprised a number of narratives. Within the post-Union fluidity of Scotland's place within Britain, and at a time of European conflict, this tale coalesced around social memories of the mediaeval patriot William Wallace. Distinctive to that process was the historical romance The Scottish Chiefs (1810), as it was merged with the public life of its author, Jane Porter (bap. 1776–1850). By situating this fictional account of the life of Wallace within the social memories of its author, and in society more widely, attention is directed towards a set of stories formed in Porter's own cognition. These living memories were forged in her childhood experiences of a new life in Scotland; her claim to have pioneered the historical novel, confirmed by her friend Walter Scott; her personal, familial, and fictional projections of her public self; and in how contemporaries returned to her, and made known to society, their reception of her personality, her deportment, and her fiction. It was in combination that a leading social memory of the nation's tale was formed out of living memory that could not have transcended time and place.
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Naim, C. M. "“The Magic-Making Misṭar Rinālḍs” and the Development of Urdu Prose Fiction." Journal of Urdu Studies 1, no. 1 (January 4, 2020): 3–26. http://dx.doi.org/10.1163/26659050-12340001.
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Abstract In histories of the Urdu novel, the name of G.W.M. Reynolds (1814-1879) is either not mentioned at all or only in passing reference to his possible influence on Sharar, Urdu’s first writer of historical romances. But the actual role that this ill-reputed contemporary of Dickens played in the development of Urdu prose fiction was far greater. By 1918, twenty-four of his massive works were available in Urdu, some in more than one translation, and all reprinted more than once. Among his translators were a number of significant poets and fiction writers of the time. Arguably, between 1890s and 1920, Reynolds was not only the most widely read author in Urdu but also the most admired. He influenced not only writers of historical romances, but also inspired what can be best described as the earliest original crime tales in Urdu.
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Mikuska, Edenilson. "Fanny Owen, de Agustina Bessa-Luís, como romance de leitura Fanny Owen, by Agustina Bessa-Luís, as Novel of Reading." Revista do Centro de Estudos Portugueses 42, no. 68 (May 4, 2023): 123. http://dx.doi.org/10.17851/2359-0076.42.68.123-137.
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Resumo: Neste artigo, analisamos o romance Fanny Owen (1992), de Agustina Bessa-Luís, a partir do conceito de romance de leitura. A expressão “romance de leitura” (Lektüreroman) foi cunhada pelo teórico alemão Volker Roloff. Grosso modo, é o romance que tem por tema a leitura – “roman sur lê theme de la lecture”. Trata-se, portanto, do romance em que os personagens se deixam envolver pela leitura de obras ficcionais a ponto de terem suas condutas ou seus caracteres alterados, ou mesmo a ponto de se tornarem mais e mais dependentes da ficção e, desta forma, menos propensos a se adaptar à realidade. Fanny Owen dá tratamento ficcional a fatos biográficos relativos a personalidades históricas, principalmente o escritor Camilo Castelo Branco, seu amigo José Augusto Pinto de Magalhães e a Fanny Owen, filha do coronel britânico Hugh Owen, que havia tido um papel relativamente importante na Guerra Civil Portuguesa (1828–1834). No romance de leitura, a leitura de literatura pelos personagens aparece com destaque na trama, a ponto de ser um elemento estruturador da narrativa. Fanny Owen pode, assim, ser classificado como um romance de leitura já que os personagens principais são influenciados pela literatura romântica que leem. Palavras-chave: Fanny Owen; Agustina Bessa-Luís; romance de leitura; leitura; leitor.Abstract: In this work, we analyze the novel Fanny Owen (1992), by Agustina Bessa-Luís, based on the concept of novel of reading. The expression “novel of reading” (Lektüreroman) was created by the German theorist Volker Roloff. It is the novel whose theme is reading – “roman sur lê theme de la lecture”. It is, therefore, the novel in which fictional characters become modified, or more and more dependent on so dependent on fiction that they cannot adapt to reality. Fanny Owen gives a fictional treatment to biographical facts related to historical personalities, mainly the writer Camilo Castelo Branco, his friend José Augusto Pinto de Magalhães and Fanny Owen, daughter of British colonel Hugh Owen, who had played a relatively important role in the Portuguese Civil War (1828–1834). In the novel of reading, the characters’ reading of literature appears prominently in the plot, to the point of reading being a structuring element of the narrative. Fanny Owen can be classified as a novel of reading as the main characters are influenced by the romantic literature they read.Keywords: Fanny Owen; Agustina Bessa-Luís; novel of reading; reading; reader.
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Ghazoul, Ferial J. "Humanising Islam's Message and Messenger in Postcolonial Literature." Journal of Qur'anic Studies 16, no. 3 (October 2014): 196–215. http://dx.doi.org/10.3366/jqs.2014.0173.
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Recent postcolonial novels have touched on Islamic faith and the Prophet, presenting a humanised image of Islam and Muḥammad. Such fiction has succeeded in writing back to Orientalist dehumanisation of the Other and stereotypes of Muslims as well as writing against fundamentalist reactionary appropriation of Islam. Leila Aboulela in The Translator (1999) interprets Islam literally and metaphorically to non-Muslims in a fictional romance that takes the protagonists from Scotland to Sudan. Assia Djebar in Loin de Médine (1991) deals with the beginnings of Islam in Arabia. This historical novel concentrates on women's voices that have been marginalised or dropped altogether from accounts by male historians. Salim Bachi in Le Silence de Mahomet (2008), narrates the advent of Islam through multiple points of view: by two wives of the Prophet, Khadīja and ʿĀʾisha, as well as by two influential men, the Prophet's companion Abū Bakr and the military leader Khālid b. al-Walīd. This polyphonic novel allows the complexity and diversity of worldviews to be juxtaposed and intertwined. The three novels offer fresh humane portraits of iconic figures and of Islam's message while simultaneously highlighting human frailty and splendour.
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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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Kazanova, Yuliya. "‘The instinct of resistance to evil’: Postmemory and the Ukrainian national imaginary in Oksana Zabuzhko’s novel The Museum of Abandoned Secrets." Memory Studies 15, no. 2 (October 5, 2021): 436–50. http://dx.doi.org/10.1177/17506980211044710.
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Building on Marianne Hirsch’s concept of postmemory, this article examines Oksana Zabuzhko’s latest novel The Museum of Abandoned Secrets as postmemorial fiction, which articulates the trauma of Soviet political repressions in the post–World War II period and in the 1970s via the perception of the second and third generation. The affiliative postmemory about World War II in Ukraine from the viewpoint of Ukrainian Insurgent Army partisans is emplotted via an original generic combination of contemporary Holocaust fiction and romances of the archive. Postmemory is used in the novel to shape a mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.
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Kazanova, Yuliya. "‘The instinct of resistance to evil’: Postmemory and the Ukrainian national imaginary in Oksana Zabuzhko’s novel The Museum of Abandoned Secrets." Memory Studies 15, no. 2 (October 5, 2021): 436–50. http://dx.doi.org/10.1177/17506980211044710.
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Building on Marianne Hirsch’s concept of postmemory, this article examines Oksana Zabuzhko’s latest novel The Museum of Abandoned Secrets as postmemorial fiction, which articulates the trauma of Soviet political repressions in the post–World War II period and in the 1970s via the perception of the second and third generation. The affiliative postmemory about World War II in Ukraine from the viewpoint of Ukrainian Insurgent Army partisans is emplotted via an original generic combination of contemporary Holocaust fiction and romances of the archive. Postmemory is used in the novel to shape a mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.
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Karlsson, Jens, and Rebecka Eriksson. "Vilande drakens elegi." Tidskrift för litteraturvetenskap 42, no. 2-3 (January 1, 2012): 154–65. http://dx.doi.org/10.54797/tfl.v42i2-3.11698.
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The Sleeping Dragon’s Elegy: An Example of Occasional Verse in The Romance of the Three Kingdoms
This article examines one example of occasional verse in the classic Chinese novel The Romance of the Three Kingdoms (Sanguo yanyi 三国演义, Luo Guanzhong, 14th century), with a focus on the historical situation in which the poem is placed and the political implications ascribed to it. The Romance of the Three Kingdoms is a work of tremendous cultural impact. Its retelling of historical events during the late Han dynasty continues to shape the general understanding of this period, regardless of the narrative being widely accepted as fiction based on history. The poem discussed here is one example of fictional occasional verse that highlights the importance of the practice during the period in question as well as during the early Ming dynasty when the novel was written. The novel takes place during a time in Chinese history called the “Three Kingdoms” period when the Han dynasty was falling apart into smaller, independent states. The three states of Wei, Wu, and Shu, their internal struggles and the wars between them, form the centre of the narrative. Crucial to an appreciation of the poem is the Battle of Red Cliff, a naval confrontation that took place in the year 208 AD, when the allied forces of Sun Quan and Liu Bei managed to overcome the otherwise stronger enemy. The battle brought together Shu military strategist Zhuge Liang, the “author” of the poem according to the novel, and the poem’s subject – Wu commander-in-chief Zhou Yu. In 210, upon hearing about Zhou Yu’s early demise, Zhuge Liang decides to attend his funeral despite hostile sentiments among Wu generals. He presents the poem – an elegy retelling Zhou Yu’s life and accomplishments – to persuade the Wu generals of his innocence in the matter of Zhou Yu’s death.
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S. Qasim, Mohammed, Munthir A. Sabi, and Fatima R. Hussein. "C.S. Parnell, a Controversial Irish Political Leader." Al-Adab Journal, no. 128 (March 15, 2019): 117–36. http://dx.doi.org/10.31973/aj.v0i128.419.
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Charles Stewart Parnell (1846-91), an Irish political leader of nationalists, causes a national controversy and division by taking Kitty O'Shea, wife of one of his followers, Captain O'Shea, as his mistress. This leads to massive contention between the Irish Catholic Church the nationalist strugglers, who deem him as their own leader and denounce the Church for its involvement in politics. This love story, condemned by the Church as adultery, becomes one of the rarest romances, matched by the famous mad love of Catherine and Heathcliff in Emily Bronte's Wuthering Heights (1847), as depicted by Dorothy Eden in her novel, Never Call it Loving(1966). Eden is most sympathetic to this estranged wife, Kitty, who falls in love with the most charismatic man, Mr. Parnell; like Heathcliff, Parnell dies miserably, leaving the Irish nation in serious schism. This moving novel is analysed as a sample of historical fiction, which delights readers by its accurate and impressive depiction of this romance; historians can rarely do this, for they're concerned with mere dry facts.
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Messenger, Chris. "Joseph Conrad’s Major Fiction and Tender Is the Night: Part Two: Lord Jim, Nostromo, Victory, The Secret Sharer, and What F. Scott Fitzgerald May Have Learned for the Novel’s Form and Narration." F. Scott Fitzgerald Review 20 (October 2022): 97–120. http://dx.doi.org/10.5325/fscotfitzrevi.20.0097.
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Abstract In addition to Heart of Darkness, extensively studied in my 2021 F. Scott Fitzgerald Review essay, “Joseph Conrad’s Major Fiction and Tender Is the Night: Part One: Heart of Darkness and Resentful Caretaking in Tender Is the Night,” this article extends the consideration of F. Scott Fitzgerald’s fascination with Joseph Conrad into more novels that may have influenced his conceptions in Tender Is the Night, including Lord Jim, Nostromo, The Secret Sharer, and Victory. The focus is again on “Fitzgerald’s Conrad” as an exemplary early modernist figure to be learned from and adapted to his narrative needs in the complex novel that became Tender Is the Night. Fitzgerald perhaps shows both conscious and unconscious Conradian influences in his depictions of the material world and historical scene of the book. Conrad’s fiction may have allowed Fitzgerald a way forward to key narrative and stylistic decisions in his novel, which may richly think past its creator to embrace influences and echoes from another classic modernist. The contention is that Conrad’s influence is born out of Fitzgerald’s urgent needs for his long-delayed fourth novel: a protagonist, a viewpoint, a journey, a romance, a tragedy, a self-knowing, and then a leave-taking.
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Tuttleton, James W. "The Form of American Romance, and: Fiction and Historical Consciousness: The American Romance Tradition, and: Modern American Fiction: Form and Function, and: Sea-Brothers: The Tradition of American Sea Fiction from Moby-Dick to the Present (review)." MFS Modern Fiction Studies 35, no. 4 (1989): 743–46. http://dx.doi.org/10.1353/mfs.0.1442.
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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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Fisher, Joel. "Sinclair Lewis and the Diagnostic Novel: Main Street and Babbitt." Journal of American Studies 20, no. 3 (December 1986): 421–33. http://dx.doi.org/10.1017/s0021875800012755.
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Sinclair Lewis's critical reputation could not easily be lower than it is at present. In the discussion that follows I want to suggest that a radical re-evaluation of this reputation, and of Lewis's achievement as a novelist, is necessary; not just because he ought to be read and studied seriously in his own right, but also because in his best fiction he addresses very important issues of narrative technique and of historical and structural analysis. And I believe that without a proper understanding of Lewis's engagement with his material in these areas, most notably in Main Street (1920) and Babbitt (1922), the two texts I want to concentrate on here, any account of the re-shaping of American fiction in the years after the First World War must be seriously incomplete.Lewis has proved to be an extremely easy writer to dismiss from any literary or intellectual canon, and not without good reason. His fictions are direct, accessible, and for the most part actively simple. Like Wells and Bennett in England he is a provincial writer of materialist romances, apparently left behind by Modernism; like Upton Sinclair he is a clumsy and over-productive fictionaliser of obvious social problems; in the 1920s he is a man of middle age writing stories about middle-aged characters for a middle-aged readership in a literary and intellectual climate obsessed and characterized by youth; he is a “wildly inconsistent writer, who in his weakest work unquestionably justifies Schorer's description of him as “one of the worst writers in modern American Literature.” And probably more than any other twentieth-century writer of comparable stature, Lewis has been a victim of literary history-writing. With only the very weak platform of spectacular popular success to support him, he stands as the clearest (and unfortunately also the most vociferous) representative of the American fiction that Hemingway and Fitzgerald and their apologists were careful to be seen to be superseding in the 1920s and 1930s.
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Repenkova, Maria M. "On the coordinate change in the Turkish literary process." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 222. http://dx.doi.org/10.31857/s086919080029201-8.
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Abstract: In this study, the author examines the literary landscape in Turkey given the new dimension opened by the vertical gradation of fiction. The division of literature into high literature (classic), middle-tier (Belles-lettres), and low-tier literature (for mass consumption) is becoming increasingly prominent. Belles-lettres seems to be the most mobile of those, with its representatives being able to, over time, find themselves both at the top and the bottom rung of this paradigm. Zülfü Livaneli's works straddle the line between the high literature and belles-lettres, while books by Barış Müstecaplıoğlu are a perfect example of mass literature becoming regarded as belles-lettres. Another productive approach is horizontal gradation – dividing modern Turkish literature into genres. This is especially true for mass literature, where a clear classification into genres and subgenres is pretty much a precondition for existence. The study singles out such genres of mass literature as detective novels, women's romance novels, and historical adventure novels. Speculative fiction occupies a special place in this, with its genre affiliation being a topic of major discussions. The Turkish literature of the 2000s features several principal genres of speculative fiction: sci-fi (K. Kutlu, G. Berkkan, H. Balçı) with alternative history being a part of such (G. Dayıoğlu, H. Kakınç); fantasy with its subgenres of urban fantasy (S. Yemni, S. Atasoy, G. Elikbank, F. O. Şeran, C. Yücel), "sword and sorcery" fantasy (B. Müstecaplıoğlu, A. Aras, G. Canbaba) and dark fantasy (S. Ersin, G. Öğüt), as well as the genre of dystopia (A. Şaşa). In conclusion, the author argues that analyzing literary pieces necessitates operating with both the vertical and horizontal paradigms simultaneously.
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Valentim, Jorge Vicente. "Um violoncelo todo seu: diálogo interartes em Guilhermina, de Mário Cláudio." Revista do Centro de Estudos Portugueses 38, no. 59 (November 1, 2018): 89. http://dx.doi.org/10.17851/2359-0076.38.59.89-103.
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Resumo: O presente ensaio tem como objetivo propor uma leitura do romance Guilhermina (1985), de Mário Cláudio, sublinhando o diálogo estabelecido entre ficção e música, na recuperação biográfica da violoncelista portuguesa. Pretendemos mostrar que, para além de citações de cunho artístico e histórico, as referências às obras executadas por Guilhermina Suggia podem sugerir um possível caminho para a reflexão sobre os instrumentos de construção estrutural e discursiva do autor. Também objetivamos destacar as singularidades deste texto (o segundo a compor a Trilogia da mão), a partir das imagens selecionadas por Mário Cláudio da artista portuense e das atenções dadas ao seu repertório.Palavras-chave: diálogos interartes; música; ficção portuguesa contemporânea; Mário Cláudio.Abstract: The present essay aims to propose a reading of the novel Guilhermina (1985), by Mario Claudio, underlining the dialogue established between fiction and music, in the biographical recovery of the Portuguese cellist. We want to show that, in addition to references of an artistic and historical nature, the references to works performed by Guilhermina Suggia may suggest a possible way for reflection on the author’s structural and discursive construction tools. We also aim to highlight the singularities of this text (the second to compose the Trilogia da mão), based on the images selected by Mário Cláudio of the artist from Porto and the attention given to his repertoire.Keywords: interartistic dialogues; music; contemporary Portuguese fiction; Mário Cláudio.
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Simsone, Bārbala. "Erotiskās prozas fenomens Latvijā un pasaulē." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 222–32. http://dx.doi.org/10.37384/aplkp.2021.26-1.222.
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The present paper “The Phenomenon of Erotic Fiction in Latvian and World Literature” is devoted to the fiction genre acquiring immense popularity in Western literature while having attracted only fragmentary attention in Latvian literary scholarship, namely the erotic fiction, which is currently among those genres of literature most widely read among Latvian readers and therefore titled as somewhat phenomenal. The first part of the paper provides insight into the history of the erotic world literature and the most common division of the genre into the three basic categories; this part also provides a short overview of the erotic aspects in the Latvian original fiction during the 20th century. It has been possible to decide that the erotic prose has had only a limited representation in Latvian literature, mainly due to historical and socio-political factors, because the common tendency was to euphemise the said aspects, which were often met with an open reproach of the more Puritan part of the society. Erotic aspects in poetry and prose somewhat flourished during the epoch of Decadence (the first decade of the 20th century) and after that, only during the turn of the 20th/21st centuries when the prohibitions invoked by the Soviet censorship were lifted. Nevertheless, even during these periods, the more free approach resulted in only a few prose works of this kind or else episodes in works of other genres. The conclusive part of the paper is devoted to four novels by currently the most popular author of erotic romance in Latvian literature, Karīna Račko, inviting at the same time the discussion about the reasons for the popularity of these novels which might proceed from their common structural characteristics. It is possible to observe that the novel’s structures are notably similar to the basic plotlines of fairy-tales that the readers recognise on an archetypal level. Consequently, this makes it possible to view these novels as a sort of fairy-tales for modern grown-ups whose attraction is multiplied by the fact that the texts include specific aspects of visualisation that make it possible for the readers to identify closely with the characters.
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Guseinov, G. R. А. К., and А. L. Mugumova. "Russian classical literature of the 19th century and Kumyks: Images and prototypes." Philology and Culture, no. 4 (December 29, 2023): 126–31. http://dx.doi.org/10.26907/2782-4756-2023-74-4-126-131.
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In the literature on the issue, the ethnikon Dagestan is traditionally used, which is interpreted as an ethnonym identified with the highlanders of Dagestan. However, the languages of the latter were called Dagestanian only beginning with the second half of the twentieth century. This calls into question the historical subjectivity of the Kumyks who were traditionally called “Dagestan Tatars” as far back as in the 19th century. That is what they are called, along with the Dagestan highlanders-Lezgins, in the “Notes from the House of the Dead” by Fyodor Dostoevsky. Kumyks, under the name of “Tatars”, are also mentioned later - in Leo Tolstoy’s story “The Prisoner of the Caucasus”. A very significant fact is not only the images of the Kumyks in Russian fiction of the time under consideration, but also their historical prototypes’ fame, established by K. Aliyev. These works of fiction include A. Pushkin’s sketches and the plan of the “Romance on the Caucasian Waters” (1831), published in 1881, whose plot was connected with Shah-Vali, the son of Shamkhal of Tarkovsky Mehdi II. Crimea-shamkhal Ummalat-bek Buynaksky, an associate of the first Imam Gazi-Muhammad, was the prototype of the protagonist in A. BestuzhevMarlinsky’s story “Ammalat-Bek”. Bela is also considered to be a Kumychka who, together with her brother Azamat, belongs to the central images of M. Lermontov’s story of the same name. K. Aliyev found the Kumyk prototypes of some participants in the battle, to which M. Lermontov dedicated his poem “Valerik” (1842). We also draw attention to the Kumyk prototype of Colonel Khasanov, one of the characters in Leo Tolstoy’s story “The Raid. A Volunteer’s Story”.
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O'Dell, Benjamin D. "Historicity." Victorian Literature and Culture 51, no. 3 (2023): 423–26. http://dx.doi.org/10.1017/s106015032300027x.
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Historicity—that is, a cultural and aesthetic engagement with historical movement—is a crucial term for analyzing and evaluating what we commonly call “realist” fiction. In The Historical Novel (1939), Georg Lukács famously associated literature's historicity with the realist novel's ability to capture historical movement through typical characters, a feature he tied to Walter Scott's historical romances. For Lukács, Scott's “faithfulness” to history does not imply “a chronicle-like, naturalistic reproduction of language, mode of thought, and feeling of the past.” Rather, it comes from the way Scott uses “necessary anachronism” to portray the past “as the necessary prehistory of the present,” primarily through his protagonists’ symbolic movement between warring camps. Although historical romances remained popular in British literature after Scott's death, Victorian historical romances differed from the Waverley novels in important ways. This brief keyword essay considers the nature of those differences and their effect on literature's historicity more generally.
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TASCA, MICHELLE FERNANDA. "História e imaginação histórica: a “Crônica do Descobrimento do Brasil” de Varnhagen e as narrativas de Alexandre Herculano * History and historical imagination: The Varnhagen’s “Crônica do Descobrimento do Brasil” and the Alexandre Herculano’s narratives." História e Cultura 3, no. 1 (April 28, 2014): 217. http://dx.doi.org/10.18223/hiscult.v3i1.1195.
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<p><strong>Resumo: </strong>As fronteiras entre a História e a ficção possibilitaram a escrita de diversos textos oitocentistas que jogavam com essa dualidade conceitual. Alexandre Herculano (1810-1877) atuou intensamente nesse sentido, criando uma ficção histórica, característica do Romantismo português, ao trabalhar simultaneamente com objetos históricos e a imaginação. Ao mesmo tempo, percebemos na “Crônica do Descobrimento do Brasil” (1840) de Francisco Adolfo de Varnhagen (1816-1878) a presença de vários elementos característicos dessa Literatura desenvolvida por Herculano. A partir de uma leitura paralela dos textos de ambos os autores, procura-se perceber os caminhos tomados para a elaboração desse projeto literário oitocentista, que lançava as bases para um romance histórico lusitano, e a forma como tais elementos se desenvolveram nas obras em questão.</p><p><strong>Palavras-chave:</strong> Imaginação Histórica – Francisco Adolfo de Varnhagen – Alexandre Herculano.</p><p> </p><p><strong>Abstract: </strong>The boundaries between history and fiction enabled the writing of many nineteenth-century texts that played with this conceptual dualism. Alexandre Herculano (1810-1877) worked intensively towards this direction, creating a historical fiction characteristic of Portuguese romanticism while working with historical objects and imagination. In the Francisco Adolfo de Varnhagen’s (1816-1878) “Crônica do Descobrimento do Brasil” (1840) we also noticed the presence of several characteristic features of this literature developed by Herculano. By a parallel reading of the texts of both authors, we seek to understand the paths taken to the construction of the nineteenth-century literary project, which laid the foundation for a Lusitanian historical novel, and how these elements are developed in such works.</p><p><strong>Keywords:</strong> Historical Imagination – Francisco Adolfo de Varnhagen – Alexandre Herculano.</p>