Relevant bibliographies by topics / Historical fiction, Italian History and criticism

Academic literature on the topic 'Historical fiction, Italian History and criticism'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Historical fiction, Italian History and criticism"

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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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Burger, Willie. "Historiese korrektheid en historiese fiksie: ’n respons." Tydskrif vir Letterkunde 52, no. 2 (February 17, 2015): 78. http://dx.doi.org/10.4314/tvl.v52i2.6.

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Historical correctness and historical fiction: a responseIn this article the relationship between history and fiction is examined in response to the historian, Fransjohan Pretorius’s criticism of recent Afrikaans fiction about the Anglo-Boer War in Tydskrif vir Letterkunde 52.2 (2015). The intricate relationship between history and fiction is examined by pointing, on the one hand to the problematic of the relationship between history and the past and on the one hand, to the difference between fiction and history. The function of aesthetic illusion, verisimilitude and conceptions of reference is investigated theoretically before turning to the specific novels that Pretorius discusses. The article shows that historical fiction cannot be restricted to novelized versions of accepted history, but that historical fiction also reminds the reader that the past is always culturally mediated and that the primary aim of novels is not to represent the past but to examine aspects of human existence. A comparison between fiction and history can therefore not be used as a norm to assess novels.
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Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.

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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.
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Heise-von der Lippe, Anya. "Histories of Futures Past: Dystopian Fiction and the Historical Impulse." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (December 19, 2018): 411–25. http://dx.doi.org/10.1515/zaa-2018-0035.

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Abstract This article traces the historical impulse in two intertextually connected dystopian texts – George Orwell’s 1984 (1949) and Margaret Atwood’s The Handmaid’s Tale (1985) – by reading the two novels in the context of the construction of historical narrative after the proclaimed ‘end of history’ in the twentieth century. It considers their representation of history within the framework of literary criticism of the historical novel (György Lukács), critical dystopias (Tom Moylan), and memory as an active, mediated engagement with the past (Astrid Erll and Ann Rigney). It looks, more specifically, at how the texts contrast personal experience and the meta-narrative contemplation of memory with institutionalized versions of history on different diegetic levels by juxtaposing the narrators’/focalizers’ view of history with that presented in the framework of pseudo-historical appendices that accompany and significantly modify the interpretations of both narratives.
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Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.

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Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.
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Gurenkova, Julia V. "Perception of absurdistic texts of Achille Campanile in criticism." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 164–70. http://dx.doi.org/10.20339/phs.5-22.164.

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The article presents an overview of the critical reception of the work of the Italian writer of the twentieth century Achille Campanile. The relevance of this study lies in the fact that it analyzes the work of a little-known Italian writer-comedian in Russia, which has not been sufficiently studied in Russian literary criticism and in foreign science. Officially, the works of Campanile are not classified as absurdism as a direction, however, according to some critics, this author should be considered not just a predecessor, but the founder of the theater of the absurd. Accordingly, the study of the poetics of A. Campanile’s comedies is necessary from the point of view of analyzing the genesis of absurdism in Western Europe. The purpose of the study is to comprehend the role and significance of the author’s heritage in the history of Italian and world literature. The main methodological basis of the study is a combination of biographical, historical-literary, historical-cultural and comparative research methods. The materials presented in the article allow us to conclude that in the work of A. Campanile, some critics identify common features with futurism, surrealism and absurdism. Researchers of Campanile’s work generally highly appreciate the talent of the writer, highlight the main techniques used by the author to create a comic effect, a feature of the style and language of the works.
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Drozdova, Daria N. "Francis Bacon, Between Myth and History." Epistemology & Philosophy of Science 58, no. 3 (2021): 6–21. http://dx.doi.org/10.5840/eps202158339.

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Over the last 400 years, attitudes toward Francis Bacon's philosophy have changed considerably: the 17-century interest and the 18-century enthusiasm have been replaced by the 20-century criticism and reevaluation. However, both the praise and the rejection of the Lord Chancellor’s philosophical ideas often originate from the isolation and absolutization of particular features of his philosophy that can sometimes be in opposition to each other. These partial readings are justified by the fact that the reference to Bacon’s methodological and epistemological legacy has a symbolic meaning and is part of what is called “image of science” in Y. Elkana’s terminology. The way in which references to Bacon are used at different times and in different contexts is, in fact, a functional myth or theoretical fiction (I. Kasavin) in which the “historical Bacon” is fading away and what emerges is important and meaningful to those who declare themselves his followers or who lash out at him with criticism.
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Enslen, Joshua Alma. "Between diplomacy and letters: a sketch of Manuel de Oliveira Lima's search for a Brazilian identity." História (São Paulo) 24, no. 2 (2005): 243–59. http://dx.doi.org/10.1590/s0101-90742005000200010.

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Manuel de Oliveira Lima as an important diplomat of the First Republic in Brazil reflects on an individual, national, and universal plane the convergence of politics and literature. His writing demonstrates an explicit attempt to construct a national identity that emanates not only between literature and diplomacy, but also between the personal and the historical, as well as, the foreign and the national. This paper analyzes brief examples of his criticism, personal correspondence, and fiction that demonstrate the convergence of these fields.
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Kambon, Ọbádélé Bakari, and Lwanga Songsore. "Fiction vs. Evidence: A Critical Review of Ataa Ayi Kwei Armah’s Wat Nt Shemsw and the Eurasian Rhetorical Ethic." African and Asian Studies 20, no. 1-2 (April 27, 2021): 124–53. http://dx.doi.org/10.1163/15692108-12341486.

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Abstract At the 2018 Outstanding African Thinkers Conference on Nna Chinweizu, attendees – the first author included – took a pledge that “In all branches of our lives, we must be capable of criticizing and of accepting criticism. But criticism, proof of the willingness of others to help us or of our willingness to help others, must be complemented by self-criticism – proof of our own willingness to help ourselves to improve our thoughts and our actions. This is a sacred principle and it is my sacred duty to apply and defend it at all costs” (Chinweizu 2018). In response to that call to action, this article represents an effort to restore MꜢꜤt ‘Maat.’ Ataa Ayi Kwei Armah’s Wat Nt Shemsw: The Way of Companions epitomizes undeclared fiction masquerading as an accurate reflection of the mythology of classical Kmt ‘Land of Black People.’ By cross-checking Ataa Armah’s undeclared fiction with actual historical, iconographical, and archaeological data, we are able to debunk his numerous misrepresentations. We find that the best way to approach Kmt ‘Land of Black People’ is through direct engagement with actual evidence rather than through the distortions of fiction writers turned Egyptologists. Further, we will address the personality cult, or what we term “Ataa Armah’s Manor Shemsw model,” which embodies the rhetorical ethic whereby all egalitarians are equal, but some egalitarians are more equal than others (Orwell, Baker, and Woodhouse 1996).
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Weiser, Frans. "Contextualizing History-as-Adaptation: An Interdisciplinary Comparison of Historical Revisionism." Adaptation 12, no. 2 (May 27, 2017): 105–17. http://dx.doi.org/10.1093/adaptation/apx009.

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Abstract The return to history in the humanities during the 1980s prompted literary and film scholars to question historiography’s empirical scientific status, as they instead argued that history shared more in common with fiction while their own fields of study provided means of democratizing the historical record. The concept of history-as-adaptation, recently introduced by Laurence Raw and Defne Ersin Tutan, and further developed by Tom Leitch, draws upon several of the same goals as these earlier revisionist critiques. This article contextualizes how external revision of history has been used by disciplines as a means of solidifying their own identities, despite the fact that history departments have not responded to such criticism. Through a cross-disciplinary analysis of the postmodern interrogation of historical claims, I seek to not only contextualize the adaptive turn but also demonstrate how the field’s comparative identity provides a means of transcending oppositional discourse. Drawing on the work of Robert Berkhofer, I establish a supplemental interpretation of history-as-adaptation, demonstrating the advantages of applying adaptive strategies to the documentary framework at the heart of historical methodology.
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Dissertations / Theses on the topic "Historical fiction, Italian History and criticism"

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Canton, Licia. "The question of identity in Italian-Canadian fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ43473.pdf.

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Niemeyer, Lisa. "Writing German historical fiction in an age of change, 1848-1871." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609458.

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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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Lin, Qingxin, and 林慶新. "Brushing history against the grain: constructing the Chinese new historical fiction as an oppositionaldiscourse." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B3124337X.

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趙米卿 and Mai-hing Chui. "A study of the Ming and Qing historical novels related toYue Fei." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B38803835.

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Samperi-Mangan, Jacqueline. "Narrativa della Svizzera italiana dal '60 a oggi." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36700.

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This study provides an overview of the literature of the Italian-speaking regions of Switzerland. It presents well-known authors but also lesser-known writers who have made an important contribution to the literature of the Ticino and Grigioni cantons. Dating from the 1960s to the present, the corpus bears witness to a remarkable vitality and innovative spirit, which on occasion overflow political borders and find their way into the much larger Italian market. The dynamism of local publishers has contributed to focusing attention on the high quality and importance of the literature produced by Swiss authors writing in Italian. The distinctive character of this literature lies in the unique combination of disparate factors. Italian language, Swiss culture, and European concerns interact with emotional ties to the local communities in a rich social context marked by past misery and a present characterized by advanced capitalism.
The choice of authors is based on the desire to trace the evolution of narrative literature during the last four decades and present a wide range of themes and styles. In addition to the renowned Giovanni Orelli, this study considers the equally important works of writers such as Alberto Nessi, Claudio Nembrini, Anna Felder, Elda Guidinetti, Silvana Lattmann, Ennio Maccagno, among others. Very young writers whose first efforts are shaping the future of Swiss literature in Italian are also examined.
A special chapter is devoted to women writers. The goal is to identify the style and set of themes which distinguish their contribution from that of their colleagues. The study also discusses the importance of their presence on the literary scene after a time, not so far in the past, when women were confined to writing, in dialect, diaries and letters to relatives who had emigrated.
The discussion of the corpus is prefaced by a detailed presentation of the geographical, social and political context which often determines the literary outcome. The importance of this context has also influenced the way in which the texts are approached. The narratives studied reflect and interpret the problems society was facing at a particular time, as well as the intellectual movements that characterize each period. A chronological presentation of each individual author would have fragmented the dynamic background from which his or her works emerge and within which such works must be located. The name of an author will therefore resurface in different contexts when one of his or her works is discussed in connection with the given period or intellectual movement under examination. The literary history of each author, however, can be easily reconstructed through an attentive reading. What emerges at the end of the study is a widened field of knowledge for Italian studies, whose object can no longer be seen to coincide with the literary production within the borders of the Italian state.
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Zajac, Ronald J. (Ronald John). "The Dystopian city in British and US science fiction, 1960-1975 : urban chronotopes as models of historical closure." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61046.

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In much dystopian SF, the city models a society which represses the protagonist's sense of historical time, replacing it with a sense of "private" time affecting isolated individuals. This phenomenon appears in dystopian SF novels of 1960-75--including Thomas M. Disch's 334, John Brunner's The Jagged Orbit, Philip K. Dick's Martian Time-Slip, J. G. Ballard's High-Rise, and Samuel R. Delany's Dhalgren--as well as some precursors--including Wells, Zamyatin's We, Huxley's Brave New World and Orwell's Nineteen Eighty-Four. In these novels the cities also reveal in their chronotopic arrangement the degree to which revolutionary forces can oppose the dystopian order. While the earlier dystopias see revolution crushed by despotic state power, those of 1960-75 see it thwarted by the dehumanizing effects of capitalism. The period from 1960-75 ends in resignation to an existence in which individual action can no longer effect political change, at best tempered by irony (Disch, Delany).
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Hui, Lai-ka Jodie, and 許麗卡. "Postmodern passion in historiographic metafiction: an analysis of four texts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B32021483.

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Aecherli, Claire-Line. "L'opera di Vittorini : uno studio strutturale." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66020.

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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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Books on the topic "Historical fiction, Italian History and criticism"

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Coletta, Cristina Della. Plotting the past: Metamorphoses of historical narrative in modern Italian fiction. West Lafayette, Ind: Purdue University Press, 1996.

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Contesting the monument: The anti-illusionist Italian historical novel. Leeds, England: Northern Universities Press, 2005.

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Convegno di studi sul tema Il romanzo e la storia (2005 Palermo, Italy). Il romanzo e la storia: Percorsi critici. Palermo: Duepunti, 2007.

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Michela, Sacco Messineo, ed. Il romanzo e la storia: Percorsi critici. Palermo: Duepunti, 2007.

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Socially symbolic acts: The historicizing fictions of Umberto Eco, Vincenzo Consolo, and Antonio Tabucchi. Madison, N.J: Fairleigh Dickinson University Press, 2006.

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Federicis, Lidia De. Letteratura e storia. Roma: Laterza, 1998.

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Spinazzola, Vittorio. Il romanzo antistorico. Roma: Editori riuniti, 1990.

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Ganeri, Margherita. Il romanzo storico in Italia: Il dibattito critico dalle origini al postmoderno. Lecce: P. Manni, 1999.

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Andrea Camilleri e il romanzo storico in Italia: A proposito de "Il re di Girgenti". Pescara: Tracce, 2005.

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Lingua e racconto nel romanzo storico italiano: 1827-1838. Padova: Esedra, 2002.

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Book chapters on the topic "Historical fiction, Italian History and criticism"

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Wyke, Maria. "Word and Image." In The Novel of Neronian Rome and its Multimedial Transformations, 143–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0009.

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The pioneering Italian film Quo vadis? (1913, dir. Enrico Guazzoni) is widely recognized as a turning point in both film history and the popular reception of the ancient world. Its feature-length adaptation of the Polish novel sought to nationalize the Italian public through the presentation of a common cultural heritage in the Roman past, to raise the commercial prestige of the Italian film industry in global markets, and to increase the artistic status of cinema and legitimate it as a respectable form of entertainment. Its use of nineteenth-century historical fiction also provided a radically new way of experiencing Neronian Rome, related to but distinct from the reconstruction of the Roman past in other high cultural forms. The film achieved substantial success, reaching spectators of all classes throughout Italy and across the world. Yet when it was first released, some critics deplored it as cheap, facile ‘wordless images’—a harbinger of a ‘cinema age’ that would threaten the survival of theatre, the book, and even literacy itself. This chapter draws on recent work in adaptation studies to reconceptualize the relationship between the Italian film and the Polish novel as more complex than image to word. And, through its analysis of the afterlife of Sienkiewicz’s novel on screen, this chapter explores cinema more broadly as a mode of expression that is not inferior to the book but more varied, and in possession of extensive ideological and aesthetic, as well as mass-market, reach.
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Hamnett, Brian. "History and invention in the Italian question." In The Historical Novel in Nineteenth-Century EuropeRepresentations of Reality in History and Fiction, 147–70. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780199695041.003.0008.

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Newark, Cormac. "Opera in Nineteenth-Century Italian Fiction: Reading ‘Senso’." In The Edinburgh Companion to Literature and Music, 423–28. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0043.

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Literary tropes of Italian political (i.e. Risorgimento) reception of opera are read through Camillo Boito’s short story ‘Senso’ (1880), its single reference to opera (the composer Giacomo Meyerbeer), and its film adaptation by Luchino Visconti (1954, featuring music by Giuseppe Verdi instead). The chapter shows opera as highly contested territory then and now, a synecdoche of wider issues of mixed, and changing, cultural identity. In Boito (if not in Visconti), opera has something to contribute to our understanding of Italian history not because of its having been co-opted in the cause of straightforward narratives of the nation, but rather because of its own historical and (inter-)national discontinuities.
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Thiess, Derek J. "Sport, Institution, and the Devil." In Sport and Monstrosity in Science Fiction, 140–61. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942227.003.0008.

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This chapter continues the discussion of individuality in sport, but also places the athlete in direct discussion with the institutions that organize and manage sports. Criticism of sport institutions such as the NCAA, NFL, and Olympic Committee are very popular, particularly within sociological constructivism. This chapter places this criticism in a historical context, suggesting it bears a relationship with a longer history of denigrating the athlete as idolatrous. Engaging stories and films that highlight the interaction of athletes with political, religious, and financial institutions the monstrous athlete emerges as a worthy victim caught in a kind of culture war between those who denigrate them and those who exploit them, sometimes one and the same.
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DeLucia, JoEllen. "Stadial Fiction or the Progress of Taste." In A Feminine Enlightenment. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748695942.003.0005.

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The final chapter argues that the questions about women and the civilizing process first raised in the relatively elite milieu of Montagu’s Bluestocking salons migrated into the popular fiction of the Romantic era, shaping conversations about women and historical progress into the nineteenth century. The term conjectural fiction borrows from Dugald Stewart’s term “conjectural history,” which describes the stadial method of historiography developed during the Scottish Enlightenment. Conjectural fiction highlights Regina Maria Roche and Maria Edgeworth’s use of the feminine and aesthetic categories of delicacy, elegance, and beauty to gauge changing historical and economic conditions in their fiction. This comparative approach to charting progress also migrated into aesthetic theories from the same period, including Hugh Blair’s Lectures on Rhetoric and Belles Lettres (1783), Lord Kames’s Essay on Criticism (1762), and Dugald Stewart’s Essay on Taste (1810).
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Mariani, Maria Anna. "Sabotage Logic." In Italian Literature in the Nuclear Age, 98–135. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192868855.003.0004.

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Abstract This chapter takes its start from the lecture “For or Against the Atomic Bomb” by Elsa Morante. In this piece, Morante frames in her own terms the Frankfurt School’s idea of the entangled relationship between rationality and barbarism. Morante denounces the bond between the cultural legacy of Italy and the most aberrant deviations of instrumental reasoning, calling out the nation as a fully responsible partner in the extermination camps and the atomic bomb. Sealed by a Zen koan, which keeps in check a now perverted rationality, Morante’s lecture serves as a declaration of poetics for her most powerful novel, History. In it, fiction is assigned the task of telling the truth about twentieth-century events that official history would likely represent in a distorted and partial way. The chapter probes an ethical ban that erects armor-plated fencing around the Hiroshima and Nagasaki events, making them incompatible with Morante’s historical novel and effectively intractable.
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Birkhold, Matthew H. "Introduction." In Characters Before Copyright, 1–26. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831976.003.0001.

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The Introduction raises the main questions answered by the book: how were characters regulated before the existence of intellectual property laws? Why does fan fiction proliferate after 1750? And how did fan fiction and its rules affect authorship and the law? It further provides a brief history of fan fiction from Homer to Goethe and offers an explanation of the methodology used in this text, combining legal anthropology, literary criticism, and historical analysis based on archival work. The Introduction places the work within existing scholarship on legal history, studies of eighteenth-century literature and the book trade, and intellectual property law.
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Brazil, Kevin, David Sergeant, and Tom Sperlinger. "Introduction." In Doris Lessing and the Forming of History. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414432.003.0001.

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‘It’s a question of form’ (1993: 418). So declares frustrated writer Anna Wulf, in what remains Lessing’s most celebrated novel, The Golden Notebook. As this volume shows, the attempt to find forms which might record, model and engage historical change and all that it entails is one that persists throughout the six decades spanned by Lessing’s writing. The chapters that follow attend to the full weight of Anna’s statement: when Lessing’s writing turns towards history it is not simply a question of finding the literary form that might best represent it; rather it involves questioning the very relationship between form and history, as they are brought together afresh in each new work. These questions might be common to literary criticism, but the chronological breadth of Lessing’s career, and its sheer variety and productivity, makes them both particularly pressing and particularly enlightening in her work. As she moves from colonial Rhodesia to post-war Britain, and from war-torn Afghanistan to our posthuman future, her work employs the full panoply of techniques, modes, genres and effects that we refer to as forms: short stories, realism, serial fiction, documentary, drama, jokes, Sufi tales, reportage – and more....
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9

González, José Eduardo. "Historical, Critical, and Theoretical Work on the Latin American Novel." In The Oxford Handbook of the Latin American Novel. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197541852.013.29.

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Abstract This chapter argues that the reading of the novel in Latin American criticism was, since its origins in the nineteenth century, tied to a view of this genre as connected to the concept of the nation. In contrast to the emergence and popularity of the novel in the Anglo-European world, which was marked by the possibilities that the individualism of capitalist modernity created, Latin American critics have always emphasized the role of this literary form in expressing collective feelings and ideals. This tendency led to embracing and praising the type of novels that could lend themselves to this kind of allegorical interpretation and ignoring the contributions to the history of Latin American fiction of periods or styles (such as modernismo and the avant-garde) where narrations took more of an individually oriented form. Important changes came with the Boom phenomenon as the authors belonging to this group moved the novel away from representation through national content to an originality that was expressed using innovative writing techniques. However, the view that the Latin American novel must be assigned the task of representing the nation (or region) continued to be an important part of how the genre was read until the 1980s, when new theories begin to challenge traditional concepts of writing.
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10

Maystrenko, Lyudmila. "THE ORIGINALITY OF THE MYTHOLOGY OF EROS PLATO IN THE POETRY OF VERGILIUS." In Modernization of research area: national prospects and European practices. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-221-0-26.

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Eros is one of the main themes of world literature. The theory of love, dialectically expounded by Plato in The Banquet, had a great influence on all European cultures, especially on morality, fiction, and fine arts. The experience of world literature confirms Plato’s theory, including the poetry of Virgil, his works «Bucolic», «Georgica» and «Aeneid». The purpose of the paper is to identify the characteristic features of the mythology of Eros in the works of Virgil, to clarify the nature of the eternal relevance of Plato’s philosophical discovery of earthly love and heavenly love, his vitality in literary works. Methodology. The choice of methods is determined by the peculiarities of the scientific problems of the topic, the solution of which is based on the selection, systematization, comparison, and textual analysis of the relevant material. The main method of research is comparative-historical with genetic and contact approaches, which are in the direct or indirect dialogue of Virgil with other authors. The psychological method was used to know the inner world of the artist, and his author’s interpretation of the mythology of Eros. Results of the survey. Objectively substantiated results are obtained, structural, thematic, and ideological characteristics of Eros mythology are systematized in their interrelation as a complex phenomenon during a certain period in Virgil’s poetry, and established ideas about the mythopoetic paradigm in ancient literature are developed. Plato’s teachings on Eros, its two stages – lower (Earthly love) and higher (Heavenly love) actualize the works of Virgil: «Bucolics», «Georgics», «Aeneid». Рractical implications and value. The practical significance of the work and its value are determined by the possibility of using it in the course of lectures at higher educational institutions. The same results can be taken into account when writing monographs, textbooks, and manuals, in the development of lectures, courses, and special courses on the history of foreign literature. In the Bucolics, Virgil raises the issue of the harmony of man and nature associated with the beauty of Eros. Virgil’s «Bucolics» testify to the complex inner world of man, to the dissonances of his soul, tired of the big city. Rural themes, full of beauty and love of life with all the colors of the Italian land, with the poet’s favorite evening – the constant motifs of the idyllic world of Virgil, which encourages love. In the Georgics, Virgil considers four themes: love, renunciation, death, and rebirth, developing Plato’s theory of the lower and higher levels of Eros – earthly and heavenly love. Virgil denies earthly love. He focuses on libido sexual – sexual desire as the lower stage of Eros. Virgil condemns not only carnal love but also all passion. The vanity of horses rushing to the finish line is no different from human vanity. An example of renunciation of love and all passion is the bee kingdom in Book IV «Georgik». Dido’s tragic love for Aeneas began with libido. Virgil equates the queen’s love affair with illness, a terrible element, a catastrophe. The spirit of great tragedy hovers throughout the fourth book of the Aeneid. Sympathizing with Dido, Virgil condemns her love for Aeneas as a destructive, destructive force, a mad shawl of love passion. However, the poet does not deny purified, that is, ideal love in the Platonic sense. It begins with love for the native land, for beauty, and reigns in all his works. It is love for nature, which permeates the artistic world of the poet, for native lares and penates, love for parents and paternal and maternal love, a mutual friendship between kindred spirits, and finally – love for all things: trees, celestial bodies, space life. Universal love dominates all the works of Virgil.
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