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Journal articles on the topic 'Historical fiction. Southern fiction'
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1
Ajdačić, Dejan. "O genetski izazvanim bolestima u romanu „Kralj Bola i skakavac” (Król Bólu i pasikonik) Jaceka Dukaja." Slavica Wratislaviensia 177 (December 30, 2022): 221–29. http://dx.doi.org/10.19195/0137-1150.177.19.
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The author discusses the historical changes in attitudes towards infectious diseases in the mythological, Christian-religious and scientific worldview before and after the discovery of the causes of these diseases in the context of the types of futuristic fiction. One narrative line of the novel by contemporary Polish writer Jacek Dukaj King of Pain and the Grasshopper (Król Bólu i pasikonik, 2010) is centred on to the production of retroviruses and carcinogenic agents by genetic engineering companies that cause epidemics and destroy wildlife in the southern hemisphere. The text points out the specifics of the author’s descriptions of the cause of the plague and discusses Dukaj’s speculative projections of futuristic fiction.
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Lucena, Sarah C. "The Mercosur fiction: politics and literature in Gabriela Aguerre’s O quarto branco." Cadernos PROLAM/USP 21, no. 44 (December 31, 2022): 131–51. http://dx.doi.org/10.11606/issn.1676-6288.prolam.2022.201022.
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This paper discusses the viability of speaking of a Southern Cone identity as a Mercosur’s project by analyzing Gabriela Aguerre’s O quarto branco (2019). Departing from the official Mercosur’s discourse about its project of regional cultural integration and in connection with Diego Olstein’s (2017) concept of American Divergence, I argue that the lack of success of Mercosur in creating the notion of a common identity for the Southern Cone is linked to the historical foundation in which lies the creation of the bloc. By reading Aguerre’s novel in view of such divergent framework, I propose that the regional integration that Mercosur longs for can be achieved via literature – specifically through Benedict Anderson’s (2016) concept of print-capitalism, for which novel in print functions as the seed and fabric from which large groups of anonymous peoples can commune and identify. When representing the dualities at play when moving across the Southern Cone borders, Aguerre’s novel both contests and accepts such duality while suggesting that the Mercosur’s common identity is still not a reality, yet achievable in the realm of fiction and communal imagination.
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Ricci, Luca. "Inventing Patron Saints: The Cult of St Fulk between Civic Reality and Historical Fiction." Classica et Mediaevalia 72 (October 28, 2023): 145–75. http://dx.doi.org/10.7146/classicaetmediaevalia.v72i.141498.
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Seventeenth-century sources attest the cult of English pilgrims in southern Lazio. Focusing on the case of Fulk, I argue that the seventeenth-century tradition is supported neither by the literary accounts nor by topographical analyses. Instead, Fulk’s cult, based on Peter Deacon’s twelfth-century Vita Fulconis, was central in processes of civic formation. Changing religious attitudes in the twelfth/thirteenth century are linked with lay sainthood. An English pilgrim coming back from the Holy Land, through the sanctuary on Mount Gargano, brought great prestige to the urban centre vis-à-vis other urban centres, having visited and, thus, been a witness to some of the greatest places in Christendom.
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Stone, Albert E. "The Return of Nat Turner in Sixties America." Prospects 12 (October 1987): 223–53. http://dx.doi.org/10.1017/s0361233300005597.
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One of the less publicized public events of that annus mirabilis 1968 was the annual meeting in November of a venerable academic institution, the Southern Historical Association. Convened in New Orleans was a group of intellectuals knit together by, among other professional ties, a common preoccupation with the Southern past. Prominent among these was C. Vann Woodward of Yale, arguably America's most eminent historian of the South. Also present were three famous novelists: Robert Penn Warren, Ralph Ellison, and William Styron. All native-born Southerners (if Oklahoma City, Ellison's birthplace, qualifies as a Southern city), they were there as participants in a panel, chaired by Woodward, on “The Uses of History in Fiction.” The session took place on November 6, the day after the election of Richard Nixon and seven months and two days after the assassination of Martin Luther King, Jr. It was probably the liveliest, best-attended event of an otherwise staid meeting of professors. Much of the interest was generated by the topic and the distinguished panelists, but additional electricity was contributed by a cluster of young blacks in the audience. As passionately interested in the subject as were those on the platform, they were in attendance chiefly to question and challenge Styron. It was his use of history in fiction upon which much of the evening's discussion devolved.
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Lavery, Charne. "The Southern Indian Ocean and the Oceanic South." Global Nineteenth-Century Studies 1, no. 1 (June 1, 2022): 63–72. http://dx.doi.org/10.3828/gncs.2022.10.
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The southern Indian Ocean constitutes a distinct oceanographic region that offers useful links, connections, and perspectives as an area of inquiry, in the domain of colonial and postcolonial literature but also more widely. The region is both particularly oceanic and particularly southern, making it a key part of the ‘oceanic South’, a formulation which overlays the postcolonial poverty of the Global South with its oceanicity. As an area of inquiry it complicates Indian Ocean studies by drawing its purview into colder, wilder, more oceanic regions; centralizes questions of the global - and oceanic - South; and encourages a focus on the ocean itself. The article describes the material characteristics of the southern Indian Ocean, places it within the oceanic South, and as an example reads a work of historical fiction - Dan Sleigh’s Islands (2005) - within this particular oceanic, political, and literary geography.
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Chekalov, Kirill A. "ALEXANDRE DUMAS AND A GOTHIC NOVEL (DEDICATED TO 150TH ANNIVERSARY OF THE WRITER’S DEATH)." Vestnik of Kostroma State University, no. 3 (2020): 134–40. http://dx.doi.org/10.34216/1998-0817-2020-26-3-134-140.
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The article considers the characteristics of interpretation by Alexandre Dumas père of a genre of gothic fiction based on the writer’s less popular works: Le Château d’Eppstein, 1843 and Le Pasteur d’Ashbourn,1853. Alexandre Dumas père deviates from the genre’s traditional surrounding, i.e. the southern France, Italy, Spain. Le Château d’Eppstein is set in Germany; by connecting the legendary past with the historical time, Dumas enhances one of the genre’s inherent features, at the same time enriching the narrative with a dense intertextual component. The events of Le pasteur d’Ashbourn happen in England. The first part of the book is a rescript of a sentimental novel Leben Eines Armen Landpredigers by August Heinrich Julius Lafontaine (1801; translated in French by Isabelle de Montolieu as Nouveaux Tableaux De Famille Ou La Vie D’un Pauvre Ministre De Village Allemand Et De Ses Enfants – 1802; translated in English as The Village Pastor and His Children – 1803), which beautifully contrasts with a traditional gothic plot of the second part and an extensive ironic epilogue. Both novels demonstrate that Dumas did not intend to imitate the gothic fiction, but rather to transform it by means of witty genre and stylistic experiments.
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Collins, Christiane Crasemann. "Urban Interchange in the Southern Cone: Le Corbusier (1929) and Werner Hegemann (1931) in Argentina." Journal of the Society of Architectural Historians 54, no. 2 (June 1, 1995): 208–27. http://dx.doi.org/10.2307/990968.
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The Southern Cone of the Americas, although geographically remote, had evolved in the 1920s and 1930s into a vital arena for architectural and urban ideas. For European visitors expecting a tabula rasa on which their visions and dreams could be explored, this proved to be a fiction when they encountered sophisticated local schemes and ambitions. This essay provides a look at the urban discourse in Buenos Aires and Rosario that coalesced around the presence of two international urbanists representing distinct positions: Le Corbusier and Werner Hegemann. Consideration is given to the cultural and social ambient. A historical overview of urban development and a discussion of the complex politics in the area are beyond the scope of this study.
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Thomas, Brook. "Albion W. Tourgée's Forgotten Dystopia: How the South Conspired with Northern Monopolists to Win the Post-Civil-War Peace." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 80, no. 1 (March 2024): 1–27. http://dx.doi.org/10.1353/arq.2024.a921515.
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Abstract: Albion W. Tourgée wrote best-selling novels based on his days fighting the Klan and trying to reconstruct North Carolina. Recently his fiction and his role as Homer Plessy's lead attorney have received renewed attention. But the work to which he devoted most energy remains forgotten. Speaking directly to today's world of ongoing racial injustice and income inequality, "89 (1888) is told by the Grand Master of the Order of the Southern Cross. He and a northern monopolist based on J.D. Rockefeller conspire to bring about peaceful secession of the South and suppression of northern workers. After summarizing the book's elaborate dystopian plot, the essay details how Tourgée forged the often-forgotten historical events on which it is based into a novel that, better than any work of the time, warned the nation of the threat posed by what W.E.B. Du Bois called the "bargain between Big Business and the South."
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Butkus, Vigmantas. "The Image of Ancient Lithuania in Latvian Literature of the First Half of the 20th Century." Colloquia 51 (July 24, 2023): 13–30. http://dx.doi.org/10.51554/coll.23.51.02.
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The image of ancient Lithuania in Latvian fiction of the first half of the 20th century is usually revealed through works of various genres and uneven artistic quality depicting the ancient history of Latvia and not the history of Lithuania directly. Nearly all such literary pieces are on the tribes that lived in the southern part of Latvia: the Selonians, and especially the Semigallians, whose history is inseparable from Lithuanian history. Unlike the works of 19th-century Latvian authors, 20th-century works no longer depict ancient Lithuanians only in a romantic way, as heroic people that belonged to the same Baltic tribe, but as a powerful and hostile force that threatened the Latvian lands. The image of ancient Lithuania containing the most common historical characteristics prevails; however, it also contains a lot of authorial invention (e.g. the authors write about imaginary “Lithuanian princesses,” or they expand the boundaries of 13th-century Lithuania in an unrealistic way, etc.). The realities of ancient Lithuania, e.g. the historical names and events, are usually presented without any further explanation, which is a sign of an attitude and belief that the reader of the time had sufficient information on the subject.
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Herman, John. "The Kingdoms of Nanzhong China's Southwest Border Region Prior to the Eighth Century." T'oung Pao 95, no. 4 (2009): 241–86. http://dx.doi.org/10.1163/008254309x507052.
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AbstractThis article utilizes recent ethno-historical scholarship and archaeological discoveries in southwest China to examine the accuracy of the earliest Chinese historical sources dealing with the peoples and cultures in Nanzhong, the most common name for the southwest region (Yunnan, Guizhou, and southern Sichuan) prior to the Tang dynasty. Archaeology makes clear that Nanzhong was a settled border region with several highly sophisticated and divergent cultures. Early Chinese incursions into Nanzhong left an indelible mark on the peoples living there, but these brief and generally unsuccessful forays also influenced the views of China's elites regarding China's relations with this region. Since at least the Qin and Han, China's scholar-officials considered Nanzhong not only as an inhospitable frontier populated with uncivilized barbarians (manyi), but also as a peripheral part of China where intrepid commanders such as Tang Meng in the second century BCE and Zhuge Liang at the beginning of the third century CE had staked China's claim. This article casts doubt on the historical fiction of a staked claim. Cet article s'appuie sur les recherches ethno-historiques et des découvertes archéologiques récentes pour vérifier l'exactitude des sources chinoises les plus anciennes concernant les peuples et les cultures du Nanzhong, comme était communément appelé le Sud-Ouest (le Yunnan, le Guizhou et le sud du Sichuan) avant la dynastie des Tang. L'archéologie montre à l'évidence que le Nanzhong était une région frontière habitée, siège de plusieurs cultures hautement sophistiquées et différenciées. Si les premières incursions chinoises dans le Nanzhong ont laissé une empreinte indélébile sur les populations locales, ces campagnes brèves et en général infructueuses ont également influencé l'opinion des élites chinoises concernant les relations de la Chine avec le Sud-Ouest. Depuis au moins les Qin et les Han les lettrés-fonctionnaires chinois considéraient le Nanzhong non seulement comme une frontière inhospitalière peuplée de barbares dénués de civilisation (manyi), mais aussi comme un territoire périphérique de la Chine où des généraux intrépides comme Tang Meng au iie siècle avant notre ère et Zhuge Liang au début du iiie siècle de notre ère avaient établi des droits pour la Chine. L'article met en doute cette fiction historique d'un droit établi.
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Gračanin, Hrvoje. "Constantine VII Porphyrogennetos on Croats in Early Medieval Southern Pannonia (DAI, c. 30, 75–78): A Note on Concept and Method of Byzantine History Writing." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 24–43. http://dx.doi.org/10.15688/jvolsu4.2020.6.2.
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The paper endeavours to discuss anew a scholarly puzzle related to the Croatian early Middle Ages and centred on a few lines from Constantine VII Porphyrogennetos’s De administrando imperio, which in English translation are as follows: And of the Croats who arrived to Dalmatia one part separated and ruled Illyricum and Pannonia. And they also had an independent ruler who was sending envoys, though only to the ruler of Croatia from friendship. Taking a different approach from the complete dismissal of the two sentences as a pure fiction or a mere literary device, the paper instead attempts to trace the concept behind this account as well as its underlying meaning. On the one hand, it seeks to detect the methods or strategies used by the royal compiler in trying to elucidate the past. On the other hand, it aims to provide a thorough historical analysis and offer a possible interpretation in opposition to the view, still largely extant in the Croatian scholarship, that this account is an evidence for an early presence of the group called Croats in southern Pannonia.
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Wenzel, M. "The many 'faces' of history: Manly Pursuits and Op soek na generaal Mannetjies Mentz at the interface of confrontation and reconciliation." Literator 23, no. 3 (August 6, 2002): 17–32. http://dx.doi.org/10.4102/lit.v23i3.341.
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Several English and Afrikaans novels written during the nineties focus on confrontation with the past by exposing past injustices and undermining various myths and legends constructed in support of ideological beliefs. This commitment has gradually assumed the proportions of a Truth and Reconciliation Commission. A comparison of two recent novels dealing with events preceding and during the Anglo-Boer War, Manly Pursuits by Ann Harries and Op soek na generaal Mannetjies Mentz (In search of General Mannetjies Mentz) by Christoffel Coetzee provides an interesting angle to this debate. This article is an attempt to contextualise these novels within the larger framework of a contemporary South African reality; to acknowledge and reconcile, or assemble, disparate “faces” of a South African historical event at a specific moment in time. In Manly Pursuits, Ann Harries focuses on the arch imperialist, the “colossus of Africa”, Cecil John Rhodes, to expose the machinations behind the scenes in the “take over” of southern Africa, while in the Afrikaans novel, Op soek na generaal Mannetjies Mentz, the General becomes the embodiment of collective guilt. Written within a postmodern paradigm, both texts problematize the relationship between history and fiction by revealing deviations from “historic data” suggesting alternate versions of such "documentation" and by juxtaposing the private lives of historical personages with their public images.
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Herrero, Dolores. "Postmodernism and politics in Meena Kandasamy’s The Gypsy Goddess." Journal of Commonwealth Literature 54, no. 1 (July 14, 2017): 70–83. http://dx.doi.org/10.1177/0021989417719118.
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Meena Kandasamy’s debut novel The Gypsy Goddess tackles the plight of a community of Dalit agricultural labourers who live and work in inhuman conditions, coping with the unrelenting oppression and heartbreaking atrocities inflicted upon them by their ruthless upper-caste landlords in the southern Indian state of Tamil Nadu. In particular, this novel revolves around the historical massacre that took place in the village of Kilvenmani on Christmas Day, 1968. The aim of this article will be to analyse the different ways in which Kandasamy, so far known as a critically acclaimed poet, uses the novel as a literary genre, together with some well-known postmodern theories and strategies, in order to disclose the shortcomings of traditional linear plot-driven novels, criticize the exoticism so often displayed in contemporary Indian fiction, unearth the “other” side of official Indian history, dig up the traumatic story of an entire Dalit community’s fight for freedom, and give voice to those who were for so long relegated to silence, invisibility, and oblivion. As this analysis will make clear, the experimental nature of this novel allows Kandasamy to confront readers with an unpalatable reality beyond the capacity of the conventional realist novel.
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González Groba, Constante. "Carson McCullers and Lillian Smith : The Intersections of Gender and Race in the Jim Crow South." Journal of English Studies 5 (May 29, 2008): 119. http://dx.doi.org/10.18172/jes.124.
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Carson McCullers and Lillian Smith openly rejected a false conception of loyalty to fantasies like southern tradition or white supremacy, a loyalty that veiled a persistent lack of self-analysis. They exposed the cracks in the South’s pretended “unity” and homogeneity and criticized the self-destructive resistance to acknowledge that, as a socially constructed category, race is linked to relations of power and anticipated the instability of racial categorization that would be underscored by historical and scientific research later in their century. These two southern women writers opposed the insistence of their culture on racial purity as vehemently as its demands for rigid sexual definition and its suppression of any deviant form of sexuality. The characters in their fiction are victims of a dichotomic culture that resists the acknowledgement that black and white have always been as inextricably linked as male and female. In Killers of the Dream and Strange Fruit, Lillian Smith showed the interactions of racial and sexual segregation, which she saw as parallel emblems of the South’s cultural schizophrenia. She was one of the first to detect the psychosexual damage inflicted on southern women by the racial discourse, and established a most interesting parallel between the segregated parts of the female body and the segregated spaces of any southern locality. Like any system of differentiation, segregation shapes those it privileges as well as those it oppresses. Excluded from the white parameters of virtue and even from the condition of womanhood, the black woman’s body became the sexual prey of the white man who could not demand sexual satisfaction from his “pure” wife. The culture of segregation privileged the white woman but it also made her powerless; the very conventions which “protected” her deprived her of contact with physicality and locked her into bodilessness.
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Baranova, Kseniya M., and Nadezhda S. Shalimova. "The theme of maturation in the novel “To Kill a Mockingbird” by Nelle Harper Lee." Vestnik of Kostroma State University 29, no. 4 (March 29, 2024): 85–91. http://dx.doi.org/10.34216/1998-0817-2023-29-4-85-91.
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The article is devoted to the study of narrative and genre features of the famous work of Nelle Harper Lee ‟To Kill a Mockingbird”. It considers such categories of poetics as composition, chronotope and a system of characters. The study analyses the theme of maturation and the traits of ‟southern noir”, traditional and innovative characteristics of the initiation novel. Due to these peculiarities the American writer is not only able to focus on the inner life of the main heroine, but also to present the historical and cultural background of the narrative, as well as to create expressive psychological portraits of the characters. The conclusion is made about the transfer of ideas from human personality formation and maturation to the ethno-racial context, the formation of a specific model of initiation in the American literature. The process of migration of adult literature in children’s literature is noted both at the level of individual storylines and entire narratives. The novel by Harper Lee contains the traits of the initiation novel, as the main semantic dominant theme is maturation through overcoming challenges (social injustice, cruelty, ambivalence of the categories of good and evil). The concept of becoming a person in the work of the writer refers to the origins of the national consciousness: the interaction of nature and civilization, natural and artificial, as well as aesthetic categories of fiction and reality.
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Ponton, David. "An Afropessimist, Antidisciplinary Rejoinder to History, Its Human, and Its Anti-Blackness." Qui Parle 31, no. 2 (December 1, 2022): 231–95. http://dx.doi.org/10.1215/10418385-10052309.
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Abstract Scholars from a range of disciplinary backgrounds have been critical of history’s vision of itself as grounded in empiricism, its function as a secularist theodicy, and its commitment to humanism. Meanwhile, Black studies has exposed the Human as a sociopolitical construction masquerading as mere ontological fact. Yet historians remain committed to the fiction as if it were fact, occluding the ways that narrating the Human requires evading full recognition of the ubiquity and permanence of anti-Blackness in the modern world. Indeed, this article argues, this is the unstated function of history, conceived here as a discipline, or constraint, on what it is possible for historians to think and register as significant as they bring order to chaos in the form of narrative. Against empiricism and the humanist compulsion to explain suffering rather than abide in its meaninglessness, this article suggests an embrace of antidisciplinarity. By shifting perspective through Afropessimism, embracing methods such as critical fabulation, and inventing the past through cross-disciplinary borrowing, autobiography, and explicit empathy, the article demonstrates the implications of an antidisciplinary approach to historical inquiry. It engages the historiography and archives related to the Houston Police Department’s attack on Texas Southern University students in 1967 and in doing so exposes the incoherence of historiography that speaks of peace in an anti-Black world and that relies on an ontological certainty of the Human as a simple fact of existence, alongside its attendant codes, specifically those of linear time, gender subjectivity, and agency.
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Bailey, Edward. "Science Fiction, Historical Fiction and Religion Fiction?" Implicit Religion 17, no. 4 (December 12, 2014): 539–41. http://dx.doi.org/10.1558/imre.v17i4.539.
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Esber, Mary Jane. "Historical Fiction." JAMA 296, no. 14 (October 11, 2006): 1781. http://dx.doi.org/10.1001/jama.296.14.1785.
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Shalimova, Nadezhda S. "‘A frightening, scary book about children…’: the Poetics of the Novel ‘The Little Friend’ by D. Tartt." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 134–43. http://dx.doi.org/10.17072/2073-6681-2022-4-134-143.
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The article is devoted to comprehensive research on the novel The Little Friend by D. Tartt. It investigates the narrative features and genre characteristics of the literary work. The immanent method was used in research to study the narrative model: the symbolic meaning of the title, the specifics of the settings and plot structure, means of characterization, the theme of racial inequality, intertextuality, and photographic ekphrasis in the novel. The contextual method allowed us to identify the features of the ‘southern noir’ in the novel, as well as to consider the traditional and innovative manifestations of the characteristics of young adult literature. The theme of growing up in the novel is associated with traditional motives of loss, experiencing death, illness, mental pain, disappointment, and self-attainment. The Little Friend is third-person narration, this is the only work by D. Tartt where it is used, opposite to the retrospective confessional narration of the novels The Secret History and The Goldfinch. The story is told by the omniscient author who enters the mind of his character. It gives the writer the possibility to focus not only on the inner world of the main characters but also to present the historical and cultural background, as well as to create expressive psychological portraits of the minor characters and their families. The tone of the novel is quite conversational; the narrator is very exact in describing the characters and places. The paper concludes that the novel simultaneously contains the features of young adult fiction – the theme of growing up through overcoming trials (loneliness, loss, fighting the evil / awareness of the illusory nature of ideas about it), and the characteristics of the literature of the American South, the contexts of which play a crucial role for D. Tartt as a writer and a person.
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Thị Huệ, Đoàn. "Fiction and art fiction in historical novel." Journal of Science, Social Science 62, no. 2 (2017): 27–33. http://dx.doi.org/10.18173/2354-1067.2017-0004.
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Simon, Bryant. "Narrating a Southern tragedy: Historical facts and historical fictions." Rethinking History 1, no. 2 (September 1997): 165–87. http://dx.doi.org/10.1080/13642529708596311.
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Susan, Mabel, and Hemachandran Karah. "Pedagogical-historical Fiction." Caribbean Quarterly 70, no. 1 (January 2, 2024): 32–53. http://dx.doi.org/10.1080/00086495.2024.2323377.
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Doherty, Ryan Atticus. "The Devil’s Marriage: Folk Horror and the Merveilleux Louisianais." Literature 4, no. 1 (December 22, 2023): 1–21. http://dx.doi.org/10.3390/literature4010001.
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At the beginning of his Creole opus The Grandissimes, George Washington Cable refers to Louisiana as “A land hung in mourning, darkened by gigantic cypresses, submerged; a land of reptiles, silence, shadow, decay”. This anti-pastoral view of Louisiana as an ecosystem of horrific nature and the very human melancholy it breeds is one that has persisted in popular American culture to the present day. However, the literature of Louisiana itself is marked by its creativity in blending elements of folktales, fairy tales, and local color. This paper proposes to examine the transhuman, or the transcendence of the natural by means of supernatural transformation, in folk horror tales of Louisiana. As the locus where the fairy tale meets the burgeoning Southern Gothic, these tales revolve around a reworking of what Vladimir Propp refers to as transfiguration, the physical and metaphysical alteration of the human into something beyond the human. The focus of this paper will be on three recurring figures in Louisiana folk horror: yellow fever, voodoo, and the Devil. Drawing upon works including Alcée Fortier’s collection of Creole folktales Louisiana Folktales (1895), Dr. Alfred Mercier’s “1878”, and various newspaper tales of voodoo ceremonies from the ante- and post-bellum periods, this article brings together theorizations about the fairy tale from Vladimir Propp and Jack Zipes and historiological approaches to the Southern Gothic genre to demonstrate that Louisiana, in its multilingual literary traditions, serves as a nexus where both genres blend uncannily together to create tales that are both geographically specific and yet exist outside of the historical time of non-fantastic fiction. Each of these figures, yellow fever, voodoo, and the Devil, challenges the expectations of what limits the human. Thus, this paper seeks to examine what will be termed the “Louisiana gothic”, a particular blend of fairy-tale timelessness, local color, and the transfiguration of the human. Ultimately, the Louisiana gothic, as expressed in French, English, and Creole, tends toward a view of society in decay, mobilizing these elements of horror and of fairy tales to comment on a society that, after the revolution in Saint-Domingue, the Louisiana Purchase, and the Civil War, was seen as falling into inevitable decline. This commentary on societal decay, expressed through elements of folk horror, sets apart Louisiana gothic as a distinct subgenre that challenges conventions about the structures and functions of the fairy tale.
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Bodyk, O. "WILLIAM FAULKNER՚S AUTHOR MYTH: SNOPESISM VS. THE AMERICAN DREAM." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 16, no. 28 (2023): 7–23. http://dx.doi.org/10.34079/2226-3055-2023-16-28-7-23.
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The article presents an analysis of William Faulkner՚s authorial myth, with a particular focus on the concept of «Snopesism» in the context of the American dream. The aim is to clarify the nature of the mythological component of Faulkner՚s Yoknapatawpha trilogy as a system of perception of America՚s national identity in the context of globalization. The article seeks to determine the author՚s attitude towards the functioning of the myth of the American dream in the conditions of globalization, multiculturalism of American society, and the coexistence of national and global cultures, through the analysis of the true meaning and purpose of the concept of «Snopesism» in the Snopes saga. The analysis of the mythological discourse of Faulkner՚s Yoknapatawpha trilogy sheds light on the functions and role of mythology in the search for national self-identification in the conditions of globalization. Reading Faulkner՚s novels from the perspective of their mythological component holds theoretical significance for understanding the features of modern interpretation and perception of the most widespread and basic myths of the American nation. Faulkner modulates or ignores historical data, but the basic structure of history with three turning points (rise-fall-reconstruction) is evident in his novels. The rise represented the Old South, which Faulkner was nostalgic for, but he did not idealize the plantation myth or the plantation aristocracy. The fall is the Civil War and Reconstruction, which forms a watershed between the Old South and the post-war South of the Snopes and Popeyes. The New South is the third moment, with the rapid development of urbanization and industrialization, and racial and class segregation. Faulkner՚s portrayal of the New South is an artistic study of the emerging class – the Snopes family, who struggled to change their status after the Civil War and Reconstruction. The Snopes represent the white underclass that cared only about profit and status, and for whom the end justified any means. They work their way from a sharecropper՚s shack to the upper echelons of Jeffersonian society through a series of tricks, bravado, lies, fraud, theft, and law-breaking. The article analyses the philosophy of «Snopesism» through each representative of the Snopes family. The article argues that the southern tradition, with its rich arsenal of concepts and images, plays a key role in American society and fiction, defining the main content of moral values that influenced the formation of the national character of Americans. The mythology of the frontier, images of frontier heroes, pioneers, and people who carry out a civilizing mission is one of the elements of the Puritan epic in fiction. Another complex of national mythology is formed on the basis of the concept of the «American dream», which continues to define the features of the American way of life. These three mythological traditions constantly interact and intersect with each other, forming integral mythological images that reflect the peculiarities of American society, the nation, and national heroes. The increasing multiculturalism of American society and globalization significantly affect the nature and content of modern national mythology. However, traditional national myths continue to determine the main vectors of the country՚s national development. Ethnic mythology is transformed into the traditional key mythologemes of the USA. The article concludes that the study of Faulkner՚s novels from the perspective of their mythological component provides significant theoretical insights into the features of modern interpretation and perception of the most widespread and basic myths of the American nation. Keywords: William Faulkner, authorial myth, Yoknapatawpha, Snopes trilogy/saga, American dream, Snopesism, American literature of the South.
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Rehberger, Dean. "Vulgar Fiction, Impure History: The Neglect of Historical Fiction." Journal of American Culture 18, no. 4 (December 1995): 59–65. http://dx.doi.org/10.1111/j.1542-734x.1995.1804_59.x.
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Wadham, Rachel Lynn, Andrew P. Garrett Garrett, and Emily N. Garrett. "Historical Fiction Picture Books." Journal of Culture and Values in Education 2, no. 2 (June 27, 2019): 57–72. http://dx.doi.org/10.46303/jcve.02.02.4.
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Historical fiction picture books represent a small subset of titles in the broader scope of the format. However, these books are important to both readers and educators. As books are used in educational settings it is critical to assess their effectiveness in helping teach children. This is especially true of historical fiction which generates its own unique challenges. To deeply assess historical fiction picture books we gathered and analyzed a sampling of 126 titles to assess trends in the genre. We found that there were multiple conflicts between the genre and format. There were many books in the sample that struggled with directing the content to a young audience, giving a accurate portrayal of race issues, and maintaining general authenticity and accuracy in the writing. There were also some notable examples of historical picture books that did not display these faults, showing that with the right content and approach, historical fiction picture books have the potential to be invaluable tools for teaching children.
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Fileva, Iskra. "HISTORICAL INACCURACY IN FICTION." American Philosophical Quarterly 56, no. 2 (April 1, 2019): 155–70. http://dx.doi.org/10.2307/48570835.
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Abstract I ask whether and when historical inaccuracy in a work of art constitutes an aesthetic flaw. I first consider a few replies derived from others: conceptual impossibility, import-export inconsistency, failure of reference, and imaginative resistance. I argue that while there is a grain of truth to some of these proposals, none of them ultimately succeeds. I proceed to offer an alternative account on which the aesthetic demerits of historical inaccuracies stem from a violation of the conversational contract between author and audience. The key question is what that contract implies.
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EDN, Lois K. Hanson, Rosemary Twohey, Sally R. Frederick, Susan Henneberg, Edie Norlin Sanders, Ken Hogarty, Marijo Grimes, and Stephanie Carr. "Booksearch: Recommended Historical Fiction." English Journal 78, no. 1 (January 1989): 84. http://dx.doi.org/10.2307/818000.
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Lu. "Chinese Historical Fan Fiction." Pacific Coast Philology 51, no. 2 (2016): 159. http://dx.doi.org/10.5325/pacicoasphil.51.2.0159.
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Golinski, J. "HISTORICAL FICTION: Newton's Ghosts." Science 321, no. 5885 (July 4, 2008): 40–41. http://dx.doi.org/10.1126/science.1160708.
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Siderevičiūtė, Simona. "Science Fiction in Historical and Cultural Literary Discourse." Respectus Philologicus 25, no. 30 (April 25, 2014): 172–84. http://dx.doi.org/10.15388/respectus.2014.25.30.13.
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This work intends to complement literary studies in science fiction. It discusses the history of global science fiction, overviews the most characteristic features of its historical periods, and provides an introduction to Lithuanian science fiction, indicating its main features and topics. In the context of culture, science fiction is often defined as a literary genre with the emphasis on its nature as fiction. Only rarely are the history of the origin of science fiction, its variations, and the pioneers of science fiction whose works are still highly valued taken into account. Science fiction is often criticized through the filter of preconceived ideas that consider this type of literature to be “frivolous.” This article discusses the possible reasons for such an approach. In Lithuania, this genre is still associated only with pop literature, and its expression cannot yet equal the works of foreign authors. The basic classical motifs of global science fiction found in Lithuanian science fiction include: representatives of extraterrestrial civilizations and human contact with them, scientists and inventors, agents of military institutions, and space travel. Lithuanian science fiction writers follow the traditions of global science fiction when using these classical motifs; however, a general lack of original and individual themes, motifs, and manifestations may be observed.
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Horn, Patrick E. "Reading 21st-Century Southern Fiction." Southern Cultures 22, no. 3 (2016): 14–19. http://dx.doi.org/10.1353/scu.2016.0028.
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Conroy, Thom, Joanna Grochowicz, and Cristina Sanders. "Interpreting History Through Fiction." Public History Review 29 (December 6, 2022): 195–206. http://dx.doi.org/10.5130/phrj.v29i0.8241.
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In ‘Interpreting History Through Fiction: Three Writers Discuss their Methods’, creative historical authors Thom Conroy, Joanna Grochowicz and Cristina Sanders engage in a conversation about the intersection of history and fiction. Arising from a session of the 2021 New Zealand Historical Association Conference entitled ‘Learning History Through Fiction’, the three-way dialogue interrogates the role of learning history from creative texts, navigates the fact/fiction balance in creative historical writing, explores concerns about the potential for harm in historical fiction, outlines the authors' own motives for adopting a creative approach to history, and examines what Hilary Mantel calls the ‘readerly contract’ in historical fiction. The conversation does not seek consensus nor finality in the answers offered to the questions the authors have put to one another. Rather, the authors allow contradictions and disagreements to remain intact, thus conveying their collective sense of open-endedness regarding creative approaches to history. This open-endedness is intentional, as the answers that arise from dialogue are intended to be as provisional and contingent as the evolving genre of historical fiction itself.
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Chew, Ng Kim, and Po-Hsi Chen. "Why Does a Failed Revolution Also Need Fiction?" Prism 19, no. 2 (September 1, 2022): 411–27. http://dx.doi.org/10.1215/25783491-9966717.
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Abstract The historical relationship between the categories of Malayan Communist fiction and People's Republic of China revolutionary historical fiction remains to be clarified, just as the Malayan Communist revolution was covertly, but undeniably, connected to the Chinese Communist Party. This essay attempts to take the PRC's revolutionary historical fiction as a reference point to reinvestigate Malayan Communist fiction, which was characterized as “historical fiction” by left-wing writers. Examples include Jin Zhimang's Hunger, Liu Jun's Wind Blowing in the Woods, and Tuo Ling's The Hoarse Mangrove Forest. The key issue is that the PRC's revolutionary historical fiction is premised on triumphalism, to authenticate the revolution's legitimacy, while Malayan Communists' revolutionary historical fiction hinges instead on the failure of revolution—though it cannot be recognized as such. How do these latter works contemplate and represent revolution? Does fiction have to rationalize the legitimacy of a failed revolution (or one mired in predicaments)? Or does fiction attempt to accomplish something else? These questions may concern the raison d’être of Malayan Chinese literary realism, which takes representing reality as its mission and investigates its underlying paradoxes.
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Wilson, Kim. "Living History Fiction." Papers: Explorations into Children's Literature 20, no. 1 (January 1, 2010): 77–86. http://dx.doi.org/10.21153/pecl2010vol20no1art1151.
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During my research into historical fiction for children and young adult readers I came across a range of texts that relied on a living or lived experience of history to frame the historical story. These novels were similar to the time-slip narrative; however, not all examples used the traditional convention of time-slippage. I wanted to bundle these novels together - 'time-slip' novels included - as examples of 'living history' narratives because they appeared from the outset as a distinct literary form requiring particular reading strategies. These texts, which I will refer to as Living history novels, require readers to align uncritically with modern perception. Readers are persuasively invited to assume that the modern characters' perception of the past is authentic because it has been formed by a lived experience of history. In Living history novels, readers are positioned to perceive both the strengths and weaknesses of past and present times, ultimately reconciling the two in a present that faces chronologically forwards. Modern focalising characters in Living history fiction place modern perception in a superior relationship to that of the past.This sub-genre of historical novels is distinctive in its strong and consistent modern character focalisation and point of view. The Living history novel creates a confluence of past and present, be it physically or psychically. Characters are variously conveyed from a generalised present, or past, to an explicit historical period or event. The Living history novel is distinctive in its intense character introversion, quest journey and self-discovery. The most important outcome of the living history experience is that characters learn something significant about themselves. Because the story is about the modern character's quest and self realisation, the past is consistently perceived from their point of view. Modern characters are transported in time and readers are only rarely invited to see the past from a past point of view.
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Ruiz Carmona, Carlos. "The Fiction in Non-Fiction Film." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, no. 2 (July 1, 2019): 10–31. http://dx.doi.org/10.7195/ri14.v17i2.1238.
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Over the past few decades film theory, major scholars and acclaimed filmmakers have established that documentary just like fiction must resort to ambiguous and subjective rhetorical figures in order to represent the world. This has led some scholars to conclude that documentary as a term referring to itself as being non-fictional might be disregarding its inevitable fictional elements. This may imply that both documentary and fiction use the same strategies and obtain the same results when representing the world: ficitionalize reality.
If we accept this claim as true we need to ask whether terms such as fiction and non-fiction or documentary make sense when discussing representing reality. Does this mean that cinema can only fictionalize reality and therefore we should erradicate from this discussion tems such as non-fiction or documentary due to their associated “truth” claim?
Can we understand or discuss representing reality without referring to those terms? Can the term fiction exists in fact without refferring to the term non-fiction or documentary?
The questions that this paper intends to answer are:
What roles do documentary and fiction play in representing the historical world?
Are these terms necessary to comunicate and understand representing reality?
This paper has established that fiction and documentary are necessary terms that emerge in cinema narration as means to mirror human experience’s needs to organize, communicate and understand reality.
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Peabody, Susan. "Reading and Writing Historical Fiction." Iowa Journal of Literary Studies 10, no. 1 (1989): 29–39. http://dx.doi.org/10.17077/0743-2747.1295.
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Sepetys, Ruta. "Historical Fiction: The Silent Soldier." ALAN Review 42, no. 3 (June 21, 2015): 79–83. http://dx.doi.org/10.21061/alan.v42i3.a.9.
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Parimala, Gudala, and Prof P. Rajendra Karmarkar. "Historical Fiction and Hilary Mantel." International Journal of English Literature and Social Sciences 7, no. 1 (2022): 241–45. http://dx.doi.org/10.22161/ijels.71.32.
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Rycik, Mary Taylor, and Brenda Rosler. "The Return of Historical Fiction." Reading Teacher 63, no. 2 (October 2009): 163–66. http://dx.doi.org/10.1598/rt.63.2.8.
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Menendez, Albert J. "Religious Liberty in Historical Fiction." Religion & Public Education 15, no. 4 (October 1988): 451–58. http://dx.doi.org/10.1080/10567224.1988.11488087.
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Mickel, Emanuel J. "Fictional History and Historical Fiction." Romance Philology 66, no. 1 (January 2012): 57–96. http://dx.doi.org/10.1484/j.rph.5.100799.
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Heuer, Imke. "British Historical Fiction before Scott." Women's Writing 19, no. 3 (April 3, 2012): 376–79. http://dx.doi.org/10.1080/09699082.2012.666421.
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O'Gorman, Ellen. "Detective Fiction and Historical Narrative." Greece and Rome 46, no. 1 (April 1999): 19–26. http://dx.doi.org/10.1017/s001738350002605x.
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We know that Cicero successfully defended Sextus Roscius on a charge of parricide in 80 B.C.; we know that Vespasian became emperor after the civil wars of A.D. 69, and founded the Flavian dynasty which ended with his son Domitian's death in A.D. 96.
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Tynan, Elizabeth. "Operation Buffalo: A historical fiction." History Australia 17, no. 3 (July 2, 2020): 573–75. http://dx.doi.org/10.1080/14490854.2020.1798794.
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Nawrot, Kathy. "Making Connections with Historical Fiction." Clearing House: A Journal of Educational Strategies, Issues and Ideas 69, no. 6 (August 1996): 343–45. http://dx.doi.org/10.1080/00098655.1996.10114336.
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Iammarino, Denna. ":Renaissance Historical Fiction." Sixteenth Century Journal 43, no. 2 (June 1, 2012): 505–6. http://dx.doi.org/10.1086/scj24245455.
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Pavonetti, Linda M. "Historical Fiction-New and Old." Voices from the Middle 9, no. 2 (December 1, 2001): 78–82. http://dx.doi.org/10.58680/vm20012389.
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Offers brief descriptions of 41 books of historical fiction that may interest intermediate and middle school students, many of them new releases that tackle unusual historical topics. Argues that historical fiction is an ideal medium for taking intermediate and middle school students out of their day-to-day surroundings and into other times and places, helping them learn more about the world.
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Saunders, Max. "Byatt, Fiction and Biofiction." International Journal for History, Culture and Modernity 7, no. 1 (November 2, 2019): 87–102. http://dx.doi.org/10.18352/hcm.543.
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A. S. Byatt’s fiction is much possessed by ‘lives’ – not only the lives of her characters, but the ideas of the biographies of those characters, and of characters as biographers. The essay will explore the relation between fiction, biography and autobiography in her work, taking in such topics as portraiture, myth, creation and reading. It will ask why a novelist who has written about earlier historical periods has eschewed one of the defining devices of the historical novel – and postmodern biofiction – of using real historical figures as characters.
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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.