Literatura académica sobre el tema "Christian Fiction, historical, romance"
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Artículos de revistas sobre el tema "Christian Fiction, historical, romance"
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Vint, Sherryl. "Science Fiction". Perspectives on Science and Christian Faith 74, n.º 3 (septiembre de 2022): 191–92. http://dx.doi.org/10.56315/pscf9-22vint.
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SCIENCE FICTION by Sherryl Vint. Cambridge, MA: The MIT Press, 2021. 224 pages. Paperback; $15.95. ISBN: 9780262539999. *Science Fiction is the story of the romance between fiction and science. The goal of the book is not to define the history or essence of science fiction, but rather to explore what it "can do" (p. 3). How does fiction affect scientific progress? How does it influence which innovations we care about? In the opposite direction, what bearing does science have on the stories that are interesting to writers at a point in time? Science Fiction references hundreds of books to paint a cultural narrative surrounding science fiction. Throughout the book, Vint refers to the fiction as ‘sf' in order to avoid distinctions between science fiction and speculative fiction. The dynamic between science and fiction is a relationship defined by both scientific progress and by forming judgments of the direction of development through a lens of fiction. Fiction is cause and effect; we use fiction to reflect upon changes in the world, and we use fiction to explore making change. *Vint, Professor of Media and Cultural Studies and of English at the University of California, Riverside, gives overviews of different areas of sf. These include some of the most common sf elements, such as utopias and dystopias (chap. 2), as well as relatively recent concerns, such as climate change (chap. 7). Through these questions, she is navigating one question: how does sf engage with the world? It is more complex than the commonly reflected-upon narrative that sf is an inspiration to inventors--it is a relationship moving in both directions and involves value judgments as well as speculation about scientific possibilities. *The book also navigates the attitudes at the root of sf. Vint presents sf as a fundamentally hopeful, perhaps even an optimistic, genre. She describes sf as "equally about frightening nightmares and wondrous dreams" (p. 13). Yet even dystopian stories require hope for a future. Showing the world gone wrong still requires "the seeds of believing that with better choices we might avoid these nightmares" (p. 32). This is certainly true in the discussion of climate change sf. Where nonfiction writing often focuses on the impartial mitigation of disasters, the heart of fiction offers "the possibility to direct continuous change toward an open future that we (re)make" (p. 136). *The most surprising chapter is the penultimate one, focusing on economics (chap. 8). Vint discusses the recent idea of money as a "social technology" (p. 143) and the ways our current economy is increasingly tied to science, including through AI market trading and the rise of Bitcoin. The chapter also focuses on fiction looking at alternative economic systems--how will the presence or absence of scarcity, altered by technology, change the economic system? Answers to this and similar questions have major implications on the stories we tell and the way we seek to structure society. *As Christians, we have stories to help us deal with our experiences in life and our hope for the future. Science Fiction discusses sf as the way that our communities, including the scientific community, process life's challenges and form expectations for the future. We must not only repeat the stories from scripture, but also participate in the formation of the cultural narratives as ambassadors of Christ. While Science Fiction does not discuss the role of religion in storytelling, the discussion of our ambitions and expectations for the future is ripe for a Christian discussion. *Vint describes sf as a navigational tool for the rapid changes occurring in the world. Science Fiction references many titles that illustrate the different roles sf has played at historical points and that continue to form culture narratives. While some pages can feel like a dense list of titles, it is largely a book expressing excitement about the power and indispensability of sf. I would recommend this book for those who want to think about interactions between fiction, science, and culture, or learn about major themes of sf, as well as those interested in broadening the horizons of their sf reading. *Reviewed by Elizabeth Koning, graduate student in the Department of Computer Science, University of Illinois at Urbana-Champaign, Urbana, IL 61801.
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Henigman, Laura. "Stowe and Her Foremothers: The Newport Female Society in The Minister's Wooing". Prospects 30 (octubre de 2005): 135–55. http://dx.doi.org/10.1017/s0361233300002015.
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The publication of The Minister's Wooing in 1859 marked a turn in Harriet Beecher Stowe's fictional output. Having published two antislavery novels earlier in the decade, the first of which, of course, made her an international celebrity, she turned to what we think of now as the next phase of her writing career, a series of nostalgic, partly autobiographical novels about historic New England, following Minister's Wooing with The Pearl of Orr's Island (1862), Oldtown Folks (1978), and Poganuc People (1878).Set in 18th-century Newport, Rhode Island, The Minister's Wooing is built around the historical character of Samuel Hopkins, one of the generation of New Divinity theologians, who, having studied under Jonathan Edwards, attempted to carry on his legacy. Stowe's Hopkins is historically accurate to the extent that he is identified in the book with one of the theological teachings for which he was known, “disinterested benevolence,” which meant for him that a true Christian duty was to accede to one's own damnation for the glory of God; he is also, as was the historical Hopkins, an antislavery activist, prodding his Newport congregants who are slave owners or are profiting by the slave trade to exercise that disinterested benevolence in a socially conscious way and withdraw from the sinful practice, even though it may cost them dearly. What Stowe adds is the romance plot alluded to in the title: Hopkins falls in love with the daughter of his landlady, Mary Scudder; she loves a young sailor, James Marvyn, who has been her companion since youth but who is, it seems, unre-generate.
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Manuwald, Henrike. "Fictionality and Pleasure. Traces of a Practice of Fictionality in Medieval German Short Verse Narratives?" Journal of Literary Theory 14, n.º 2 (25 de septiembre de 2020): 215–40. http://dx.doi.org/10.1515/jlt-2020-2005.
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AbstractDespite an intense debate over the past decades the question of whether the concept of fictionality can be regarded as universal or whether it needs to be historicised is still unresolved. The same question applies to the practice (or practices?) of fictionality, which come into focus once an institutional theory of fictionality is applied. In addition to the problem that literary practices can only be reconstructed incompletely for past epochs, it is methodically difficult to determine which practices should be identified, given that the practice of fictionality might have changed over time. One possible solution is to search for historical literary practices displaying similarities to what is regarded as the contemporary practice of fictionality. This article adduces a subtype of medieval German short verse narratives (Mären) as a test case for the scope of this approach and arrives at a twofold result:The controlled anachronism implicit in the approach makes it possible to show that literary practices sketched in some Mären display parallels to the contemporary practice of fictionality (in the sense that the truth value of single predications becomes indifferent). This result contributes to our understanding of the history of the practice of fictionality, while placing the parallels in their historical contexts demonstrates that the category of ›fictionality‹ cannot capture the essence of the literary practices relevant to Mären.This approach has the advantage of making it possible to describe in a phenomenon-orientated way literary practices only potentially linked to a practice of fictionality before narrowing down the view to pre-defined features of a practice of fictionality. For the textual examples analysed it can thus be shown that the emotional effect of literature, especially the potential to arouse pleasure, is a feature regarded as decisive for the reception of a literary text. This observation opens up further links to research on the fictionality of post-medieval texts, especially the ›paradox of fiction‹.The argument builds on the assumption that we can speak of a practice of fictionality if the truth value of the sentences of a text becomes indifferent for its production and reception. Although this is a definition with universal scope, it is timebound in so far as it highlights that truth concepts depend on a propositional level of a text, while for a medieval audience the ›true meaning‹ of a text would probably have been more important. In the article this problem is illustrated by the genre of exemplary narratives. Of these the subtype of Mären is singled out in order to study literary practices. This selection is also motivated by the fact that in medieval studies Mären have received less attention in debates on fictionality than e. g. Arthurian romances or chronicles.The textual analysis focuses on prologues and other self-reflexive passages from selected late medieval Mären, where literary practices are being alluded to in an explicit way. Notwithstanding that these passages do not allow the reconstruction of actual practices, they convey an impression of what was regarded as plausible practices. Truth claims or references to sources in the selected Mären confirm that the expectation of truthfulness (whether on the literal or a deeper level) was a kind of default mode for the production and reception of narratives. However, various strategies to undermine this default mode can be observed: in some cases the truth claims are ironically questioned within the texts themselves, in other cases the aesthetic quality and/or the emotional effect of the narratives is foregrounded so that the question of authenticity becomes irrelevant. This strategy suggests a mode of reception that parallels the contemporary practice of fiction as outlined above.Since the capacity of the Mären to arouse pleasure is highlighted in the sources, the pre-modern debate of delectatio and utilitas is established here as the historical context for the self-reflexive passages of the analysed Mären. These categories were discussed in the medieval period in relation to the aspect of ›truthfulness‹, at least in normative theological discourse, and can thus be linked to questions of fictionality. This makes it possible to define a place for a practice of fictionality within a medieval Christian framework, the possibility of which had been doubted in research on medieval concepts of fictionality.On a systematic level, the foregrounding of the emotional effects of literature in some Mären opens up the opportunity to draw parallels to institutional theories of fictionality stressing the need of imaginative engagement with the text on the part of the recipient. The examples suggest that questions such as the ›paradox of fiction‹ should receive attention within a diachronic framework, too, in order to obtain a fuller picture of the history of the practice of fiction.
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Tiao, Wang. "The Ethics of Romance: Edward Bellamy and American Historical Fiction". Interlitteraria 22, n.º 2 (16 de enero de 2018): 312. http://dx.doi.org/10.12697/il.2017.22.2.9.
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The author examines The Duke of Stockbridge: A Romance of Shays’ Rebellion (1879), a historical novel written by Edward Bellamy (1850–1898) in order to examine the ethics of Romance in the treatment of historical fiction. Edward Bellamy, most famous for his socialist novel, Looking Backwards (1888), himself looks backwards to examine the popular rebellion during the early post-revolutionary American democracy before the US Constitution was established. The striking feature of this novel is the way that it superimposes the romance genre onto political and historical events. Using the ethical criticism of J. Hillis Miller, Martha Nussbaum, Alasdair MacIntyre, and others, the paper examines the romance genre in relation to virtue ethics to analyze the ethical impulse in Bellamy’s historical novel. To what degree does romance – a literary genre that combines stock characters and stereotypical action – open itself up to analysis in terms of the “virtue ethics” of Nussbaum, MacIntyre, and others? To what degree does an analysis of Bellamy’s novel in these terms allow us to understand what I call the “rhetorical ethics” of a critic like Miller? An examination of the Genteel Literary Tradition prevalent at the time of Bellamy’s novel – as it manifests itself in language and historical representation – allows us to see more closely the relations among rhetoric, character and ethics in the historical novel.
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Levin, David y Emily Miller Budick. "Fiction and Historical Consciousness. The American Romance Tradition". Journal of American History 76, n.º 4 (marzo de 1990): 1231. http://dx.doi.org/10.2307/2936598.
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Derrick, Scott y Emily Miller Budick. "Fiction and Historical Consciousness: The American Romance Tradition." American Literature 62, n.º 2 (junio de 1990): 326. http://dx.doi.org/10.2307/2926925.
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Boccardi, Mariadele. "Postmodernism and the past : A romance". Recherches anglaises et nord-américaines 36, n.º 1 (2003): 111–17. http://dx.doi.org/10.3406/ranam.2003.1673.
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British contemporary historical fiction is the genre that most closely, extensively and fruitfully explores the questions concerning the nature and scope of representation raised by postmodern historical and narrative theory. One interesting trait, common to the most speculative works of historical fiction published in the last fifteen years, is the adoption of Romance in all its modes — as a motif of the plot (the love story) and as a narrative mode (defining itself against the novel). Indeed Romance is the means by which the contemporary historical novel first dramatises and then investigates the representation of the past in the context of postmodernism. Lindsay Clarkes The Chymical Wedding (1989) and A. S. Byatt’s Possession (1990), both subtitled A Romance, epitomise the tendency described above. Their discussion in this paper will reveal not only the strategies by which these works deal with the intersection of postmodernism and representation, but also the Romantic elements inherent in postmodernism itself.
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Markova, M. V. "Georgette Heyer, history, and historical fiction". Voprosy literatury, n.º 1 (5 de febrero de 2024): 198–203. http://dx.doi.org/10.31425/0042-8795-2024-1-198-203.
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The review discusses a volume of scholarly articles edited by Samantha Rayner and Kim Wilkins that sets out to present a comprehensive body of research into the oeuvre of the English novelist Georgette Heyer. The book comprises several sections: gender, genre, sources, and circulation and reception. Heyer is the renowned founder of Regency romance, whose work is noted for exceptional attention to historical facts and reconstruction of the aristocratic slang of the period. Her novels, however, remained largely ignored by scholars. The volume’s editors succeed in producing an invaluable compilation enriching the studies of 1920s English genre literature by considering Heyer’s work in the context of post-war culture, with its heightened interest in the Napoleonic era, as well as in relation to literary tradition, especially Jane Austen’s works, but also referencing adventure novels of Heyer’s older contemporaries Baroness Orczy and Rafael Sabatini.
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Kamitsuka, Margaret D. "Prolife Christian Romance Novels: A Sign that the Abortion-as-Murder Center Is Not Holding?" Christianity & Literature 69, n.º 1 (marzo de 2020): 36–52. http://dx.doi.org/10.1353/chy.2020.0002.
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Abstract: In the field of evangelical Christian romance fiction, there is a little-known subset of novels about abortion. In general, prolife proponents fall into two camps: those who condemn any pregnancy termination as murder, and those who argue for compassion for women who turn to abortion. This essay analyzes the use of popular prolife tropes about the psychological and medical harms of abortion in Francine Rivers's The Atonement Child . Rivers's story about a pregnancy from rape perpetuates abortion myths and offers a fairy tale picture to her female Christian readers who statistically make up the largest segment of those getting abortions today.
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Nagy, Ladislav. "Historical Fiction as a Mixture of History and Romance: Towards the Genre Definition of the Historical Novel". Prague Journal of English Studies 3, n.º 1 (1 de septiembre de 2014): 7–17. http://dx.doi.org/10.2478/pjes-2014-0014.
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Abstract This article focuses on Walter Scott’s Waverley and its classification as the founding text of the historical novel by Georg Lukacs. The author attempts to show that Lukacs takes Scott too much at his word and posits Waverley in the tradition of the English historical novel as it developed from Defoe and Fielding, while neglecting the close ties that Waverley has with marginalized genres such as romance. The author also argues that rather than being an expression of class consciousness, Waverley is an attempt to justify a certain change in political attitude, from radicalism to conservatism
Tesis sobre el tema "Christian Fiction, historical, romance"
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Lewis, Cassandra. "Sunshowers in Winter: A Novel". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1584.
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This is the beginning of a historical novel set in 1960’s Little Rock, Arkansas. The main character, Elsie Robinson, is forced to come home from her life in New York because of the sudden death of her father. She stays to look after her mother. She then meets Freddie, a white man, who somehow feels completely comfortable in her black community. In a time when everything seems to be falling apart, Freddie is a beam of light. If only their relationship weren’t illegal.
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Jagodzinski, Mallory Diane. "Love is (Color) Blind: Historical Romance Fiction and Interracial Relationships in the Twenty-First Century". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1440101084.
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Waage, Fred. "The Birth Spoon". Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1939289572.
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This mystery is set in the early 1980s and based on actual events. A high-school student unearths dark and deadly secrets of his Appalachian community. The explosive consequences forever mark his own life, his family's, and his town's.https://dc.etsu.edu/etsu_books/1009/thumbnail.jpg
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Rosales, Lauren N. ""Dismissed outright": creating a space for contemporary genre fiction within neo-Victorian studies". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6259.
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Neo-Victorian studies is a burgeoning subfield which seeks to examine contemporary representations of the Victorian period. For the last decade, neo-Victorian scholars have offered up definitions of what makes a text “neo-Victorian”; often, this has been via a description of what the neo-Victorian is not. The ‘ruling’ definition—i.e., the definition most consistently repeated—hails from the introduction to Neo-Victorianism: The Victorians in the Twenty-First Century by Ann Heilmann and Mark Llewellyn: “the Neo-Victorian is more than historical fiction set in the nineteenth century. […] texts (literary, filmic, audio/visual) must in some respect be self-consciously engaged with the act of (re)interpretation, (re)discovery and (re)vision concerning the Victorians” (4). This short delineation significantly comes at the expense of historical fiction, which is a move repeated throughout neo-Victorian efforts to define itself. Neo-Victorian studies has largely concerned itself with literary novels, operating with a heavy anxiety that ‘other’ fiction set in the nineteenth century is escapist and nostalgic in the sense that it simply perpetuates problematic past systems of oppression while evoking the fashionable aesthetic trappings of the Victorian. My dissertation argues that contemporary genre fiction, long derided as ‘simply’ escapist in nature, can also be neo-Victorian. In each of my chapters I analyze texts from a specific genre—steampunk, popular romance, detective fiction, and Sherlock Holmes pastiche—in order to offer a basis for investigating genre fiction with a neo-Victorian lens. I analyze the depiction of corsets and feminist protagonists in three steampunk novels, explore the exhibition of unlikely romantic heroines and Romany romantic heroes in Lisa Kleypas’ historical romance series about the Hathaway family, examine representations of class and gender as well as germane social issues in Anne Perry’s William Monk detective series, and highlight the feminist potential of Carole Nelson Douglas’ series of Sherlock Holmes pastiche featuring Irene Adler. Each chapter considers the Victorian period as represented alongside Victorian novels and literary periodicals in order to demonstrate the shape of these neo-Victorian revisions and make the case the genre fiction can be self-conscious despite its lack of metafictional content.
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Leafgren, Luke Anthony. "Novelizing the Muslim Wars of Conquests: The Christian Pioneers of the Arabic Historical Novel". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10362.
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During the Arabic cultural renaissance of the nineteenth century known as the nahda, Christian Arabs made a substantial contribution to the development of fiction and journalism. Among these pioneers, Salim al-Bustani, Jurji Zaydan, and Farah Antun were inspired by translations of European fiction to write the first historical novels in Arabic. Their narrations of the Muslim wars of conquest are carefully constructed blends of history and fiction that emphasize the cultural and religious values that Christian and Muslim Arabs hold in common. In their novels, these authors celebrate the historical achievements of the Arabs and seek to inspire a new sense of Arab cultural identity, open to Christians and Muslims alike and based on shared language, history, territory, values, and aspirations for reform. In this way, these authors respond to the sectarian tensions of their time, European imperialism, and the challenges of modernism with ideas that would become central to Arab nationalist discourse in the twentieth century.
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Almeida, Marcos Vinícius Lima de. "A lógica do espectro: romance histórico, necromancia e o lugar do morto". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21322.
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Under the premise that our history is constituted under the impact of catastrophes, and that in this context, writing a historical novel will never be a neutral gesture, this paper proposes to investigate the historical novel in contemporary Brazilian fiction, from the perspective of theory and literary creation. This work proposes a hypothesis for the hypothesis of the hypothesis of Lukács (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) and Weinhardt (2011) and Bastos (2007). the reading of the contemporary historical novel. From two key notions, 1) what will be defined in this work as a spectrum logic, 2) and writing as a burial rite, the central premise of this work is to look at history as a fundamentally necromantic practice. These notions are tested, or developed, from the critical reading of two contemporary works: O marechal de costas, by José Luiz Passos (2016) and De mim já nem se lembra, by Luiz Ruffato (2015). If the sign (sema) is a tomb and the writing of history and the relationship with the past is a kind of burial rite (as Jeanne-Marie Gagnebin asserts, in the wake of Michel de Certeau), which separates the past from the present world of the living dead of the world), the past not properly elaborated, not buried, returns as specter: and haunts and defiles the present. In this sense, it is possible to read the contemporary historical novel as a kind of attempt to burial the specters of the past that haunt the present. In the practical section, this work presents a novel, a historical fiction, freely inspired by the figure of Januário Garcia Leal
Sob a premissa que nossa história se constitui sob impacto de catástrofes, e que, nesse contexto, escrever um romance histórico nunca será um gesto neutro, esse trabalho se propõe a investigar o romance histórico na ficção contemporânea brasileira, da perspectiva da teoria e da criação literária. Sem abandonar totalmente as concepções de Lukács, (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) e Weinhardt (2011) e Bastos (2007), esse trabalho propõe uma hipótese para a leitura do romance histórico contemporâneo. A partir de duas noções chave, 1) aquilo que será definido nesse trabalho como lógica do espectro, 2) e a escrita enquanto rito de sepultamento, a premissa central deste trabalho é olhar para a história enquanto prática fundamentalmente necromante. Essas noções são testadas, ou desenvolvidas, a partir da leitura crítica de duas obras contemporâneas: O Marechal de costas, de José Luiz Passos (2016) e De mim já nem se lembra, de Luiz Ruffato (2015). Se o signo (séma) é um túmulo e a escrita da história e a relação com o passado uma espécie de rito de sepultamento (como afirma Jeanne-Marie Gagnebin, na esteira de Michel de Certeau), que separa o passado do presente (o mundo dos mortos do mundo vivos), o passado não devidamente elaborado, não enterrado, retorna como espectro: e assombra e contamina o presente. Nesse sentido, é possível ler o romance histórico contemporâneo como uma espécie de tentativa de sepultamento dos espectros do passado que assombram o presente. Na seção prática, esse trabalho apresenta um romance, uma ficção histórica, livremente inspirada da figura de Januário Garcia Leal
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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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Buitendach, Samantha Angelique. "Selling translation rights in trade publishing : case studies of Dutch translations of Afrikaans fiction in the Netherlands and Belgium". Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/66256.
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The reading and buying market for Afrikaans fiction is limited due to historical and economical reasons. It can thus be argued that in order to expand the market for South African Afrikaans trade publishers and authors' novels, a work needs to be translated via the selling of translation rights with the assistance of the publisher or literary agents, into a language that has similar needs in terms of cultural consumption, for example book reading culture. Due to the colonial influence of the Dutch on South African culture and the development of Afrikaans, this study explores the selling of translation rights of Afrikaans fiction to trade publishers in The Netherlands and Belgium. The polystem theory is also used to illustrate the movement of languages from a peripheral position to semi-peripheral and central position within a global literary polysystem. A qualitative and exploratory research design is used. Secondary research in the form of a literature review combines theoretical information, clarifies terms and provides context from which primary research develops. In terms of primary research, interviews with key informants in the Belgian, Netherlands and South African publishing industry were conducted. Case studies of South African crime author Deon Meyer, and historical romance author Irma Joubert provide in-depth analysis of success factors, process and factors that influenced the selling of subsidiary rights to Dutch trade publishers. Lastly, visibility and discoverability of Afrikaans fiction on an international rights trading platform, as well as interaction amongst South African and foreign publishers were observed, at the largest book rights fair, the Frankfurt Book Fair. The findings of this study provide practical information and act as reference guide to role players in the publishing industry, including authors, trade publishers and literary agents. Recommendations for best practice in the selling of subsidiary rights are included, as well as initiatives for further research, experimentation, investment and development of the selling of subsidiary rights to European trade publishers to ultimately grow the Afrikaans fiction book buying and reading markets.Dissertation (MIT)--University of Pretoria, 2017.
Information Science
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Brook, Madeleine E. "Popular history and fiction : the myth of August the Strong in German literature, art, and media". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cb7df46e-ab52-4f27-a084-41d7fab5b54e.
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This thesis concerns the function of fiction in the creation of an historical myth and the uses that that myth is put to in a number of periods and differing régimes. Its case study is the popular myth of August the Strong (1670-1733), Elector of Saxony and King of Poland, as a man of extraordinary sexual prowess and the ruler over a magnificent, but frivolous, court in Dresden. It examines the origins of this myth in the late seventeenth and early eighteenth century, and its development up to the twenty-first century in German history writing, fiction, art, and media. The image August created for himself in the art, literature, and festivities of his court as an ideal ruler of extremely broad cultural and intellectual interests and high political ambitions and abilities linked him closely with eighteenth-century notions of galanterie. This narrowed the scope of his image later, especially as nineteenth-century historians selected fictional sources and interpreted them as historical sources to present August as an immoral political failure. Although nineteenth-century popular writers exhibited a more varied response to August’s historical role, the negative historiography continued to resonate in later history writing. Ironically, the myth of August the Strong represented an opportunity in the GDR in creating and fostering a sense of identity, first as a socialist state with historical and cultural links to the east, and then by examining Prusso-Saxon history as a uniquely (East) German issue. Finally, the thesis examines the practice of historical re-enactment as it is currently employed in a number of variations on German TV and in literature, and its impact on historical knowledge. The thesis concludes that, while narrative forms are necessary to history and fiction, and fiction is a necessary part of presenting history, inconsistent combinations of the two can undermine the projects of both.
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Sakai, Luiz Guilherme Fernandes da Costa. "Denegação e desidentidade: a metaficção historiográfica em Nove noites, de Bernardo Carvalho". Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14725.
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This study discusses the identity construction and interpellation in Brazilian contemporary literature through historical novel and historiographical metafiction, concepts studied by Györg Lukács and Linda Hutcheon, respectively. These two subgenres reveal a relation that is different from the truthful events in which the novel is based. The historical novel, emerged in 19th century, uses them to attest their fictional verisimilitude, and in the national context, it has joined the taskwork to build a Brazilian identity. The historiographical metafiction, which emerged in the second half of 20th century, uses the truthful events to question, destabilize and rewrite them. Nove noites, from the author Bernardo Carvalho, gets close to this second subgenre. However, a survey of Carvalho s critical fortune has indicated a supposed inverisimilitude trace in his literary production; this discovery questions not only the historical speech, but also the fiction itself. From this starting point, our study is going to investigate, especially in the chosen novel, the bounds between fiction and reality (linked to history) and identity and non-identity in a dialog with the historical novel and the historiographical metafiction. Presenting also Carvalho s critical production, it s evident in this research that he appreciates an experimental and inventive fiction, and denies trends and common sense in relation to literature. Therefore, this research challenges the hypothesis that, by one side, Nove noites has some historiographical metafiction characteristics and points out to a non-identity dimension, concept used by Italo Moriconi to define the crisis in which the Latin-American thought has been facing in this globalized scenery. In the other hand, when he destabilizes his own construction of sense, he overacts the subgenre in which he was primarily associated and strengthen, in another level, the position the writer registers in this critical texts
Este estudo discute a questão da construção e interpelação da identidade na literatura contemporânea brasileira pela via do romance histórico e da metaficção historiográfica, estudados por Györg Lukács e Linda Hutcheon, respectivamente. Essas duas vertentes do gênero literário romance revelam uma díspar relação com os acontecimentos verídicos de que se apropriam. O romance histórico, surgido no século XIX, utiliza-os para atestar a sua verossimilhança ficcional e, no contexto nacional, aliou-se à empreitada de formar uma identidade aos brasileiros. Ao passo que a metaficção historiográfica, que surgiu já na segunda metade do século XX, vale-se deles para questioná-los, desestabilizá-los e reescrevê-los. Nove noites, do ficcionista e crítico Bernardo Carvalho, aproxima-se dessa segunda vertente. Contudo, um levantamento da fortuna crítica desse escritor indicou um traço supostamente inverossímil em sua produção literária, que põe em xeque o sentido não apenas do discurso histórico, mas também da própria ficção. É partindo disso que este estudo objetiva investigar as fronteiras entre ficção e realidade (atrelada à história) e identidade e desidentidade em diálogo com o romance histórico e com a metaficção historiográfica. Apresentando também sua produção crítica, torna-se patente, nesta pesquisa, que Carvalho valoriza uma ficção experimental, inventiva, e refuta modismos e lugares-comuns em relação à literatura. Por isso, este trabalho coloca à prova a hipótese de que, por um lado, Nove noites, possuidor de características da metaficção historiográfica, ilustra e aponta para a dimensão da desidentidade, termo utilizado por Italo Moriconi para definir a crise pela qual o pensamento latino-americano tem passado no cenário globalizado. Por outro, o romance de Bernardo Carvalho, ao desestabilizar sua própria construção de sentido, extrapola a vertente a que inicialmente se associa, reforçando, em outro nível, o posicionamento que o escritor registra em seus textos críticos
Libros sobre el tema "Christian Fiction, historical, romance"
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McGee, Stephenia H. Belmont Bundle: Christian Historical Romance. By The Vine Press, 2022.
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Rawlings, Naomi. Lady's Refuge: Historical Christian Romance. Naomi Rawlings Books, 2021.
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Rawlings, Naomi. Widow's Secret: Historical Christian Romance. Naomi Rawlings Books, 2021.
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Rawlings, Naomi. Widow's Secret: Historical Christian Romance. Naomi Rawlings Books, 2021.
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Pattillo, L. A. Faith of a Wife: Christian Historical Fiction Romance. Independently Published, 2019.
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Dawson, Kay P. Sylvia's Spirit: A Historical Christian Romance. Wolfpack Publishing, 2022.
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Rawlings, Naomi. Love's Sure Dawn: Historical Christian Romance. Naomi Rawlings Books, 2015.
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Dawson, Kay P. Hope's Honor: A Historical Christian Romance. Wolfpack Publishing, 2022.
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Rawlings, Naomi. Love's Every Whisper: Historical Christian Romance. Naomi Rawlings Books, 2020.
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Rawlings, Naomi. Love's Sure Dawn: Historical Christian Romance. Naomi Rawlings Books, 2015.
Buscar texto completoCapítulos de libros sobre el tema "Christian Fiction, historical, romance"
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Sauer, Elizabeth. "Emasculating Romance: Historical Fiction in the Protectorate". En Prose Fiction and Early Modern Sexualities in England, 1570–1640, 195–213. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-09177-2_11.
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Ficke, Sarah H. "House, home and husband in historical romance fiction". En The Routledge Companion to Romantic Love, 139–49. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003022343-11.
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Teo, Hsu-Ming. "The Australian Convict Prostitute Romance". En Conflict and Colonialism in 21st Century Romantic Historical Fiction, 26–49. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003493792-2.
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Posti, Piia K. "‘I Get to Exist as a Black Person in the World’: Bridgerton as Speculative Romance and Alternate History on Screen". En History and Speculative Fiction, 123–49. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42235-5_7.
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AbstractIn 2020, a TV drama series adaptation was made of Julia Quinn’s historical romance series Bridgerton (2000–2012). Several choices in the adaptation were inspired by the recent hypothesis that Queen Charlotte was Black, and an unusual number of Black actors were cast in roles that both fictionally and historically have been predominantly reserved for white actors. This article explores the hypothesis’ impact on the adaptation in the intersection of romance, race and history. What notions (historical and contemporary) of romance, race and historical accuracy are challenged and endorsed in contemporary popular media like the Bridgerton series? What are the benefits and setbacks from a decolonial perspective when Black people are cast, and “familiar” history is told, in such “unfamiliar” ways?
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Holterhoff, Kate. "Picturing the Past in Robert Louis Stevenson's Historical Romances". En Illustration in Fin-de-Siècle Transatlantic Romance Fiction, 23–54. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003017684-2.
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McAlister, Jodi. "This Modern Love: The Virgin Heroine in Historical Romance Fiction". En The Consummate Virgin, 131–67. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55004-2_6.
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Burge, Amy. "Do knights still rescue damsels in distress?: Reimagining the medieval in Mills & Boon historical romance". En The Female Figure in Contemporary Historical Fiction, 95–114. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283382_6.
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Trenter, Cecilia. "Heritaging and the Use of History in Margit Sandemo’s The Legend of the Ice People". En History and Speculative Fiction, 203–24. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42235-5_11.
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AbstractThis chapter explores the use of heritage and history in the popular romance series The Legend of the Ice People (1982–1989) by Norwegian-Swedish author Margit Sandemo. The epos is the 47-volume multigenerational saga of a family. The series is here defined as a story world in which Sandemo is the creator, but fans are actively involved in collective negotiations. The use of the past within the series offers interpretations to readers, who are putting the old-fashion modes into up-to-date, concurrent, and contemporary understandings of morality by emerging from the historical past within the series.
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Ríu, Carmen Perez. "Language, Sexuality and “Necessary Anachronism” in Lorraine Heath's Neo-Victorian Popular Romance Series Scandalous Gentlemen of St. James 1". En Conflict and Colonialism in 21st Century Romantic Historical Fiction, 92–114. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003493792-5.
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Taylor-Pirie, Emilie. "Detecting the Diagnosis: Parasitology, Crime Fiction, and the British Medical Gaze". En Empire Under the Microscope, 131–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84717-3_4.
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AbstractIn this chapter, Taylor-Pirie traces the cultural encounters between the parasitologist and the scientific detective in the medico-popular imagination, revealing how such meetings helped to embed the figure of the doctor-detective in public understandings of science. Parasitologists like Ronald Ross and David Bruce were routinely reported in newspapers using detective fiction’s most famous archetype: Sherlock Holmes, a frame of reference that blurred the boundaries between romance and reality. Recognising the continued cultural currency of Holmesian detection in clinical and diagnostic medicine, she re-immerses the ‘great detective’ and his creator, Arthur Conan Doyle, in the literary-historical contexts of the fin de siècle, demonstrating how material and rhetorical entanglements between criminality, tropical medicine, and empire constructed the microscopic world as new kind of colonial encounter.
Actas de conferencias sobre el tema "Christian Fiction, historical, romance"
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Koblenkova, Diana V. "ON SOME TRENDS IN THE SATIRICAL LITERATURE AND CINEMATOGRAPHY OF SWEDEN AT THE END OF THE 20TH — BEGINNING OF THE 21ST CENTURY (C.-J. VALLGREN AND R. ÖSTLUND)". En Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063576.
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The article deals with satirical tendencies in Swedish literature and cinema of the end of the 20th — beginning of the 21st century. On the example of the book by C.-J. Vallgren “This is for you for a brochure, Mr. Bachmann” and R. Östlund’s paintings “Turist” (“Force Majeure”), “Voluntarily-compulsory”, “The Square” and “Triangle of Sadness”, the main problems of Swedish society are analyzed, which are becoming pan-European scale. The paper concludes that both authors consider the most significant problems to be the disappearance of independent thinking, the distortion of ethical principles, the fear of losing personal well-being against the backdrop of growing ethnic and class contradictions in Europe, indicating the beginning of a new socio-political stage in society. Comprehending European double standards, hypocrisy, ostentatious political correctness, the authors testify that European society is turning into a refined capitalist minority that has lost its main value orientation — Christian humanism. The poetics of the literary and cinematographic works of Vallgren and Östlund differ significantly from the methods of their predecessors: modern authors abandon the satirical principles of secondary convention, allowing themselves only slight exaggeration. This testifies to the desire for journalism, documentary depiction, the movement from fiction to non-fiction, to the understanding of the historical context and socio-political perspective.