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Rozprawy doktorskie na temat „Historical fiction. Southern fiction”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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1

Solomon, Kelsey Alannah. "New Appalachians of the Twenty-First Century: Reinventing Metanarratives and Master-Images of Southern Appalachian Literature". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3022.

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The Appalachian studies tradition ascertains that Appalachian people politically, socially, and academically represent a heterogeneous minority group of our own. In post-capitalistic America, however, the Appalachian region serves as a hotspot for media misrepresentation and tourism that perpetuate through works of fiction, nonfiction, and scholarship both negative and positive stereotypes in the overall American consciousness. Twenty-first-century Appalachian authors, I contend, are reinventing Appalachia from its postmodern rubble through fictionalized reconceptualizations of our region’s history, shifts in our collective consciousness from anthropocentric to ecocentric, and subversions of the heteronormative discourse of our internal colony through explorations of the psychosexual. The contemporary Appalachian texts that exemplify these abilities are Ron Rash’s The Cove, Barbara Kingsolver’s Prodigal Summer and Jeff Mann’s Loving Mountains, Loving Men because each represents a paradigm shift within their own aesthetic metanarratives in Appalachian literary history.

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Pettersson, Petter. "What about historical fiction? : Ways to use historical fiction in an ESL-classroom setting". Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-35275.

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Nichols, Ian. "Hybrid texts and historical fiction". Thesis, Curtin University, 2011. http://hdl.handle.net/20.500.11937/2060.

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The Bloodiest Rose is based on the premise that the fair copies of Shakespeare’s plays are discovered, and a production of his previously unknown Henry VII takes place in Sydney. It is an attempt to create a narrative which is factual, entertaining and truthful. The exegesis is an analysis of how fiction is able to form a framework by which the facts may be told differently, but still faithfully, as human truths.

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Tait, Meg. "Taking sides : Stefan Heym's historical fiction". Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624152.

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Strain, Catherine B. "Folk medicine in southern Appalachian fiction". [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-1107102-135027/unrestricted/StrainC120902a.pdf.

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Strain, Catherine Benson. "Folk Medicine in Southern Appalachian Fiction". Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etd/720.

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The region of Southern Appalachia, long known for its colorful storytellers, is also rich in folk medical lore and practice. In their Appalachian novels, Lucy Furman, Emma Bell Miles, Mildred Haun, Catherine Marshall, Harriette Arnow, Lee Smith, and Charles Frazier, feature folk medicine prominently in their narratives. The novels studied, set against the backdrop of the rise of official medicine, are divided into three major time periods that correspond to important chapters in the history of American medicine: the 1890s through the 1930s; the 1940s through the 1960s; and the 1970s through the present. The study of folk medicine, a sub-specialty of the academic discipline of folklore, gains significance with the current rise in distrust of official medicine and a return to medical folkways of our past. The authors studied here have performed an ethnological role in collecting and preserving with great care and authenticity many of the Appalachian regionÆs folk medical beliefs and practices.

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7

Bavasah, Tessa. "Parodic imagination and resistant form in historical fiction: A study of Ann Harries' manly pursuits". Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5657_1242111847.

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In this dissertation, the author examines the historical novel Manly pursuits (1999), by Ann Harries. The novel deals with the late nineteenth century in Oxford, England, and inparticular the year 1899 in Cape Town. The focus of the novel is on Cecil John Rhodes and his entourage, and their obsession with empire, which culminates in the South African war in 1900. Featured characters include Chamberlain, Jameson, Kipling, Oscar Wilde, Charles Dodgson, John Ruskin and Olive Schreiner. Harries novel is interpreted as showing resistance to the Victorian society which is the framework which is seen to developed the class and gender-based valued and imperialist thinking of Rhodes and his following. as such the novel is showing resstance to imperialist thinking, the Anglo-Boer war, apartheid and all the resulting legacies for South Africa.

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Hadley, Louisa A. "Rewriting historical narratives in neo-Victorian fiction". Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/24661.

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This thesis explores the contemporary form of neo-Victorian fiction in relation to both contemporary and Victorian literature. I argue that neo-Victorian fiction needs to be considered in relation to but as distinct from postmodern literary practices. Although neo-Victorian texts are often considered postmodern, I argue that they should be differentiated from the categories of postmodernism. Whilst interrogating history, often considered a postmodern characteristic, neo-Victorian fiction retains a commitment to the historical specificity of the Victorian era. The interrogation of history undertaken in these texts is intimately connected to Victorian forms of historical narratives. Chapter 1 examines theoretical frameworks of postmodernism, revealing the limitations of such models for neo-Victorian fiction .The subsequent chapters explore the treatment of different historical narratives in these texts. Chapter 2 discusses The French Lieutenant’s Woman and ‘Morpho Eugenia’ and examines the role of meta-narratives in both Victorian and contemporary society, particularly Darwinism and Marxism. This chapter also addresses the grand narrative of literary history in its consideration of the double relationship between Victorian and neo-Victorian literature, illustrated through a detailed examination of endings in both Victorian and neo-Victorian fiction. Chapter 3 explores the issues surrounding genealogical narratives in The Quincunx as well as its engagement with the late Victorian genre of detective fiction. Chapter 4 considers The Biographer’s Tale and The Dark Clue in relation to Victorian forms of biography and developments in photography. This discussion leads on to an examination of the problematic relationship between historical and fictional figures within these texts and the implications it has for their status as historical novels. The final two chapters explore approaches to resurrecting the past within neo-Victorian fiction. Chapter 5 addresses the continued presence of the past, through both spiritualism and literature, in Possession and ‘The Conjugial Angel’. The final chapter discusses the process of ventriloquism, focusing on the incorporation of Victorian and pseudo-Victorian texts in Possession and ‘The Conjugial Angel’. This is extended to address the intertextual relationship of Victorian and neo-Victorian fiction.

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9

Kellar, Pinard Katrina. "Settler Feminism in Contemporary Canadian Historical Fiction". Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39608.

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Canada has seen a veritable explosion in the production and popularity of historical fiction in recent decades. Works by women that present a feminist revision of national narratives have played a key part in this phenomenon. This thesis discusses three contemporary Canadian historical novels: Gil Adamson’s The Outlander (2007), Ami McKay’s The Birth House (2006), and Margaret Atwood’s Alias Grace (1996). By examining these novels through a settler colonial lens and with a specific interest in the critique of settler feminism, this thesis offers readings that can reveal how feminism operates within the confines of the settler fantasy. These readings suggest that women’s historical fiction offers an opportunity to consider different aspects of feminism in the settler setting and to consider different aspects of critiques of patriarchy in settler contexts. This thesis suggests that these novels present a settler women’s history that cannot be properly understood through the simplistic logic of male/female or colonizer/colonized oppositions, and that the ways the novels depict women’s interactions with patriarchal settler structures and institutions can contribute to critical understandings of a colonial history with which Canada continues to reckon.

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10

Kocela, Christopher. "Fetishism as historical practice in postmodern American fiction". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38213.

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This study contends that postmodern American fiction dramatizes an important shift of philosophical perspective on the fetish in keeping with recent theories of fetishism as a cultural practice. This shift is defined by the refusal to accept the traditional Western condemnation of the fetishist as primitive or perverse, and by the effort to affirm more productive uses for fetishism as a theoretical concept spanning the disciplines of psychoanalysis, Marxian social theory, and anthropology. Analyzing the depiction of fetishistic practices in selected contemporary American novels, the dissertation utilizes fetish theory in order to clarify the unique textual and historiographic features of postmodernist fiction. It also emphasizes the way in which conventional ideas about history and teleology are necessarily challenged by an affirmative orientation toward the fetish. Part One of the dissertation, comprising the first two chapters, traces the lineage of Western thinking about fetishism from Hegel, Marx, and Freud to Derrida, Baudrillard, and Jameson, among others. Recognizing that traditional theories attribute the symbolic power of the fetish to its mystification of historical origins, Part One posits that poststructuralist and postmodernist contributions to the subject enable, but do not develop, an alternative concept of fetishism as a practice with constructive historical potential. Part Two of the study seeks to develop this historical potential with reference to prominent descriptive models of postmodernist fiction, and through close readings of five contemporary American authors: Thomas Pynchon, Kathy Acker, Robert Coover, John Hawkes, and Don DeLillo. The four chapters of Part Two each examine the fictional representation of fetishism within a different theoretical framework, focusing on, respectively: temporality and objectivity in postmodern fiction theory; the interrelation between psychoanalytic theory and female fetishism in novels by Pynchon and Acker

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11

Davies, Richard Blaine Davies Richard Blaine. "Historical fiction makes American history come to life!" [Boise, Idaho : Boise State University, 2002. http://education.boisestate.edu/bdavies.

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Thesis (M.A.)--Boise State University, 2002.
Web site. Master's project includes an explanatory text and CD-ROM entitled: Historical fiction : a web site supporting secondary U.S. history courses of study-Idaho Department of Education. Includes bibliographical references.

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12

Redfern, Rachel Yvette. "Layering the March: E. L. Doctorow's Historical Fiction". BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2229.

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E.L. Doctorow implements ideas of intertextuality and metafiction in his 2007 novel, The March, which is most notably apparent through its resemblance to the 1939 film, Gone with the Wind. Using Michel de Certeau's theory of spatial stories and Linda Hutcheon's of historiographic metafiction, this thesis discusses the layering of Doctorow's The March from the film seen in the character of Pearl from the novel and Scarlett from the film and Selznick's version of the burning of Atlanta and Doctorow's burning of Columbia.

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13

Lennon, Gavan. "The segregated town in mid-century southern fiction". Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33116/.

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This thesis examines how southern novelists at mid-century used the fictional small town to critique racial segregation. Depictions of segregated towns across a selection of representative fictions share a typology of people and institutions – what I term offices – that combine to make these towns seem integral and functioning. In the segregated southern town, the community is contaminated by segregation and the paradoxes it engenders are revealed through the typology I uncover and explore in this thesis. The racial landscape of Maxwell, Georgia in Lillian Smith’s Strange Fruit (1944) exposes how points of intersection in the town’s supposedly rigid racial geography highlight the weakness of segregated structural integrity. In The Hawk and the Sun (1955) Byron Herbert Reece examines the relationships of a farmer and a teacher with other offices, representatives of the bank and the church, in the Appalachian town of Tilden, Georgia. Carson McCullers set each of her novels in the town of Milan, Georgia but this consistency only becomes clear in Clock Without Hands (1961), in which she focuses on the roles a judge and a pharmacist play in defining the town’s collective identity. The courthouse square in William Faulkner’s Jefferson, Mississippi represents the identity of the town and, in The Reivers (1962), a narrator attempts to rewrite the history of the town by insinuating himself into Faulkner’s existing typology. In A Different Drummer (1962) William Melvin Kelley positions his imagined town of Sutton, in an unnamed southern state, at a moment of historic change and explores this change from the vantage point of the archetypal porch of a general store. This thesis contributes to a developing literary history of racial segregation by conducting detailed close textual analysis to argue that the ostensibly benign setting of the small town exposed the fallacies upon which the segregated South operated.

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14

Yamauchi, Ryo. "William Faulkner's Fiction and Questions of Southern Whiteness". Kyoto University, 2009. http://hdl.handle.net/2433/123931.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第14716号
人博第452号
新制||人||110(附属図書館)
20||人博||452(吉田南総合図書館)
UT51-2009-D428
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)教授福岡和子, 教授水野尚之, 教授廣野由美子
学位規則第4条第1項該当

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15

Cabrera, Marta Jimena. "Writing civilisation the historical novel in the Colombian national project /". Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050307.143257/index.html.

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Harris, Katharine. "The neo-historical aesthetic : mediations of historical narrative in post-postmodern fiction". Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/76623/.

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17

Merlin, Bailey. "Sentinel". Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/496.

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Devastated by the mysterious death of her guardians, Elizabeth Davenport finds herself thrust into a new world that proves to be scintillating and dangerous. Can she trust those who claim to be her friends? Or will her trust lead her into trouble? When a mysterious letter presents itself and proves that her guardians might have been more than they ever let on, Elizabeth must gather her courage and pursue the truth, whatever the cost.

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18

McGuire, Myles T. "Fruitful approaches: Queer Theory and Historical Materialism in contemporary Australian fiction". Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/230862/1/Myles_McGuire_Thesis.pdf.

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"Fruitful approaches: Queer Theory and Historical Materialism in contemporary Australian fiction" investigates the application of Historical Materialist ontologies to gay-themed, contemporary Australian novels, examining these subjects through the lens of totality and reification.

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Martin, Patricia L. "Minority protagonists in the young adult historical fiction novel". [Denver, Colo.] : Regis University, 2007. http://165.236.235.140/lib/PMartin2007.pdf.

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Dodwell-Groves, Laura. "The seventh bulb : a middle grade historical fiction novel". Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31562.

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In this work of historical fiction, a twelve-year-old girl called Emmetje journeys from the streets of Constantinople to the decks of a smuggling boat and on to the back streets and canals of 17t h century Amsterdam. In her pocket she carries the bulb of a unique blue tulip, and in her hand is a strange treasure map that uncovers the heart of a nation's strange obsession. Emmetje's mother had drawn tulips. Hovering beside the elegant petals she drew butterflies, and on their wings she drew her map. Compelled by curiosity and an adventurous spirit, Emme sets out to discover where her mother's map might lead. Her journey is shared by her three-legged tabby cat and a cabin boy called Sander. Emmetje's journey inevitably becomes one of self-discovery where fathers, mothers and horticulture all play their part. The blue tulip bulb is the silent hero, but the not so silent metaphor for Emmetje's identity. Precious, protected, rich with potential and waiting to bloom.
Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate

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21

Tiedemann, Heidi. "After the fact, contemporary feminist fiction and historical trauma". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ63656.pdf.

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King, Nadia-Lisa. "Opening a window into the past with historical fiction". Thesis, King, Nadia-Lisa (2019) Opening a window into the past with historical fiction. Honours thesis, Murdoch University, 2019. https://researchrepository.murdoch.edu.au/id/eprint/54724/.

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A fundamental challenge facing historical fiction writers is how to provide a 'real' window into the past. This thesis explores how writers use the literary devices of point of view and setting to create 'true' accounts of historical events. Historical fiction balances the tension between the creation of fiction to entertain and the need for historical accuracy. I argue that by focusing on the minutiae or specific details of setting, readers can be transported to the time and place of the story and a window into the past can be opened. The writer uses point of view to position the telling of the story offering a relationship with the intended reader. The lens, or point of view, used to tell a story, is a mechanism which can bring an historical event into sharper focus for the reader giving them a perspective, albeit a fictionalised one, into history. The literary devices of setting and point of view are explicated in this discussion through my own creative writing resulting in a series of vignettes imaginatively depicting the events leading up to and including the execution of Martha Rendell, the last and only woman hanged at Fremantle Prison in Western Australia.

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Raghunath, Riyukta. "Alternative realities : counterfactual historical fiction and possible worlds theory". Thesis, Sheffield Hallam University, 2017. http://shura.shu.ac.uk/19154/.

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The primary aim of my thesis is to offer a cognitive-narratological methodology with which to analyse counterfactual historical fiction. Counterfactual historical fiction is a genre that creates fictional worlds whose histories run contrary to the history of the actual world. I argue that Possible Worlds Theory is a suitable methodology with which to analyse this type of fiction because it is an ontologically centred theory that can be used to divide the worlds of a text into its various ontological domains and also explain their relation to the actual world. Ryan (1991) offers the most appropriate Possible Worlds framework with which to analyse any fiction. However, in its current form the theory does not sufficiently address the role of readers in its analysis of fiction. Given the close relationship between the actual world and the counterfactual world created by counterfactual historical fiction, I argue that a model to analyse such texts must go beyond categorising the worlds of texts by also theorising what readers do when they read this type of fiction. For this purpose, in my thesis I refine Ryan's Possible Worlds framework so that it can be used to more effectively analyse counterfactual historical fiction. In particular, I introduce an ontological domain which I am calling RK-worlds or reader knowledge worlds to label the domain that readers use to apprehend the counterfactual world presented by the text. I also offer two cognitive concepts – ontolological superimposition and reciprocal feedback – that support a Possible Worlds analysis of counterfactual historical fiction and model how readers process such fiction. In addition, I redefine counterpart theory, transworld identity, and essential properties to appropriately theorise the way readers make the epistemological link between a character and their corresponding actual world individual. The result is a fully fleshed out Possible Worlds model that addresses the reader's role by focusing on how they cognitively interact with the worlds built by counterfactual historical fiction. Finally, to demonstrate my model's dexterity, I apply it to three texts – Robert Harris' Fatherland (1992), Sarban's The Sound of his Horn (1952), and Stephen Fry's Making History (1996). I conclude that the Possible Worlds model that I have developed is rigorous and can be replicated to analyse all fiction in general and counterfactual historical fiction in particular.

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Drake, George A. "Historical space in the eighteenth-century novel /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9425.

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Miller, Shanda Schrae. "Southern star". [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-0715103-222857/unrestricted/MillerS080703f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-0715103-222857. Includes bibliographical references. Also available via Internet at the UMI web site.

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26

Morris, J. K. "Magnolias and rattlesnakes : the Southern lady in American fiction". Thesis, University of York, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238685.

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Youngs, Suzette. "Literary, visual, and historical understandings intermediate readers respond to historical fiction picture books /". abstract and full text PDF (UNR users only), 2009. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3355609.

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Green, Dawn. "Imagining the past [electronic resource] : contemporary Italian women's historical fiction /". Full text available, 2001. http://images.lib.monash.edu.au/ts/theses/greend.pdf.

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Wang, Mei-Chuen. "Narrative, genre and national myth in postmodern Canadian historical fiction". Thesis, Cardiff University, 2010. http://orca.cf.ac.uk/54365/.

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This thesis investigates the expansion and continuing proliferation of Canadian historical fiction during the past three decades, and makes a case for reading a number of these novels as postmodern historical fiction. Characterized by the postmodern tendency to problematize history and cross genre boundaries, the novels discussed here are nevertheless rooted in their Canadian context. To establish a theoretical framework, the thesis reviews the reconfiguration of history in contemporary critical theories and its impact on the writing of history and historical fiction, and investigates the debate over Canada's postcoloniality. In the textual analysis, I address the questions raised by the interaction between postmodern problematization of history and local concerns in the selected novels. What narrative strategies are employed to launch an epistemological and ontological questioning of history? Are alternative reconceptualizations of history offered after the problematization? How do these texts achieve genre transgression through narrative devices and what is the purpose of this? What meta-narratives of national history are challenged? What national myths are subverted and dismantled? Are some other myths accidentally reasserted in this deconstructive process? What effects does this historical revisionism or scepticism have on the understanding of Canadian national identity? The focus of the discussion is on the relationships between formal experimentation and thematic concerns and the ways these texts interweave general critiques of history and its representation with specific investigations into the Canadian context. Finally, I propose explanations for the flourishing of contemporary Canadian historical fiction by taking into account both the combined theoretical framework and the complexities and subtleties of the texts under scrutiny. The thesis concludes that the authors of these novels have complicated the postmodern questioning of history at a variety of levels and made that questioning accommodate the novelists' concern with Canadian specificities.

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Chen, Jou-An. "An exploration of nature and human development in young adult historical fantasy". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/282878.

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Traditional historical writing focuses on the cause and effect of human action, assuming that it is the historian's responsibility to recount the ebbs and flows of human progress. In the process of laying hold of the past as a narrative of human action, historical writing has developed the tendency to marginalise nature and undermine its power to influence the historical narrative. My investigation explores the fantastic in historical fantasy as a means of resisting historical writing's anthropocentrism. Historical fantasy uses fantastical elements to create counterfactual and alternative historical realities that have the potential to resist and undermine history's anthropocentric norm. My thesis examines four contemporary young adult historical fantasy trilogies that reimagine key turning points in history such as industrialisation, the American frontier, European imperialism, and World War I. They share the theme of retrieving and subverting anthropocentric discourses in the history of human development and thereby creating space for nature's presence and agency. My study finds that the fantastic is an effective means of subverting historical writing's anthropocentrism. But it also uncovers ambiguities and contradictions in historical fantasy's ecological revisionism, pointing to the idea that despite the fantastic's capacity for subversion, historical representations of nature cannot be separated from considerations of human identity and survival.

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Lake, Wendy M. "Aspects of Ireland in children's fiction : an historical outline and analysis of children's fiction set in Ireland (1850-1986)". Thesis, University of Ulster, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253857.

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32

Arnold, Abigail. "Memento Mori and Other Stories". ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2293.

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Mitchell, Anne. "Approaches to history in text and image in England, c. 1830-70". Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239429.

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34

Stephenson, William John. "Form, parody and history in 'The French lieutenant's woman' and 'A maggot' by John Fowles, and 'To the ends of the Earth: a sea trilogy' by William Golding". Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249288.

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Keith-Slack, Peter B. "Baptized in Blood". ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1390.

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Knutson, Matthew. "Dark Smoke Rising". ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2616.

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Ewing, Pamala Rachel. "Willie T.'s Funeral and Other Stories". Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1259522831.

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Jordan, James A. "The Light Bearer: Stories". ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2363.

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The Light Bearer consists of seven stories that are set in and around the small town of Anderson Place, Tennessee. Their focus is on the inhabitants of the town, which is in the process from expanding from a rural town to a bedroom community of the expanding Nashville. These stories remain interested in the everyday lives of the characters, and their focus remains on the interpersonal relationships of those individuals. Six of the seven stories are set in contemporary Tennessee, while the last story focuses on events that occurred in the early 1960s.

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Herbert, Elanna, i n/a. "Hannah�s Place: a neo historical fiction (Exegesis component of a creative doctoral thesis in Communication)". University of Canberra. Communication Media & Culture Studies, 2005. http://erl.canberra.edu.au./public/adt-AUC20070122.150626.

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The creative component of my doctoral thesis articulates narratives of female experience in Colonial Australia. The work re-contextualises and re-narrativises accounts of events which occurred in particular women�s lives, and which were reported in nineteenth century newspapers. The female characters within my novel are illiterate and from the lower classes. Unlike middle-class women who wrote letters and kept journals, women such as these did not and could not leave us their stories. The newspaper accounts in which their stories initially appeared reflected patriarchal (and) class ideologies, and represented the women as the �other�. However, it is by these same textual artefacts that we come to know of their existence. The multi-layered novel I have written juxtaposes archival pre-texts (or intertexts) against fictional re-narrativisations of the same events. One reason for the use of this style is in order to challenge the past positioning of silenced women. My female characters� first textual iterations, those documents which now form our archival records, were written from a position of hegemonic patriarchy. Their first textual iteration were the record of female existence recorded by others. The original voices of the fictionalised female characters of my novel are heard as an absence and the intertext, as well as the fiction, now stands as a trace of what once existed as women�s lived, performative experience. My contention is that by making use of concepts such as historiographic metafiction, transworld identities, and sideshadowing; along with narrative structures such as juxtaposition, collage and the use of intertext and footnotes, a richer, multidimensional and non-linear view of female colonial experience can be achieved. And it will be one which departs from that hegemonically imposed by patriarchy. It is the reader who becomes the meaning maker of �truth� within historical narration. My novel sits within the theoretical framework of postmodern literature as a variant on a new form of the genre that has been termed �historical fiction�. However, it departs from traditional historical fiction in that it foregrounds not only an imagined fictional past world created when the novel is read, but also the actual archival documents, the pieces of text from the past which in other instances and perhaps put together to form a larger whole, might be used to make traditional history. These pieces of text were the initial finds from the historical research undertaken for my novel. These fragments of text are used within the work as intertextual elements which frame, narratively interrupt, add to or act as footnotes and in turn, are themselves framed by my female characters� self narrated stories. These introduced textual elements, here foregrounded, are those things most often hidden from view within the mimetic and hermeneutic worlds of traditional historical fiction. It is also with these intertextual elements that the fictional women engage in dialogue. At the same time, my transworld characters� existence as fiction are reinforced by their existence as �objects� (of narration) within the archival texts. Both the archival texts and the fiction are now seen as having the potential to be unreliable. My thesis suggests that in seeking to gain a clearer understanding of these events and the narrative of these particular marginalised colonial women�s lives, a new way of engaging with history and writing historical fiction is called for. I have undertaken this through creative fiction which makes use of concepts such as transworld identity, as defined by Umberto Eco and also by Brian McHale, historiographic metafiction, as defined by Linda Hutcheon and the concept of sideshadowing which, as suggested by Gary Saul Morson and Michael Andr� Bernstein, opens a space for multiple historical narratives. The novel plays with the idea of both historical facts and historical fiction. By giving textual equality to the two the border between what can be considered as historical fact and historical fiction becomes blurred. This is one way in which a type of textual agency can be brought to those silenced groups from Australia�s past. By juxtaposing parts of the initial textual account of these events alongside, or footnoted below, the fiction which originated from them, I create a female narrative of �new writing� through which parts of the old texts, voiced from a male perspective, can still be read. The resulting, multi-layered narrative becomes a collage of text, voice and meaning thus enacting Mikhail Bakhtin�s idea of heteroglossia. A reading of my novel insists upon questioning the truthfulness or degree of reliability of past textual facts as accurate historic records of real women�s life events. It is this which is at the core of my novel�an historiographic metafictional challenging by the fictional voices of female transworld identities of what had been written as an historical, legitimate account of the past. This self-reflexive style of historical fiction makes for a better construct of a multi-dimensional, non-linear view of female colonial experience.

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Bates, Joseph Ray. "Bearing a Cross". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148315233.

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Westerman, Molly Cooper Pamela. "Narrating historians crises of historical authority in twentieth-century British fiction /". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1792.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.
Title from electronic title page (viewed Sep. 16, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English; Department/School: English.

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Randall, James P. "Posthumous temporality and encrypted historical time in fiction and life writing". Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23276/.

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This thesis considers ways of reading posthumousness in narrative in various theoretical and literary constellations by focusing on temporality and historical time. Defining posthumousness in terms of a narrative perspective adopted after the death of a character or the narrator, I consider how writers reanimate historical characters, adopt imagined posthumous perspectives and reconstruct historical memory. I combine approaches to temporality by Paul Ricoeur and Mark Currie, incorporating elements of psychoanalytic and poststructuralist theory including Nicolas Abraham and Maria Torok’s writing on crypts, Ned Lukacher’s analysis of primal scenes and prosopopoeia, and Jacques Derrida’s writing on the archive. Each chapter considers how historical time is imagined within narratives concerned with posthumousness. Chapter 1 considers how historical time is given a place within the posthumous narrative of Iain Sinclair and Rachel Lichtenstein’s Rodinsky’s Room. Chapters 2 and 3 develop ideas of historical time and the posthumous in relation to Wilhelm Jensen’s Gradiva and Orhan Pamuk’s The Black Book. Chapter 4 compares Fernando Pessoa’s The Book of Disquiet and José Saramago’s The Year of the Death of Ricardo Reis. Chapter 5 analyzes posthumousness in Bruno Schulz’s stories, and how these are reimagined by Jonathan Safran Foer (Tree of Codes), David Grossman (See Under: Love) and Cynthia Ozick (The Messiah of Stockholm). I focus on these novels’ engagement with posthumousness, including how primal elements of memory and historical time are given new presences. I consider how this approach to fiction and historical time gives the past a new life in narrative, giving time for what Schulz describes in his story ‘The Age of Genius’: ‘events that have no place of their own in time; events that have occurred too late, after the whole of time has been distributed, divided and allotted; events that have been left ... hanging in the air, homeless and errant.’

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

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Meyers, Erika Ann. "Characters of class : poverty and historical alienation in Dermot Bolger's fiction". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/26042.

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This thesis provides a Marxist analysis of the effect of class on historical alienation in Dermot Bolger’s fiction. Therefore, this study examines the influence of Irish history on Bolger’s choice of content, form and technique in order to argue that historical interpretation and literary technique are mediated through class stratifications. Chapter One investigates how The Journey Home challenges received ideas of what constitutes ‘reality’ which has, consequently, led to elements of critical dismissal used to maintain antiquated gaps, silences and notions of ‘reality’. In Chapter Two I look at A Second Life in order to examine how historical ruptures cannot just be seen in the nonlinear structure of Bolger’s novels, but can also be used to expose the silences and gaps that comprise the previously censored personal histories of Bolger’s characters. In Chapter Three I identify structural confines such as definitions, family roles and nationalism as instigating factors that lead to the alienation of those who do not conform to prescribed frameworks and are therefore oppressed by them. I further investigate how oppression also provides the pressure to rupture the linear trajectory of such approved frameworks and produce the nonlinear structure that can be recognised in The Family on Paradise Pier.

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Margaret, Scanlon. "Popular histories : a study of historical non-fiction books for children". Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10020570/.

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Hildreth-Blue, Cynthia. "Enlivening California's sixth grade history/social sciences curriculum with historical fiction". CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/562.

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Elens, James N. II. "Facility 47 - A Novel". FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/598.

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FACILITY 47 is a psychological horror novel set in Germany just after the end of World War II. The novel is written in a naturalistic style that seeks to ground paranormal genre elements in a believable world. The story follows a group of Americans, led by Michael Powell, as they seek out and become trapped within an abandoned Nazi research facility in the Harz Mountains that contains a very dangerous secret; an unknown force capable of controlling people’s actions and forcing them to destroy themselves. FACILITY 47 focuses on a character driven by greed, moral outrage at dubious American postwar policy, and a desire to create a world for himself where he is in control. In the end of the novel, Michael learns that the obsessive quest for control can have catastrophic consequences, but this discovery is made too late to save himself or his friends from the mysterious power inside the facility.

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Vallenthini, Michele. "Sade dans l'Histoire : du temps de la fiction à la fiction du temps". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040031.

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Par une prise en compte de son oeuvre de vieillesse, La Marquise de Gange, Adélaïde de Brunswick, princesse de Saxe et Histoire secrète d'Isabelle de Bavière, reine de France, le travail propose une nouvelle perspective sur l'oeuvre du marquis de Sade. Dans un premier temps ses romans libertins les plus connus sont examinés du point de vue de l'histoire et du temps : au fil de la lecture des textes on constate non seulement ce caractère formel hétérogène et tendant à des surenchères de tout genre, mais surtout cette problématisation de l’histoire et du temps (dans le sens d’une conscience aiguë du passage du temps, liée à une réflexion sur la vérité et la morale) caractéristique de la littérature du tournant des Lumières. Dans chaque texte on retrouve la même ambivalence du propos : tantôt fuite hors du temps et déni de l’histoire, tantôt conscience aiguë et lucide, qui se réfugie dans les plis du texte et derrière les métaphores corporelles et les biographies lubriques.La deuxième partie du présent travail souhaite comprendre les trois romans historiques comme documents uniques du développement littéraire et idéologique d’un écrivain dans la France post-révolutionnaire, d’un homme de lettres désormais septuagénaire, confronté aux nouvelles structures d'un monde en plein effort de reconstitution.Moyennant les catégories qui sont analysées ici, il est possible de dégager des trois romans historiques un substrat commun qui en fait ce que je définis, dans le sillage de Paul Ricoeur comme fiction du temps. La fiction du temps ressent de manière particulièrement aiguë l’aporie du temps. Elle est le symptôme d’un malaise historique : de l’expérience bouleversante de la Révolution, de l’opacité d’un monde en mutation, finalement, d’une fuite irrémédiable du temps
This thesis wants to propose a new perspective on the oeuvre of the Marquis de Sade by taking into account his late works La Marquise de Gange, Adélaïde de Brunswick, princess of Saxony and the Histoire secrète d'Isabelle de Bavière, queen of France.In a first approach his more known libertine novels are examined from a historical point of view. In the course of reading Sades texts one can observe not only a heterogeneous formal character tending towards an overload into all genres. In particular one also finds the manner of expounding the problems of history and time (in the sense of an acute consciousness for the passing of time, combined with reflections on truth and moral) typical of the literature of Enlightenment. In every text one rediscovers the same ambivalence of intention - be it the escape from time and the denial of history, be it an acute and lucid conscience that finds refuge in the letters of the text and behind bodily metaphors and lubricious biographies.The second part of the present thesis wants to understand the three historic novels of the Marquis de Sade as unique documents of the literary and ideological development of an author in post-revolutionary France, a man of letters henceforth in his seventies confronted with new structures of a world in plain process of reforming.By means of the categories analyzed here, it is possible to remove from these three historic novels the common substrate of what I, in the wake of Paul Ricoeur, have in fact defined as the fiction of time. In a particularly acute manner the fiction of time suffers the aporia of time. This is the symptom of a historic faintness - that of the overwhelming experience of the Revolution, of the obscurity of a world in change and in the end of an irremediable escape from time

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Zevitz, Richard Gary, i Michael Braswell. "Long Road Home : The Trials and Tribulations of a Confederate Soldier". Digital Commons @ East Tennessee State University, 2012. http://amzn.com/0828324654.

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A disgraced officer and an enlisted man forge an unlikely friendship through the desperate river battles waged along the Mississippi between Union forces and outnumbered Confederate defenders. Following their surrender, the two friends along with the other defeated Rebels are incarcerated in Northern prisoner of war camps where new challenges await them. Only one will survive. Based upon ten years of historical research, Long Road Home explores the trials and travails of George Spears and his friend, Eli Forrest.
https://dc.etsu.edu/etsu_books/1004/thumbnail.jpg

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Herrmann, Andrew F. "On Being a Homeless Work of Fiction". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/749.

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In this piece the author takes a journey into the meaning of quests through the philosophical terrain of existential phenomenology and authenticity. Unlike quest narratives in literature and popular culture, our life narratives are not yet finished, but ongoing. Comparing the idea of existential homelessness with its undeniable and constant change to that of autoethnographic writing, he examines narrative and memory and how current life events change our understandings of past narratives and our sense of identity. Our life narratives are made up of fragmented thoughts and ideas, the stories others told before we were born—and will tell about us after we are gone.

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