Готові списки джерел за темами / Historical fiction

Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій
  6. Звіти організацій

Добірка наукової літератури з теми "Historical fiction"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 31 липня 2024

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Статті в журналах з теми "Historical fiction"

1

Mickel, Emanuel J. "Fictional History and Historical Fiction." Romance Philology 66, no. 1 (January 2012): 57–96. http://dx.doi.org/10.1484/j.rph.5.100799.

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Teo, Hsu-Ming. "Historical fiction and fictions of history." Rethinking History 15, no. 2 (June 2011): 297–313. http://dx.doi.org/10.1080/13642529.2011.570490.

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3

White, Hayden. "Introduction: Historical Fiction, Fictional History, and Historical Reality." Rethinking History 9, no. 2-3 (June 2005): 147–57. http://dx.doi.org/10.1080/13642520500149061.

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4

Esber, Mary Jane. "Historical Fiction." JAMA 296, no. 14 (October 11, 2006): 1781. http://dx.doi.org/10.1001/jama.296.14.1785.

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Bailey, Edward. "Science Fiction, Historical Fiction and Religion Fiction?" Implicit Religion 17, no. 4 (December 12, 2014): 539–41. http://dx.doi.org/10.1558/imre.v17i4.539.

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Fitzpatrick, Noel. "The question of Fiction – nonexistent objects, a possible world response from Paul Ricoeur." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 137–53. http://dx.doi.org/10.1515/kjps-2016-0020.

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Abstract The question of fiction is omnipresent within the work of Paul Ricoeur throughout his prolific career. However, Ricoeur raises the questions of fiction in relation to other issues such the symbol, metaphor and narrative. This article sets out to foreground a traditional problem of fiction and logic, which is termed the existence of non-existent objects, in relation to the Paul Ricoeur’s work on narrative. Ricoeur’s understanding of fiction takes place within his overall philosophical anthropology where the fictions and histories make up the very nature of identity both personal and collective. The existence of non-existent objects demonstrates a dichotomy between fiction and history, non-existent objects can exist as fictional objects. The very possibility of the existence of fictional objects entails ontological status considerations. What ontological status do fictional objects have? Ricoeur develops a concept of narrative configuration which is akin to the Kantian productive imagination and configuration frames the question historical narrative and fictional narrative. It is demonstrated that the ontological status of fictional objects can be best understood in a model of possible worlds.
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7

Raghunath, Riyukta. "Possible worlds theory, accessibility relations, and counterfactual historical fiction." Journal of Literary Semantics 51, no. 1 (April 1, 2022): 1–18. http://dx.doi.org/10.1515/jls-2022-2047.

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Abstract Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relations from logic to literary studies, distinguishes between four text types depending on the extent to which their fictional worlds can be seen as possible, probable, or impossible in the actual world. Developing Maître’s work, Ryan, Marie-Laure. 1991a. Possible worlds and accessibility relations: A semantic typology of fiction. Poetics Today 12. 553–576, c.f. Ryan, Marie-Laure. 1991b. Possible worlds, artificial intelligence, and narrative theory. Bloomington: Indiana University Press) creates a comprehensive taxonomy of accessibility relations that may be perceived between fictional worlds and the actual world. This includes assuming compatibility with the actual world in terms of physical laws, general truths, people, places, and entities. Using her taxonomy, she then offers a typology of 13 genres to show how fictional worlds created by different genres differ from each other. As it stands, Ryan’s typology does not contain the genre of counterfactual historical fiction, but similar genres such as science fiction and historical confabulation are included. In this article, specific examples from counterfactual historical fiction are analysed to show why it is problematic to place these texts within the genres of historical confabulation or science fiction. Furthermore, as I show, Ryan’s typological model also does not account for some of the characteristic features of the genre of counterfactual historical fiction and as such the model cannot account for all texts within the genre. To resolve this issue, I offer modifications to Ryan’s model so it may be used more effectively to define and distinguish the genre of counterfactual historical fiction.
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Park, J. P. "Art-Historical Fiction or Fictional Art History?" Archives of Asian Art 72, no. 2 (October 1, 2022): 181–219. http://dx.doi.org/10.1215/00666637-9953432.

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Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since it provides accounts of paintings by artists whose works are no longer extant. But there is one major problem: the book is a forgery. What is more, Zhang also forged paintings to match the documentation he created, so he could also profit from trading in them. Interestingly, the book also echoes unfounded claims registered in art-historical writings of the time, wherein leading critics and connoisseurs, including Dong Qichang (1555–1636), propounded completely contrived arguments by which they tried to establish legitimate lineages in Chinese art. Such propositions represent, borrowing from Eric Hobsbawm's insight, a kind of “invented tradition,” a fictional history of practice and artifact that runs as some thought it ought to have, rather than as it did. By looking into all the three major components of forgeries in early modern China that are referenced throughout Zhang Taijie's catalog—(1) fabricated texts, (2) forged paintings, and (3) fake histories/theories—this paper aims to explain how Baohuilu facilitated Zhang's candid desire for fame and profit in the booming art market of the time, while unveiling certain cultural, social, and genealogical anxieties and tensions negotiated in the form of art-historical theories.
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Susan, Mabel, and Hemachandran Karah. "Pedagogical-historical Fiction." Caribbean Quarterly 70, no. 1 (January 2, 2024): 32–53. http://dx.doi.org/10.1080/00086495.2024.2323377.

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Dutta, Nandana. "Amitav Ghosh and the Uses of Subaltern History." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 8 (December 1, 2015): 14. http://dx.doi.org/10.12681/syn.16209.

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Анотація:
The interface between history and fiction has been an area of rich potential for the postcolonial novelist in South Asia and this is evident in the practice of many novelists from the region who have used historical material as backdrop but have also used fiction to comment on recent events in their countries. In this paper I examine the work of Amitav Ghosh as offering a fictional method that has evolved out of his immersion in subaltern historical practice and one that successfully bridges the gap between these two genres. I show this through his deployment of historical material in the three novels, The Shadow Lines (1988), The Glass Palace (2000) and The Hungry Tide (2004), where Ghosh is not simply ‘using’ the subaltern method but pointing to the possibilities of reparation. Ghosh adopts a complex inversion of the subaltern method that involves two processes: one, the selection of small, neglected events from the national story in a concession to subaltern practice –the little narrative against the grand; and two, the neglect by the narrative of some aspect of these stories. He does this by choosing his historical area carefully, keeping some part of it silent and invisible and then meditating on silence as it is revealed as a fictional and historical necessity. I suggest that Ghosh, by retrieving and giving place/voice to the historically repressed event in the fiction, achieves a swerve from simply ‘righting the record’ and releases the marginal as a referent in the present. Such fiction enters the realm of intervention in public discourse, or carries the potential, by introducing considerations that create public consciousness about historical injustices, successfully ‘using’ subaltern history.
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Дисертації з теми "Historical fiction"

1

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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3

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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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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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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Анотація:
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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6

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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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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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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Анотація:
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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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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Анотація:
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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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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Книги з теми "Historical fiction"

1

Mitchell, Kate, and Nicola Parsons, eds. Reading Historical Fiction. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291547.

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Oliver, Marina. Writing historical fiction. Munslow: Tudor House, 2003.

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author, Ehrenworth Mary, ed. Historical fiction clubs. Portsmouth, NH: Heinemann, 2015.

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Rosemary, Sutcliff, and Hilts Len, eds. Exploring historical fiction. [New York]: Scholastic, 1992.

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5

Gregg, Sapp, ed. Historical figures in fiction. Phoenix, Ariz: Oryx Press, 1994.

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6

1930-, Gerhardstein Virginia Brokaw, ed. Dickinson's American historical fiction. 5th ed. Metuchen, N.J: Scarecrow Press, 1986.

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7

Naguib, Al-Attas Muhammad. Historical fact and fiction. Johor Bahru, Johor Darul Ta'zim, Malaysia: Penerbit UTM Press, Universiti Teknologi Malaysia, 2011.

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8

Musielak, Dora. Sophie's diary: A historical fiction. Bloomington, IN: AuthorHouse, 2005.

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Stevens, Anne H. British Historical Fiction before Scott. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230275300.

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Weldt-Basson, Helene Carol, ed. Redefining Latin American Historical Fiction. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137349705.

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Частини книг з теми "Historical fiction"

1

Ludlow, Elizabeth. "Historical Fiction." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–4. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02721-6_24-1.

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Ludlow, Elizabeth. "Historical Fiction." In The Palgrave Encyclopedia of Victorian Women’s Writing, 737–40. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_24.

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Johnson, Denise. "Historical Fiction." In The Joy of Children's Literature, 236–68. 3rd ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003015680-9.

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Patell, Cyrus R. K. "Historical Fiction." In Cosmopolitanism and the Literary Imagination, 69–86. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137107770_4.

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Charlton, Kenneth. "Historical Fiction." In Handbook for History Teachers, 272–78. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-25.

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Pinsent, Pat. "Historical Studies." In Teaching Children's Fiction, 6–28. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230379404_2.

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Bentley, Nick. "Contemporary Historical Fiction." In Contemporary British Fiction, 92–107. London: Macmillan Education UK, 2018. http://dx.doi.org/10.1057/978-1-137-00965-4_7.

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Wesseling, Elisabeth. "3.1.3 Historical Fiction." In Comparative History of Literatures in European Languages, 203. Amsterdam: John Benjamins Publishing Company, 1997. http://dx.doi.org/10.1075/chlel.xi.23wes.

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Bertens, Hans, and Theo D’haen. "Historical Mysteries." In Contemporary American Crime Fiction, 146–59. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_9.

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Mitchell, Kate, and Nicola Parsons. "Reading the Represented Past: History and Fiction from 1700 to the Present." In Reading Historical Fiction, 1–18. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291547_1.

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Тези доповідей конференцій з теми "Historical fiction"

1

Senkar, Patrik. "HISTORICAL ASPECTS IN NON-FICTION LITERATURE." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s11.25.

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Whitlock, Annie. "Historical Fiction and Its Commonplace in Classrooms." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1882947.

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McMillian, Rachel. "Historical Fiction: A Critical Policy Analysis of Teaching Hard History." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1582571.

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Ершова, Н. А. "“TEMPLE OF THE RUSSIA’S HEROES FAME”. HEROES IN HISTORIOGRAPHY AND ARTISTIC CULTURE OF THE EARLY 19TH CENTURY." In Образ героя. От прошлого к настоящему. Crossref, 2023. http://dx.doi.org/10.54874/9785605054252.2023.1.10.

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Представление о героическом в российской истории в начале XIX в. происходило благодаря совместным устремлениям историков, писателей, художников. Эпически-возвышенные характеристики исторических персонажей соответствовали определенным каноническим представлениям о герое истории, не предполагавшем противоречивости. Пример сочинения П. Ю. Львова раскрывает особенности беллетризации деятельности героев российской истории, создания словесных монументов, готовых для воплощения скульптором или художником. Творчество Н. М. Карамзина, всецело разделявшего такой подход, свидетельствовало о продвижении по пути объективности и критики в истории. Idea of a heroic personage in Russian history of the early 19th century had been forming in common aspiration of the historians, writers, artists. Epic and sublime images of the historic figures appeared in accordance with certain canonic rules of the heroes’ representation. P. Lvov’s book is an example of historic popular fiction with the heroes presented like verbal monuments ready to be depicted by a sculptor or painter. Great Russian historian N. Karamzin who contributed to this way of commemoration, in his historical writings moved forward in direction of the historical objectivity and critics.
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Nicoglo, Diana. "Reflection of the events of the “Balkan” period in the Gagauz fiction." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.32.

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The most detailed description of the “Balkan” period is found in the novel by D. Tanasoglo “Uzun Kervan”. In other genres (poetry), the poeticized image of the Balkans as the historical homeland of the Gagauz is presented to a greater extent. The main events of the “Balkan” period in the history of the Gagauzians, reflected in fiction, are: the adoption of Christianity by the Oghuz / Uzes – the ancestors of the Gagauzians, relations with the local population of the Balkans, the struggle against the Ottoman Turks, and the creation of a fictional Gagauz state called Uzi Eyalet. The authors also draw attention to the way in which changes occur in the traditional everyday culture of ancestors of the Gagauz as a result of changing economic-cultural type, and religion. In the Gagauz environment of creative people, there is a unity in the perception of the historical past associated with the presence of the ancestors of the Gagauz people in the Balkans. As a rule (with a few exceptions), the past broadcast by Gagauz writers is largely mythologized: and the writers themselves play a significant role in the process of constructing ethnicity.
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Рогацкина, Марина Леонидовна. "HISTORICAL POEMS BY N. I. RYLENKOV. POEM “GREAT FLUFF ” (1940): TRUTH AND FICTION." In Международная конференция «Феномен пограничного и трансграничного в истории и культуре». Crossref, 2023. http://dx.doi.org/10.54016/svitok.2023.67.85.036.

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Статья посвящена анализу поэмы Н. И. Рыленкова «Великая замятня», написанной в 1940 г. В ней повествуется о восстании «черных людей» Смоленска против представителей власти Великого князя Литовского в XV в. Автор статьи рассматривает данное произведение» с точки зрения соотношения правды и художественного вымысла. Законы исторического документа требуют, как известно, однозначного соответствия факту, документу. Художественное произведение строится по другим законам - писатель имеет право трансформировать исторические события в соответствии со своим видением, идеей, включать художественный вымысел. Н. И. Рыленков, обратившись к далекой истории Смоленска, сохраняя ключевые исторические факты, дополняет событие своими мыслями и интерпретацией, идеями, оживляя художественностью, персонифицирует образ «черных людей» и вводит современную для 1940-х годов тему. The article is devoted to the analysis of the poem N. I. Rylenkova “Great Flinking”, written in 1940. It narrates about the uprising of the “black people” of Smolensk against representatives of the Grand Duke of Lithuania in the 15th century. The author of the article considers this work “ from the point of view of the ratio of truth and artistic fiction. The laws of a historical document require, as you know, unambiguous compliance with the fact, document. A work of art is built on other laws - the writer has the right to transform historical events in accordance with his vision, idea, and include artistic fiction. N. I. Rylenkov, turning to the distant history of Smolensk, preserving the key historical facts, complements the event with his thoughts and interpretation, ideas, reviving artistry, personifies the image of “black people” and introduces a modern theme for the 1940s.
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Brooks, Wanda. "Through the "Black Narrator's Gaze": Depictions of White Supremacy in Historical Fiction Novellas." In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2005398.

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Olarescu, Dumitru. "The historical-biographical film: destinies and personalities." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.10.

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The history of national cinema shows that the evolution of non-fiction biographical film began with subjects dedicated to prominent personalities. These were included in the film magazine “Soviet Moldova” and in the almanac “Life in pictures”. In 1961, the first historical-biographical film “The Legendary Brigade Commander”- a eulogy to Grigore Kotovski (director A. Litvin) appeared at the “Moldova-film” studio, followed by other films dedicated to the heroes of the times: Pavel Tkacenko, Elena Sârbu, Tamara Cruciok, which were dominated by a pronounced propagandistic character. A new level of national historical-biographical film can be noticed in the late 1960s and early 1970s, when the filmmakers: Emil Loteanu (“Academician Tarasevici”), Andrei Buruiană (“Ştefan Neaga”), Vlad Druc (“Ion Creangă”) made their debut. Yet, the idea of biography especially predominates in the creation of Anatol Codru, who played a significant role in the affirmation stage of this kind of nonfiction film, bringing through his films, “Alexandru Plămădeală”, “Alexei Şciusev”, “Dimitrie Cantemir”,”Vasile Alecsandri” a new breath in the context of the films made before him. He imposed himself through a poetic-philosophical vision on the destinies and the creation of the personalities, who contributed to the spiritual prosperity of the nation.
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Teodorescu, Camelia. "CULTURAL-HISTORICAL TOURISM OR FICTION TOURISM IN ROMANIA? CASE STUDY: VLAD THE IMPALER OR DRACULA." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/14/s04.024.

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Vasileva, Irina. "ABOUT THE BOUNDARY MARKERS OF THE TRANSITION PERIODS: LYRICAL DIGRESSIONS IN THE FICTION BY ANTON CHEKHOV." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.03.

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Anton Chekhov is generally acknowledged as a writer who symbolizes a transition period, marks the end of the Classical Russian literature of the 19th century and establishes the basics of the poetics of the 20th century. Scholars are traditionally focused on Chekhov’s innovations but not on the connections with the previous tradition. This contribution makes an attempt to reassess the aspect of Chekhov’s poetics which could be called historical “form’s thinking” (in Alexander Mikhailov’s terminology). I mean the features of tradition which result from historical dynamics of culture and are beyond individual principles of artistic consciousness. In the culture prior to the New Age, topos was a form which included both principles and ways of thinking. In this research I analyze lyrical digressions in the Russian fiction of the 19th century which correlate with topoi on the basis of their constitution. The strategy of lyrical digressions rests on the movement between two poles of the being: historical and eternal, individual and universal, etc. Before Chekhov, this movement was strictly hierarchical. In Chekhov’s lyrical digressions one can easily notice a shift of semantic coordinates when the concrete and the situational becomes valuable. However, the poles themselves (individual and universal) and the movement between them remain invariable. It is possible to claim that Chekhov’s poetics although discovers the boundaries of semantic dynamics of the lyrical digressions (as a constant form) is not aware of any other principle of thinking. This fact distinguishes Chekhov from his younger contemporaries and makes him the writer of the classical 19th century. Refs 20.
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Звіти організацій з теми "Historical fiction"

1

Pelinka, Darlene. The use of junior historical fiction in the classroom. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1598.

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Tabinska, Iryna, та Yaroslav Tabinskyi. Феномен «смислу поміж фактами» у друкованому виданні Reporters: взаємодія тексту та фотоілюстрації. Ivan Franko National University of Lviv, березень 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11728.

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The article states that with the development of new journalism, the author’s ability to characterize a phenomenon and identify a trend acquires special value. Representatives of Ukrainian new journalism, which is a relatively new genre, are already gradually implementing these tasks. They compose entire books from their reports, offering the reader a condensed version of versatile observations about a certain country, situation, or phenomenon. In contrast to ordinary reportage, fiction is a synthetic genre, in which it is not reported, but told. The authors of the article research Reporters which is the first magazine of new journalism in Ukraine. Their main task is to explain the phenomenon of “meaning between facts”. According to the authors, this phenomenon is simple and unique at the same time, because through people’s stories you can find depths that relate to historical, cultural and geopolitical life. The article analyzes the interaction of text and images, shows how to find meaningful messages in actual data using specific examples. The study singled out accents that relate to the interaction of text and images. Quite often, photography reproduces reality and helps the reader to paint reality in his imagination. Textual forms delve into the plot through human history and detail. In four printed issues of the magazine, the authors of the study analyzed the stories that are particularly relevant today. First of all, this concerns Russian aggression and the insubordination of Ukrainians. Key words: new journalism, non-fiction, text, images, dialog, photojournalism.
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3

Demchenko, Dmytro. DEMASSIFICATION OF SOCIAL PROCESSES IN THE CONTEXT OF DIGITAL COMMUNICATION (TO THE PROBLEM OF THE DICHOTOMY OF “ELITE-MASS” AS A POLITICAL COMMUNICATION PARADOX). Ivan Franko National University of Lviv, March 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12171.

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The article aims to analyze a complicated process of the society’s main components – elite, mass communication, and masses – in their interaction and interdependence from the historical perspective. Due to industrialization and modernization of the life quality, the social life changes radically, and the essence of every component of the society changes as well. The elite loses its dynastic character. The media stop to play the role of a mediator taking on the obligations of a collective agitator and propagandist, and the mass stops to be cloth for wiping shoes. It starts to form a mass audience and, by that, obtains new forms that must be taken into account by social institutions. Together with that the collective views are substituted by the views which are stronger than the ones of a separate individual. One of the main conclusions of the investigation is as follows. The formation of the “consumer society” and the strengthening of the mass communication role resulted in the appearance of “mediocracy” which factually introduced an absolute elite dependence on it and conferred the right of media to set the social agenda. The mass turned out to be a silent majority, a unity of conformity-oriented people. These people become simultaneously a product of mass communication impact because they dictate what one must read, listen to, and watch from the media menu. They force MMC to satisfy their unassuming needs making the content trivial and commodificated. In other words, the mutual process of the interaction of the media, “impossible independence” and the conscious “communicative consensus” of individuals who are willingly united with the mass audience takes place. The creation of the internet due to “digital anonymity” and the autonomy of the consumer formed the conditions for the self-determined citizens and gave the elite a modest place in the “cyber democracy”. However, the increase in individual self-isolation leads to his gradual loss of “social capital,” and that threatens to replace the direct experience with a virtual environment that will make it very difficult to differentiate reality from fiction. Keywords: elite, mass, media, mass communication, information space, globalization.
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Fernández, Iván Escobar. COMTOG Report: ‘My Memory of Us’ — Boosting Historical Memory Through Implicit Visual Metaphors. European Center for Populism Studies (ECPS), April 2023. http://dx.doi.org/10.55271/rp0037.

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My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city that has been divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, and stealth elements, as well as a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game that tells a story of friendship, love, and survival during a war.
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Estrada, Jorge. Ruthless Desires of Living Together in Roberto Bolaño’s 2666: Conviviality between Potestas and Potentia. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, March 2022. http://dx.doi.org/10.46877/estrada.2022.42.

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A desire to live together is perhaps a key idea in Roberto Bolaño’s narratives. His characters are constantly negotiating their involvement in diverse societies amid the historical catastrophes of the twentieth century, so this desire becomes highly differentiated. It undergoes perspectival shifts and creates “mirror games”, which express scepticism towards universalising forms and trigger reflections on history and modernity. In this working paper, I examine how, in 2666, the cosmopolitan desire of a self-legislating and self-authorizing individual is disassembled and superseded by a convivial framework and a relational subject that is crossed by diverse determining forces. This transition is correlated to Bolaño’s diagnosis of late capitalism, in which a matrix of domination that worked with the logic of potestas is replaced by the channelling of potentia, i.e. an apparatus for capturing a flow of lives whose features only come to light in forensic discourse and project the fictional city of Santa Teresa.
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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