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Статті в журналах з теми "Historical fiction"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 9 червня 2025

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1

Košmrlj, Lea. "The Paradox of Historical Fiction." Acta Neophilologica 57, no. 2 (December 17, 2024): 45–61. https://doi.org/10.4312/an.57.2.45-61.

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In light of the fact/fiction divide, this paper delves into the literary genre of historical fiction for young adults and re-examines the disputed boundaries between fact and fiction. Exploring Lois Lowry’s Number the Stars, a work of historical fiction for young adults about life in Nazi-occupied Denmark, this discussion addresses the paradoxical nature of historical fiction: it is the fictional elements of historical fiction that play the crucial part in bringing historical facts closer to the young adult reader.

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2

Monterde, José Enrique. "Algunas observaciones sobre el documental histórico." Tripodos, no. 16 (December 20, 2004): 23–36. https://doi.org/10.51698/tripodos.2004.16.23-36.

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After making certain terminological clarifications and then situating the historical documentary in the dual position of non-fictional cinema and "historical cinema", the author reaffirms the common discourse which assumes both documentary and fiction to be of a historical order, which, however, does not prevent the clarification of those aspects which justify the typological diferentiation between film fiction and non-fiction. Fully situated in the orbit of non-fictional cinema, this paper establishes a repertoire of the diverse modalities included in this ambit: filmed news events, news bulletins, cinema "magazines", documentaries as such, family cinema and, lastly, the documentary montage, an area particularly well suited to historical work. From there, it proposes that documentary montage deserves more careful analysis of the diverse materials that comprise such montage, including as it does fragments of fictions and non-filmed elements; of the relationship between images and soundtrack; or the discursive strategies it employs, etc. Finally, the article closes with a reflection on the potentials of historical documentary en the production of historical knowledge and awareness.

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3

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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4

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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5

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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6

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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7

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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8

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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9

Dr., Prakash Eknath Navgire. "A STUDY OF POSTMODERN NARRATIVE TECHNIQUE IN GITA MEHTA'S 'RAJ'." Educreator Research Journal ISSN: P-2455-0515 E- 2394-8450 www.aarhat.com/erj VIII, no. VI (December 31, 2021): 23–31. https://doi.org/10.5281/zenodo.5931812.

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<strong>Abstract:</strong> <em>Gita Mehta is postmodern historical writer; she intentionally intermingles the history in her fiction. The presentation of history and the political ideologies are presented through her novels. The development of the character and story happens around proper political and historical background. The historical incidents make changes or affects the life of characters in the fiction. This is one type of intermingling historical events in the fiction. The real historical characters and events are used with the fictitious character in the novel.  The facts are fictionalised in her work. The historical incidents are a prime subject of her narratives and that all are fictionalised. When she writes the fiction, she is much aware that this is the fictitious description of history and politics. She uses the intertextuality in her text because almost entire fiction talks about the historical incidents. The polyphony adequately uses in Gita Mehta’s fictions. The aim of the paper is to provide the post-modern narrative technique in relation with most celebrated concept historiographic metafiction in the novel. Gita Mehta is postmodern historical writer; she intentionally intermingles the history in her fiction. The presentation of history and the political ideologies are presented through her novels. The development of the character and story happens around proper political and historical background. The historical incidents make changes or affects the life of characters in the fiction. This is one type of intermingling historical events in the fiction. The real historical characters and events are used with the fictitious character in the novel.  The facts are fictionalised in her work. The historical incidents are a prime subject of her narratives and that all are fictionalised. When she writes the fiction, she is much aware that this is the fictitious description of history and politics. She uses the intertextuality in her text because almost entire fiction talks about the historical incidents. The polyphony adequately uses in Gita Mehta’s fictions. The aim of the paper is to provide the post-modern narrative technique in relation with most celebrated concept historiographic metafiction in the novel. </em>

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10

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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11

Dr., Prakash Eknath Navgire. "A STUDY OF POSTMODERN NARRATIVE TECHNIQUE IN GITA MEHTA'S 'RAJ'." Educreator Research Journal ISSN: P-2455-0515 E- 2394-8450 VIII, no. VI (February 9, 2022): 23–31. https://doi.org/10.5281/zenodo.6016928.

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Анотація:

<em>Gita Mehta is postmodern historical writer; she intentionally intermingles the history in her fiction. The presentation of history and the political ideologies are presented through her novels. The development of the character and story happens around proper political and historical background. The historical incidents make changes or affects the life of characters in the fiction. This is one type of intermingling historical events in the fiction. The real historical characters and events are used with the fictitious character in the novel.  The facts are fictionalised in her work. The historical incidents are a prime subject of her narratives and that all are fictionalised. When she writes the fiction, she is much aware that this is the fictitious description of history and politics. She uses the intertextuality in her text because almost entire fiction talks about the historical incidents. The polyphony adequately uses in Gita Mehta’s fictions. The aim of the paper is to provide the post-modern narrative technique in relation with most celebrated concept historiographic metafiction in the novel. </em>

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12

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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13

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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14

Descher, Stefan. "Satirical Novels of the Late Enlightenment and the Practice of Fiction. A Methodological Proposal for Investigations Into the History of Fiction." Journal of Literary Theory 14, no. 2 (September 25, 2020): 147–72. http://dx.doi.org/10.1515/jlt-2020-2003.

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Анотація:

AbstractThe paper examines German satirical novels of the late Enlightenment period, published roughly between 1760 and 1790, under the following question: Is there any evidence that the historical practice of fiction (concerning this time and these texts) deviates from the modern practice of fiction as described by institutional accounts of fictionality? First, it is explained what, in this essay, is meant by the ›modern practice of fiction‹. Four ›core rules‹ are identified that, according to institutional accounts of fictionality, characterize the practice of reading works of fiction. These core rules are: You should not conclude that what is expressed by fictional utterances is actually true! You should not conclude that the author believes that what is expressed by his fictional utterances is actually true! You should imagine what is expressed by fictional utterances (make-believe, pretence)! You should (or at least can) make your imaginations the object of higher-level attitudes (for example you can evaluate, emotionally respond to, interpret them etc.)! Then, using the example of German satirical novels of the late Enlightenment, seven features of fictional texts are discussed that may provide clues about the historical practice of fiction and that could give an indication of whether the core rules actually do apply. These features are: assurances of truthfulness by the author or fictional authors/editors; direct thematization of the fictional/factual-text-distinction; fictional reading scenarios; comments by fictional narrators and/or characters on the practice of reading; statements of the actual author in the fictional text; ›that cannot be true‹-passages (intentional mistakes, anachronisms, various ways of breaking the reader’s expectations, etc.); various kinds of reference to the actual world (for example satirical allusions to actual persons or states of affairs). It will be argued that, for the corpus of texts under consideration, there is no convincing evidence that the historical practices of reading works of fiction deviates in any significant way from the core rules of the modern practice of fiction. However, the main aim of this paper is not to provide an exhaustive historical case study. First, the investigation is limited to the exemplary discussion of some (although significant) texts and text passages, so the results can only be considered preliminary. Second, while the satirical novel of the late Enlightenment indeed is a particularly interesting and revealing genre for the study of the historical practice of fiction (arguments are given in section 3), the main purpose of this essay is to make a methodological proposal. A general procedure is provided for finding out whether the historical practice of fiction differs from our modern practice – a procedure that can be applied to texts of other times and genres as well.

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15

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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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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16

He, Yufei. "The Innovation of the TV Drama Nirvana in Fire in the Adaptation of Alternate Historical Novels." Arts Studies and Criticism 6, no. 1 (March 13, 2025): 62. https://doi.org/10.32629/asc.v6i1.3597.

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The popularity of costume dramas has driven the adaptation of historical novels, yet the historical fiction elements within these novels pose significant challenges for adapters. Many current TV dramas adapted from fictional works are set in specific historical periods to address the complexities of adapting fictional fiction. However, the TV series Nirvana in Fire has distinguished itself by preserving the alternate historical setting of its source material, while still being recognized as a high-quality costume drama by audiences. This paper examines the innovative adaptation strategies employed in Nirvana in Fire as a case study, focusing on its approach to adapting alternate historical novels.

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17

Thị Huệ, Đoàn. "Fiction and art fiction in historical novel." Journal of Science, Social Science 62, no. 2 (2017): 27–33. http://dx.doi.org/10.18173/2354-1067.2017-0004.

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18

Kyomugisha T, Asiimwe. "The Role of Fiction in Shaping the Public Perception of Science." RESEARCH INVENTION JOURNAL OF CURRENT RESEARCH IN HUMANITIES AND SOCIAL SCIENCES 4, no. 1 (March 28, 2025): 37–41. https://doi.org/10.59298/rijcrhss/2025/413741.

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Science fiction and other fictional portrayals of science play a significant role in shaping public perception and understanding of scientific principles, discoveries, and ethical dilemmas. Fiction serves as a bridge between scientists and the general public, introducing complex scientific ideas in accessible and engaging narratives. Historically, literature and film have influenced how society perceives technological advancements, scientific progress, and the potential consequences of innovation. While fiction can inspire curiosity and enthusiasm for science, it can also contribute to misconceptions and unrealistic expectations. This paper investigates the intersection of fiction and science communication, examining historical representations of science in fiction, its impact on public attitudes toward scientific discovery, and the ethical implications of fictionalized portrayals. Through case studies of notable works, this study highlights both the benefits and challenges of using fiction as a tool for scientific engagement and education. Keywords: Science fiction, public perception, scientific communication, ethics in science fiction, technological impact, scientific literacy.

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19

O'Callaghan, Evelyn. "Historical Fiction and Fictional History: Caryl Phillips's Cambridge." Journal of Commonwealth Literature 28, no. 2 (June 1993): 34–47. http://dx.doi.org/10.1177/002198949302800205.

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20

De Roest, Karla. "Maak een vuist als je geen hand hebt. Inclusiviteit in (pre)historische jeugdromans." Paleo-aktueel, no. 33 (July 16, 2024): 39–48. http://dx.doi.org/10.21827/pa.33.39-48.

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The one-handed hero: Inclusiveness in historical fiction for childrenHaving grown up with a sister in a wheelchair meant that I took this normalcy into the fictional world of the past. So when I crossed paths with Drem in Rosemary Sutcliff’s 1958 novel Warrior Scarlet, he was to me just a boy with one functional arm. It was not until much later that I realised he was one of the very few protagonists in historical fiction with a disability. A lack of inclusiveness is problematic, first, when it comes to readers identifying with the physical condition of the hero(ine) and, second, because, from an archaeological perspective, the proportion of healthy people in historical fiction seems improbably high, while the representation of people with a disability is often stereotyped. Maybe archaeologists should provide authors of historical fiction with a more informed description of the past.

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21

Wadham, Rachel Lynn, Andrew P. Garrett Garrett, and Emily N. Garrett. "Historical Fiction Picture Books." Journal of Culture and Values in Education 2, no. 2 (June 27, 2019): 57–72. http://dx.doi.org/10.46303/jcve.02.02.4.

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Historical fiction picture books represent a small subset of titles in the broader scope of the format. However, these books are important to both readers and educators. As books are used in educational settings it is critical to assess their effectiveness in helping teach children. This is especially true of historical fiction which generates its own unique challenges. To deeply assess historical fiction picture books we gathered and analyzed a sampling of 126 titles to assess trends in the genre. We found that there were multiple conflicts between the genre and format. There were many books in the sample that struggled with directing the content to a young audience, giving a accurate portrayal of race issues, and maintaining general authenticity and accuracy in the writing. There were also some notable examples of historical picture books that did not display these faults, showing that with the right content and approach, historical fiction picture books have the potential to be invaluable tools for teaching children.

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22

Fileva, Iskra. "HISTORICAL INACCURACY IN FICTION." American Philosophical Quarterly 56, no. 2 (April 1, 2019): 155–70. http://dx.doi.org/10.2307/48570835.

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Abstract I ask whether and when historical inaccuracy in a work of art constitutes an aesthetic flaw. I first consider a few replies derived from others: conceptual impossibility, import-export inconsistency, failure of reference, and imaginative resistance. I argue that while there is a grain of truth to some of these proposals, none of them ultimately succeeds. I proceed to offer an alternative account on which the aesthetic demerits of historical inaccuracies stem from a violation of the conversational contract between author and audience. The key question is what that contract implies.

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23

EDN, Lois K. Hanson, Rosemary Twohey, Sally R. Frederick, Susan Henneberg, Edie Norlin Sanders, Ken Hogarty, Marijo Grimes, and Stephanie Carr. "Booksearch: Recommended Historical Fiction." English Journal 78, no. 1 (January 1989): 84. http://dx.doi.org/10.2307/818000.

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24

Lu. "Chinese Historical Fan Fiction." Pacific Coast Philology 51, no. 2 (2016): 159. http://dx.doi.org/10.5325/pacicoasphil.51.2.0159.

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25

Golinski, J. "HISTORICAL FICTION: Newton's Ghosts." Science 321, no. 5885 (July 4, 2008): 40–41. http://dx.doi.org/10.1126/science.1160708.

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26

Shrestha, Ravi Kumar. "Representation of History in Postmodern Fiction." Patan Prospective Journal 4, no. 2 (December 31, 2024): 106–16. https://doi.org/10.3126/ppj.v4i2.79248.

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Анотація:

This paper shows that history is portrayed as a fiction in postmodern fiction. As postmodern fiction is an art form, it narrates history in the form of a story. So, the postmodern fiction becomes the fusion of history and fiction. In other words, it is structured as rewriting of history challenging the traditional history. It deconstructs the traditional history of fictionalizing history. The narrative becomes more important than the facts and information. Since the postmodern era is the era of questioning reality, truth, facts and so on which were judged objectively, the history is written and studied subjectively instead of objectively. Regarding objectives of the research, the major objective of the research is to explore how postmodernists fictionalize history. Likewise, its objective are to discover self-reflexivity, multiple identities and metanarrative strategy in postmodern fictions. The research analyses that traditional concept of history, which focuses on the chronological order of organizing events in writing history or historical fictions, has changed. The history is represented in a fragmentary form without having linear plot but focusing on multiple identity issues which traditional fictions failed to do, which also indicates that the great narratives of emancipation and a linear, progressive history have ended. The research adopts qualitative approach as a methodology. For textual analysis, Hayden White theory of history is applied. White’s argument about history “. . . a historical narrative is not only a reproduction of the events reported in it, but also a complex of symbols which gives us directions for finding an icon of the structure of those events in our literary tradition” (The Historical Text as a Literary Artifact, 227) reflects the deconstructive concept of postmodern history.

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27

Tyers, Rhys William. "Historiographic Metafiction and the Metaphysical Detective in Roberto Bolaño’s Amulet." MANUSYA: Journal of Humanities 24, no. 2 (December 6, 2021): 270–87. http://dx.doi.org/10.1163/26659077-24020005.

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Abstract Roberto Bolaño’s Amulet explores the writing of history as an attempt to construct a narrative from a multitude of unreliable and conflicting sources. As a result, any attempt at historiography is also plagued by the problems of representation found in literature. More particularly, not unlike detective fiction, history is concerned with identifying the inspirations and actions of its players and with revealing the truth about an episode or series of episodes, using historical information, all of which may or may not be reliable. By examining the relationship between the historical and the fictional in Amulet this paper will discuss Bolaño’s use of the tropes of metaphysical detective fiction and how they help foreground the difficulties posed by historical facts by reinventing them in fiction. This will, in turn, highlight the intersection between detective fiction and historiographic metafiction and how by combining these two genres writers can reimagine historical contexts and find new meanings and significance.

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28

WILSON, KIM. "The Past Re-imagined: Memory and Representations of Power in Historical Fiction for Children." International Research in Children's Literature 1, no. 2 (December 2008): 111–24. http://dx.doi.org/10.3366/ircl.2008.0001.

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This article argues that historical fiction functions as a collective memory: it provides a social framework for recollections that speak of a national agenda often through personal experiences. Taking as its examples three Australian and New Zealand fictions for children and young adults, from the late twentieth and early twentieth-first century, the article examines texts that focus on how we remember the past and what aspects of that past should be remembered: Memorial (1999), a picture book by Gary Crew (author) and Shaun Tan (illustrator), The Divine Wind (1998) by Garry Disher, and The Swap (2004) by Wendy Catran. Close analysis of these texts suggests that, like memory itself, historical fiction tends to eulogise the past. In historical fiction, for children especially, whilst power relations of cultural significance can be perpetuated, they can also be re-positioned or re-invented in order to re-imagine the past. Shifts in the present understanding of past power relationships contribute towards the reinvention of race relations, national ideologies and the locus of political dissent. The article concludes that historical fiction, because of its simultaneous claim to fact and imagination, can be a powerful and cunning mode of propaganda.

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29

Adhikari, Tara Prasad. "Allegorization of History in Burial at Sea." International Research Journal of MMC 5, no. 4 (October 20, 2024): 92–100. http://dx.doi.org/10.3126/irjmmc.v5i4.70700.

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The paper titled “Allegorization of History in Burial at Sea” investigates Khushwant Singh's novel as an allegorized history of post-independent India. Published in 2005, Singh's narrative intertwines the lives of fictional characters with historical figures. Using a combination of textual analysis and historical data, this study examines how Singh's portrayal of these characters serves as an allegorical representation of broader historical narratives. By analyzing the allegorical elements within the novel, the study reveals how Singh's fictionalization serves to critique the idealized images of prominent historical figures, such as Jawaharlal Nehru, and the socio-political dynamics of their time. The findings suggest that Singh's work offers a complex re-interpretation of historical events and figures, highlighting the intersection of fiction and history. The significance of this study lies in its contribution to the discourse on the allegorical nature of historical fiction. This research provides a comprehensive analysis of how fictional works can reshape our perceptions of historical reality.

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Siderevičiūtė, Simona. "Science Fiction in Historical and Cultural Literary Discourse." Respectus Philologicus 25, no. 30 (April 25, 2014): 172–84. http://dx.doi.org/10.15388/respectus.2014.25.30.13.

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This work intends to complement literary studies in science fiction. It discusses the history of global science fiction, overviews the most characteristic features of its historical periods, and provides an introduction to Lithuanian science fiction, indicating its main features and topics. In the context of culture, science fiction is often defined as a literary genre with the emphasis on its nature as fiction. Only rarely are the history of the origin of science fiction, its variations, and the pioneers of science fiction whose works are still highly valued taken into account. Science fiction is often criticized through the filter of preconceived ideas that consider this type of literature to be “frivolous.” This article discusses the possible reasons for such an approach. In Lithuania, this genre is still associated only with pop literature, and its expression cannot yet equal the works of foreign authors. The basic classical motifs of global science fiction found in Lithuanian science fiction include: representatives of extraterrestrial civilizations and human contact with them, scientists and inventors, agents of military institutions, and space travel. Lithuanian science fiction writers follow the traditions of global science fiction when using these classical motifs; however, a general lack of original and individual themes, motifs, and manifestations may be observed.

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Forter, Greg. "Atlantic and Other Worlds: Critique and Utopia in Postcolonial Historical Fiction." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1328–43. http://dx.doi.org/10.1632/pmla.2016.131.5.1328.

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This essay traces the meanings and effects of postcolonial authors' recent refashioning of classical historical fiction. That refashioning has two aims: a materialist cartography that counters the nationalist vocation of classical historical fiction by revealing the supranational, global aspirations of colonial capitalism as a system; and an effort to retrieve from colonial modernity the residues of premodern, often presecular modes of solidarity that persist in yet lie athwart the colonial-modern. The analysis focuses on two novels: Barry Unsworth's Sacred Hunger (1992) and Amitav Ghosh's Sea of Poppies (2006). It engages with work on the Atlantic and Indian Ocean worlds, with theoretical critiques of utopia, and with the Lukácsian concept of typification (and Ian Baucom's criticism of it). The essay concludes by linking the birth of postcolonial historical fiction to the form of finance capital undergirding our contemporary moment—a form of capital that reprises while intensifying that which held sway at the moment of historical fiction's first emergence.

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Muwati, I., D. E. Mutasa, and M. L. Bopape. "The Zimbabwean liberation war: contesting representations of nation and nationalism in historical fiction." Literator 31, no. 1 (July 13, 2010): 147–74. http://dx.doi.org/10.4102/lit.v31i1.41.

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This article examines the array of macro and micro historical factors that stirred historical agency in the 1970s war against colonial settlerism as depicted in selected liberation war fiction. This war eventually led to a negotiated independence in April 1980. Historical fiction in the early 1980s is characterised by an abundance of fictional images that give expression to the macrofactors, while historical fiction in the late 1980s onwards parades a plethora of images which prioritise the microhistorical factors. Against this background, the article problematises the discussion of these factors within the context of postindependence Zimbabwean politics. It argues that the contesting representations of macro- and microfactors in historical fiction on the war symbolise the protean and fluid discourse on nation and nationalism in the Zimbabwean polity. Definitions and interpretations of nation and nationalism are at the centre of Zimbabwean politics, because they are linked to the protracted liberation war against colonialism and the politics of hegemony in the state. Macrofactors express and endorse an official view of nationalism and nation. On the other hand, microfactors problematise and contest the narrow appropriation of nation and nationalism by advocating multiple perspectives on the subject in order to subvert and counter the elite hegemony.

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Macharashvili, Giorgi T. "RHYMED HISTORICAL TEXTS: BIBLIOGRAPHY OF GEORGIAN MANUSCRIPTS." History, Archeology and Ethnography of the Caucasus 19, no. 3 (October 29, 2023): 676–90. https://doi.org/10.32653/ch193676-690.

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Historical fiction and rhymed history are two distinct genres of literature that deal with historical events and characters, but their approaches to history are different. Rhymed history, as a type of poetry, presents historical events in verse form, prioritizing historical accuracy, while in historical fiction, the story itself is fictional, with invented characters, events and scenarios. Georgian literature contains many poetic works of various genres, including rhymed historical texts. Rhymed history was widespread in Georgia, especially from the 18th century. The poetic form makes historical events more memorable. As a result, rhymed history was used to teach children. These texts are typically written in ballad form and usually include simplified versions of historical events. Rhymed history represents a transitional stage between literature and folklore. It is not easy to find rhymed historical texts in catalogues of Georgian manuscripts. Thus, we decided to prepare this work. A bibliography of Georgian rhymed historical texts is published for the first time.

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Chew, Ng Kim, and Po-Hsi Chen. "Why Does a Failed Revolution Also Need Fiction?" Prism 19, no. 2 (September 1, 2022): 411–27. http://dx.doi.org/10.1215/25783491-9966717.

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Abstract The historical relationship between the categories of Malayan Communist fiction and People's Republic of China revolutionary historical fiction remains to be clarified, just as the Malayan Communist revolution was covertly, but undeniably, connected to the Chinese Communist Party. This essay attempts to take the PRC's revolutionary historical fiction as a reference point to reinvestigate Malayan Communist fiction, which was characterized as “historical fiction” by left-wing writers. Examples include Jin Zhimang's Hunger, Liu Jun's Wind Blowing in the Woods, and Tuo Ling's The Hoarse Mangrove Forest. The key issue is that the PRC's revolutionary historical fiction is premised on triumphalism, to authenticate the revolution's legitimacy, while Malayan Communists' revolutionary historical fiction hinges instead on the failure of revolution—though it cannot be recognized as such. How do these latter works contemplate and represent revolution? Does fiction have to rationalize the legitimacy of a failed revolution (or one mired in predicaments)? Or does fiction attempt to accomplish something else? These questions may concern the raison d’être of Malayan Chinese literary realism, which takes representing reality as its mission and investigates its underlying paradoxes.

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Rehberger, Dean. "Vulgar Fiction, Impure History: The Neglect of Historical Fiction." Journal of American Culture 18, no. 4 (December 1995): 59–65. http://dx.doi.org/10.1111/j.1542-734x.1995.1804_59.x.

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Rowland, Antony. "Fiction as Testimony." Literature & History 33, no. 1 (May 2024): 37–52. http://dx.doi.org/10.1177/03061973241245758.

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This article explores the fraught relationship between the terms ‘fiction’, ‘creativity’, ‘literature’ and ‘testimony’ in Holocaust and trauma studies. It argues that the main challenge in reading witness literature is to read testimony as both factual and potentially fictional at the same time when no metatextual corroboration is available. This anxiety of testimony originates in some key texts in Holocaust and trauma studies: I analyse for the first time the repercussions of fictional passages in Primo Levi's If This is a Man (1947), The Truce (1963) and Charlotte Delbo's Auschwitz and After (1985). These sections in no way attenuate the veracity of the overall narratives of survival. Rather than presenting the fictional as fact in bad faith, these books demonstrate the importance of creativity in responding to historical events, particularly when there are no existing historical narratives to present an alternative view. They also emphasise the current critical dichotomy in Holocaust and trauma studies between what Sara Guyer terms the ‘non-representational character’ of literature from ‘the representational character of testimony’. If we attempt to think beyond this binary between fictional literature and books about witnessing, it is possible to reflect on how fiction itself can operate as a form of testimony.

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Htut, U. Than, and U. Than Kaung. "Some Myanmar Historical Fiction and their Historical Context." MANUSYA 6, no. 3 (2003): 95–106. http://dx.doi.org/10.1163/26659077-00603006.

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Peabody, Susan. "Reading and Writing Historical Fiction." Iowa Journal of Literary Studies 10, no. 1 (1989): 29–39. http://dx.doi.org/10.17077/0743-2747.1295.

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Sepetys, Ruta. "Historical Fiction: The Silent Soldier." ALAN Review 42, no. 3 (June 21, 2015): 79–83. http://dx.doi.org/10.21061/alan.v42i3.a.9.

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Parimala, Gudala, and Prof P. Rajendra Karmarkar. "Historical Fiction and Hilary Mantel." International Journal of English Literature and Social Sciences 7, no. 1 (2022): 241–45. http://dx.doi.org/10.22161/ijels.71.32.

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Rycik, Mary Taylor, and Brenda Rosler. "The Return of Historical Fiction." Reading Teacher 63, no. 2 (October 2009): 163–66. http://dx.doi.org/10.1598/rt.63.2.8.

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Menendez, Albert J. "Religious Liberty in Historical Fiction." Religion & Public Education 15, no. 4 (October 1988): 451–58. http://dx.doi.org/10.1080/10567224.1988.11488087.

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Heuer, Imke. "British Historical Fiction before Scott." Women's Writing 19, no. 3 (April 3, 2012): 376–79. http://dx.doi.org/10.1080/09699082.2012.666421.

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44

O'Gorman, Ellen. "Detective Fiction and Historical Narrative." Greece and Rome 46, no. 1 (April 1999): 19–26. http://dx.doi.org/10.1017/s001738350002605x.

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We know that Cicero successfully defended Sextus Roscius on a charge of parricide in 80 B.C.; we know that Vespasian became emperor after the civil wars of A.D. 69, and founded the Flavian dynasty which ended with his son Domitian's death in A.D. 96.

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45

Tynan, Elizabeth. "Operation Buffalo: A historical fiction." History Australia 17, no. 3 (July 2, 2020): 573–75. http://dx.doi.org/10.1080/14490854.2020.1798794.

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46

Nawrot, Kathy. "Making Connections with Historical Fiction." Clearing House: A Journal of Educational Strategies, Issues and Ideas 69, no. 6 (August 1996): 343–45. http://dx.doi.org/10.1080/00098655.1996.10114336.

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47

Iammarino, Denna. ":Renaissance Historical Fiction." Sixteenth Century Journal 43, no. 2 (June 1, 2012): 505–6. http://dx.doi.org/10.1086/scj24245455.

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Pavonetti, Linda M. "Historical Fiction-New and Old." Voices from the Middle 9, no. 2 (December 1, 2001): 78–82. http://dx.doi.org/10.58680/vm20012389.

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Offers brief descriptions of 41 books of historical fiction that may interest intermediate and middle school students, many of them new releases that tackle unusual historical topics. Argues that historical fiction is an ideal medium for taking intermediate and middle school students out of their day-to-day surroundings and into other times and places, helping them learn more about the world.

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Ağarı, Murat. "Historical Roots and Syntactic Nature of Languages." Journal of History Culture and Art Research 10, no. 4 (December 31, 2021): 32–43. http://dx.doi.org/10.7596/taksad.v10i4.3138.

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All languages have a common, ontological nature, and this nature cannot be changed. Although there are some differences in the fictions of languages, the general course of this ontological nature is the same in all languages. Although we are talking about an ontological nature that is the same in all languages, the differences that exist between languages affect and determine the attitudes of societies that use this language. In another respect, history is a totality of social attitudes. Therefore, the language used by society can affect the attitude of that society. In other words, societies have an attitude in such a way that the language they use is foreseen. So much so that, beyond the fictional difference, even the presence or absence of a word in any language can be decisive of a social attitude. Of course, the presence or absence of a word is a small detail in the whole; but when the peculiar fictions of languages are evaluated as a whole, the effects of social attitudes on history, which is the totality, will be seen more clearly. In this study, first of all, the concept of “language family” will be focused on by giving the “definition of language”. Then, the nature of Turkish will be discussed through the language family fiction and its reflections on history will be discussed. Turkish, English, Arabic and will be sampled throughout the study.

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Beck, Cathy, Shari Nelson-Faulkner, and Kathryn Mitchell Pierce. "Historical Fiction: Teaching tool or Literary Experience?" Language Arts 77, no. 6 (July 1, 2000): 546–55. http://dx.doi.org/10.58680/la2000133.

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Looks at the characteristics of outstanding historical fiction including its literary qualities and criteria associated with authenticity. Discusses how teachers invite readers to approach their experiences with these novels. Looks at the role of historical fiction in today’s classrooms. Presents brief annotations of 25 outstanding works of children’s historical fiction. Notes other outstanding books.

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