Search results

You are looking at 1 - 10 of 172 items for :

  • "historical fiction" x
  • Refine by access: All content x
Clear All
Simon Malpas and Andrew Taylor

6 Mason & Dixon and the transnational vortices of historical fiction If, as we have suggested, Vineland depicts a depthless, quintessentially postmodern United States of the 1980s, caught in the seductive embrace of an all-encroaching media landscape which is contrasted with a 1960s counterculture of dissent and political activism to question the trajectory of the national narrative, Mason & Dixon, published in 1997, takes the reader back to the period of the country’s founding and the historical densities of eighteenth-century colonial culture. The ostensible

in Thomas Pynchon
Jerome de Groot

This article considers the childrens writer Alison Uttley, and, particularly, her engagements with debates regarding science and philosophy. Uttley is a well-known childrens author, most famous for writing the Little Grey Rabbit series (1929–75), but very little critical attention has been paid to her. She is also an important alumna of the University of Manchester, the second woman to graduate in Physics (1907). In particular, the article looks at her novel A Traveller in Time through the lens of her thinking on time, ethics, history and science. The article draws on manuscripts in the collection of the John Rylands Library to argue that Uttley‘s version of history and time-travel was deeply indebted to her scientific education and her friendship with the Australian philosopher Samuel Alexander.

Bulletin of the John Rylands Library
Postmemory in contemporary British war fiction
Author: Natasha Alden

This study applies the concept of postmemory, developed in Holocaust studies, to novels by contemporary British writers. The first monograph-length study of postmemory in British fiction, it focuses on a group of texts about the World Wars. Building upon current work on historical fiction, specifically historiographical metafiction and memory studies, this work extends this field by exploring the ways in which the use of historical research within fiction illuminates the ways in which we remember and recreate the past.

Using the framework of postmemory to consider the evolutionary development of historiographical metafiction, Alden provides a ground-breaking analysis of the nature and potential of contemporary historical fiction, and the relationship between postmemory and ‘the real’. As well as asking how postmemory can unlock the significance of the transgenerational aspects of these novels, this study also analyses how authors use historical research in their work and demonstrates, on a very concrete level, the ways in which we remember and recreate the past. Tracing the ‘translation’ of source material as it moves from historical record to historical fiction, Alden offers a taxonomy of the uses of the past in contemporary historical fiction, analysing the ways in which authors adopt, adapt, appropriate, elide, augment, edit and transpose elements found such material. Asking to what extent such writing is, necessarily metafictional, and what motivates the decisions these novelists make about their use of the past, the study offers an updated answer to the question historical fiction has always posed: what can fiction do with history that history cannot?

Abstract only

Best known for a trilogy of historical novels set in the fictional town of Gilead, Iowa, Marilynne Robinson is a prolific essayist, teacher, and public speaker, routinely celebrated as a singular author of contemporary American fiction. This collection intervenes in the author’s growing critical reputation, pointing to new and exciting links between the author, the historical settings of her novels, and the contemporary themes of her fictional, educational, and theoretical work. Touching on ongoing debates in race, gender, and environmental politics, as well as education, democracy, and the state of critical theory, New Perspectives on Marilynne Robinson demonstrates the wider secular and popular impact of the author’s work, building on the largely theological focus of previous criticism to suggest new and innovative interpretations of her oeuvre.

The collection’s four sections are dedicated to: Robinson’s use of form and style; her exploration of the relationship between gender and the environment; her use of history and the intersection of race, rights, and religion in her work; and a discussion of Robinson and her contemporaries. As such, the collection argues for a reconsideration of Robinson within the field of American and English Studies, by bringing together 16 new, vibrant, and undoubtedly contemporary analyses of her work. Authors include: Bridget Bennett, Richard King, Sarah Churchwell, Jack Baker, Maria Elena Carpintero Torres-Quevedo, Daniel King, Anna Maguire Elliott, Makayla Steiner, Lucy Clarke, Christopher Lloyd, Tessa Roynon, Alexander Engebretson, Emily Hammerton-Barry, Steve Gronert Ellerhoff, Kathryn E. Engebretson, Paul Jenner, and Rachel Sykes."

Abstract only
Natasha Alden

- Reading behind the lines:Layout 1 27/9/13 09:05 Page 205 Conclusion myths head on, we often find them hard to dispel. By taking a less direct route – the literary historical version of the indirect approach? – Barker may have opened more minds than we shall ever do.13 Fiction’s ability to pry into the murkier, unrecorded corners of history does not, according to Swift, Barker, Waters and McEwan, mean that all history is reduced to competing narrative, nor that there is a unitary grand narrative. These historical fictions depict the past with truth. It is truth of a

in Reading behind the lines
Abstract only
Natasha Alden

have shaped how, and what, we remember about the wars in the last twenty ሁሂ 3 ሃሁ 3927 Alden- Reading behind the lines:Layout 1 27/9/13 09:04 Page 4 Reading behind the lines years? What factors – such as being the child of a veteran – affect the authors who choose to write about the period? The study will investigate whether it is possible to move from these questions to devising a taxonomy of the uses of the past in contemporary historical fiction. Each chapter offers detailed analysis of how a specific author adopts, adapts, appropriates, elides, re

in Reading behind the lines
Rosemary O’Day

, FICTION AND THE MEDIA and had a relevance for Milner and Lingard in the religio-political context) had been pushed into the background for those who saw history as a form of entertainment and, at its most serious, moral instruction.1 The historical fiction of Sir Walter Scott (1771–1832) was enormously popular throughout the English-speaking world and confirmed Britain in its vogue for the Middle Ages. Kenilworth, published in 1821, paid little regard to historical niceties such as accurate dates. Tudor England also proved a popular subject for novelists.2 Several

in The Debate on the English Reformation
Gavin R.G. Hambly

generations of Anglo-Saxons on both sides of the Atlantic. Nineteenth-century and early twentieth century writers of historical fiction implanted firmly in their readers’ minds the abiding notion of Islam as a backward religion and way of life, but a few authors were more discriminating. Not all Muslims were portrayed as dyed-in-the-wool villains, even if the overall impression was one of

in Asia in Western fiction
Abstract only
Weaving around the Bayeux Tapestry and cinema in Robin Hood: Prince of Thieves and El Cid
Richard Burt

The Bayeux Tapestry as cinematic textilography The Bayeux Tapestry appears most often in historical fiction cinema as a prologue integrated into an opening title sequence, and, less frequently, in scenes of it being embroidered and assembled by women: Chimene (Sophia Loren) in El Cid (1961); Ophelia (Helena Bonham Carter) and other women in Hamlet (1990); and

in Medieval film
Lynn Anthony Higgins

struggles arising from their time and place. A significant sub-corpus of Tavernier’s oeuvre ties character and action so closely to historical situation that the films demand to be called historical fictions. The category is somewhat arbitrary, to be sure: Un dimanche à la campagne , for example, could not have been set in any other era, nor could Autour de minuit or L’Horloger de Saint-Paul . Nevertheless, the category of historical fiction – with its reliance on real public figures and specific events – can help us focus in this

in Bertrand Tavernier