scholarly journals PÓŹNY ANTYK – DWIE SYNTEZY LITERACKIE (AECJUSZ, OSTATNI RZYMIANIN TEODORA PARNICKIEGO I PRZEMIJA POSTAĆ ŚWIATA HANNY MALEWSKIEJ) / THE WANING OF CLASSICAL WORLD IN TWO EPIC NOVELS: TEODOR PARNICKI’S ÆTIUS, THE LAST OF THE ROMANS AND HANNA MALEWSKA’S THE FASHION OF THIS WORLD PASSETH AWAY

2013 ◽  
Vol 54 (3) ◽  
pp. 53-67
Author(s):  
Jacek Hajduk
Keyword(s):  
Characteristic Feature ◽  
Comparative Study ◽  
20Th Century ◽  
Late Antiquity ◽  
Historical Novel ◽  
Historical Novels ◽  
The Past ◽  
Classical World

Summary This is a comparative study of two 20th-century historical novels set in the late antiquity, Teodor Parnicki’s Ætius, the Last of the Romans and Hanna Malewska’s The Fashion of This World Passeth Away. Drawing their inspiration from St Augustine’s De civitate dei, their authors found their fictions on a clear and coherent historiosophicsystem. Such an approach to the past seems to be characteristic feature of the modernist historical novel.

scholarly journals İlyas Esenberlin’in Gazap (Göçebeler III) ve Gabit Müsirepov’un Ulpan Romanlarında Kazak Hanı Kenesarı Karakteri / The Character Kenesary Khan in İlyas Esenberlin’s Novel Gazap (Göçebeler III) and in Gabit Müsirepov’s Novel Ulpan

2019 ◽  
Vol 8 (2) ◽  
pp. 480
Author(s):  
Mustafa Kundakcı
Keyword(s):  
Comparative Study ◽  
Social Life ◽  
Historical Novel ◽  
Socialist Realism ◽  
Historical Novels ◽  
Destructive Effect ◽  
Turkish Origin ◽  
Philosophical Life ◽  
Soviet Russia

<p><strong>Abstract</strong></p><p>In this article, a comparative study will be applied on the character Kenesary Khan in different works of Kazakh literature Gazap (Göçebeler III) (İlyas Esenberlin-1969) and Ulpan (Gabit Müsirepov-1974).</p><p>This study, which aims to show how the artistic understanding of the authors who use historical characters in the narrative genre is affected by the ideology of the period, will try to determine the destructive effect of socialist realism on the artistic and philosophical life of the Turkic geography.</p><p>It is accepted that historical novels, which can be accepted as the intersection of literature and history, correspond to a need in social life. Although both fields are different in nature and method, especially the narrative genre can make use of the unique opportunities of these two fields and reveal very important works examples. As can be understood from the examples mentioned above, the field of Kazakh literature is quite rich in this respect.</p><p>It will be pointed out the reasons why the literature, which declares that it aims to tell the truth, shows the nature of falsifying historical facts contrary to expectations. Historical traces that could answer the differences between these two periods were investigated for Turkish origin nations exploited in every sense both in Tsarist Russia and Soviet Russia.</p><p>It will be tried to reveal how the memory of nations has been destroyed by giving the historical facts via the character Kenesary Khan. Analyzes will be made about the evaluations that the historical novel type is used as an ideological propaganda tool in Soviet Russia.</p><p><strong>Öz</strong></p><p>Bu makalede Kazak edebiyatı sahasındaki farklı yazarlar tarafından farklı tarihlerde kaleme alınan Gazap (Göçebeler III) (İlyas Esenberlin-1969), Ulpan (Gabit Müsirepov-1974) eserlerinde ortak olarak kullanılan Kazak Hanı Kenesarı karakteri üzerinde karşılaştırmalı olarak durulacaktır.</p><p>Edebiyat ve tarihin kesişim alanı olarak kabul edilebilecek tarihî romanların toplumsal hayatta bir ihtiyaca karşılık geldiği kabul edilmektedir. Her iki alanın mahiyet ve metot olarak birbirlerinden farklı olmasına karşın özellikle anlatı türü bu iki alanın kendine has imkânlarından faydalanarak çok önemli eser örnekleri ortaya koyabilmektedir. Kazak edebiyatı sahası da yukarıda anılan eser örneklerinden anlaşılacağı üzere bu bakımdan oldukça zengindir.</p><p>Anlatı türündeki eserlerde tarihî karakterleri kullanan yazarların sanat anlayışının dönemin ideolojisinden ne kadar etkilendiğini göstermeye dönük bu çalışmada, özellikle ‘sosyalist realizm’in Türkî coğrafyanın sanat ve düşünce hayatındaki yıkıcı etkisi tespit edilmeye çalışılacaktır. Bu sahada gerçeği anlatmayı amaçladığını deklare eden edebiyatın, beklenenin aksine tarihî gerçekleri tahrif edecek bir mahiyet göstermesinin sebeplerine işaret edilecektir.  Yine bu çalışmada hem Çar Rusya’sı hem de Sovyet Rusya’sında her anlamda sömürülen Türk soylu milletler için bu iki dönemin farkının ne olduğuna cevap olabilecek tarihî izler araştırılmıştır.</p><p>Tarihî bir şahsiyet olan Kenesarı karakteri üzerinden milletlerin hafızasının nasıl tahrip edildiği, çalışmada ilgili karaktere ilişkin tarihî bilgiler de verilerek ortaya konulmaya çalışılacaktır. Ayrıca tarihî roman türünün Sovyet Rusya’da ideolojik bir propaganda aracı olarak kullanıldığı yönündeki değerlendirmelere ilişkin çözümlemeler yapılacaktır.</p>

scholarly journals The refuge of a dying variant within the grammar: Patterns of change and continuity in the Spanish verbal periphrasishaber de + infinitive over the past two centuries

2015 ◽  
Vol 27 (1) ◽  
pp. 89-116 ◽  
Author(s):  
José Luis Blas Arroyo ◽  
Javier Vellón Lahoz
Keyword(s):  
Comparative Study ◽  
Detailed Analysis ◽  
20Th Century ◽  
Language Change ◽  
Explanatory Power ◽  
The Past ◽  
History Of ◽  
Selection Of

AbstractBased on a corpus of ego-documents (private letters, diaries, memoirs) from the 19th and the first half of the 20th centuries, this paper presents a variationist comparative study to determine the fate of the modal periphrasishaber de + infinitive in the history of modern Spanish. Detailed analysis of the envelope of variation enables us to show that, despite an abrupt decline in the selection ofhaber derelative totener que, both ‘to have to’, grammatical environments that favor its use remain in the mid-20th century. Many of the factor groups and the hierarchy of constraints during this period are similar to those that operated in previous periods. Nevertheless, a generalized decrease in the explanatory power of these factor groups, as well as some divergent patterns within several of these groups are also observed, mainly as a result of the fact thathaber de + infinitive is increasingly relegated to some restricted areas of the grammar and lexicon. Based on these results, some theoretical implications for changing rates and constraints in language change and grammaticalization are discussed.

Reading the Historical Novel: Reworking the Past and the Relation of Blackfeet History in James Welch's Fools Crow

2009 ◽  
Vol 43 (1) ◽  
pp. 89-100
Author(s):  
SARAH MARTIN
Keyword(s):  
Nineteenth Century ◽  
Native American ◽  
Native Americans ◽  
Historical Novel ◽  
The Political ◽  
Historical Novels ◽  
The Novel ◽  
James Welch ◽  
The Past ◽  
Political Impact

The article considers the political impact of the historical novel by examining an example of the genre by Native American novelist James Welch. It discusses how the novel Fools Crow represents nineteenth-century Blackfeet experience, emphasizing how (retelling) the past can act in the present. To do this it engages with psychoanalytic readings of historical novels and the work of Foucault and Benjamin on memory and history. The article concludes by using Bhabha's notion of the “projective past” to understand the political strength of the novel's retelling of the story of a massacre of Native Americans.

scholarly journals Silencios y repeticiones de la violencia en Colombia. La novela histórica como ontología crítica del presente

2021 ◽  
Vol 8 (15) ◽  
pp. 62-91
Author(s):  
Jorge Enrique Blanco García
Keyword(s):  
Historical Fiction ◽  
Armed Conflict ◽  
Historical Novel ◽  
Space Time ◽  
Historical Novels ◽  
Ontological Status ◽  
The Past ◽  
Critical Ontology ◽  
The Future ◽  
Novela Historica

This paper addresses the contemporary historical novel as a practice of critical ontology of the present. That is to say, a field of reflection that investigates the current ontological status. In the Colombian case, historical fiction has been attentive to interpret the past of violence and armed conflict in an aesthetic way as a mechanism to understand the future of the present. This essay proposes that historical novels, despite being located in a space-time already travelled, maintain a matrix of meaning anchored in the present reality's interpellation. To this end, this paper analyzes the novels The Crime of the Century (2006) by Miguel Torres and So much blood seen (2007) by Rafael Baena.

A False Start for the Classical-Historical Novel: Lockhart's Valerius and the Limits of Scott's Historicism

2002 ◽  
Vol 57 (2) ◽  
pp. 179-209 ◽  
Author(s):  
Stanwood S. Walker
Keyword(s):  
Nineteenth Century ◽  
Historical Fiction ◽  
Late Antiquity ◽  
Historical Novel ◽  
Second Century ◽  
Test Case ◽  
Historical Novels ◽  
Waverley Novels ◽  
False Start ◽  
Oral Testimony

This essay examines the relationship between a popular but neglected subgenre of nineteenth-century historical fiction, the classical-historical novel, and the Waverley novels of Walter Scott. Using John Gibson Lockhart's Valerius; a Roman Story (1821), the first of the classical-historical novels to appear in the wake of the Waverley novels, as a test-case, the essay demonstrates how this subgenre highlights the limits of Scott's model for historical fiction. The essay first outlines the nature of Scott's favored brand of historicism, which it argues was a genealogical one centered on the oral testimony of witnesses to the past events in question (or their near-descendants). It then assesses Lockhart's attempt to adapt Scott's historicist model to his novel's second-century setting, and argues that for reasons having to do both with the temporal and cultural remoteness of that setting, and with the special status of late antiquity in the nineteenth century, Scott'smodel was not available to Lockhart and subsequent classical-historical novelists. Lockhart's novel thus stands as an instructive "false start" for the nineteenth-century classical-historical novel.

scholarly journals The Portrayal of the French Revolution in Charles Dickens’s

2018 ◽  
Vol 1 (126) ◽  
pp. 57-72
Author(s):  
Isra Hasan Jassim
Keyword(s):  
French Revolution ◽  
Historical Novel ◽  
Fictional Characters ◽  
Historical Novels ◽  
Historical Events ◽  
The Past ◽  
The French Revolution

Literature is the record by which human feelings, political incidents, geographical sites, and historical events are preserved. Thus, readers may resort to a book written by a historian as well as a historical novel in order to gain more knowledge about history. Despite the fact that many novels incorporate a sense of history, historical novels are read for their themes, settings, and historical events. Such novels represent societies in the past and make use of history to juxtapose factual and fictional characters in a historical situation.

DE 'ECHTE' HISTORISCHE ROMAN EN HET 'ECHTE' SCOTTIAANSE DICHTVERHAAL IN 'DE MODERNE TIJD'

2017 ◽  
Vol 1 (1) ◽  
pp. 4-26
Author(s):  
Marita Mathijsen
Keyword(s):  
World War Ii ◽  
Historical Novel ◽  
Preliminary Investigation ◽  
Historical Novels ◽  
World War ◽  
Modern Times ◽  
The Past ◽  
Epic Poem ◽  
Before And After ◽  
Developmental Line

THE 'GENUINE' HISTORICAL NOVEL AND THE 'GENUINE' SCOTTIAN EPIC POEM IN 'MODERN TIMES' For over a century, it has been taken for granted that David Jacob van Lennep's Discourse on the significance of Holland's soil and antiquities for sentiment and imagination (1827) inaugurated the historical novel as a specific literary genre in the Netherlands. The historical epic is supposed to have benefited similarly. In this article I inquire whether the conventional separation between historical novels and epics before and after 1827 does in fact rest on objective and tangible characteristics of these works. If we were to examine the entire corpus of historicising literature between 1780 and 1940, would we or would we not encounter a continuous developmental line? A preliminary investigation of some specific cases suggests that, as a genre, the historical epic has vanished completely, whereas the historical novel remained as vital as before up to World War II. Its objective, however, was no longer the re-enactment of the past but the dissolution of the separation between past and present.

scholarly journals Fictionality in Historical Television Series

2020 ◽  
Vol 43 (1) ◽  
Author(s):  
Péter Hajdu
Keyword(s):  
Public Discourse ◽  
Historical Novel ◽  
Julius Caesar ◽  
Historical Novels ◽  
Ordinary People ◽  
Television Series ◽  
Story Line ◽  
The Past ◽  
Television Shows ◽  
Historical Past

The most obvious formal feature of the historical novel as the genre founded by Walter Scott is the duplicity of a fictional foreground story and a historically approved background. Many television series have a historical past setting, and many of them can be seen as similar to historical novels. The 2005–07 series Rome kept something of the Scottian structure of fictional foreground story. The Pullo and Vorenus story line is fictional, and it stages the life of ordinary people, while historical characters like Julius Caesar and Pompey or Antony and Augustus do not merely form a factual background. The fictional and non-fictional stories are in balance, and they together offer a vivid and convincing representation of the past. Many historical television shows use the past only as decorative setting for a story full of intrigue, violence and sex (The Tudors, The Borgias). These may be described as historical (anti)romances, which tend to focus exclusively on the elite. Another kind of historical novel has been developed by some shows that (as if at the other extreme) eliminate the historical facts even from the background and represent everyday life of ordinary people in its (semi-)historical otherness. In shows like Mad Men or The Knick, no event of political history is mentioned, no historical person appears in the background. However, these shows successfully represent the otherness of the past from the viewpoint of public discourse on issues of race, gender, or even morality, phenomena which can be regarded as the development of a new kind of historical novel encouraged by the twentieth-century ideals of historiography.

Cosmetic Allergen in the Past and Present

2017 ◽  
Vol 2 (3) ◽  
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
Normal Skin ◽  
World War ◽  
Patch Tests ◽  
The Past ◽  
Skin Conditions ◽  
Cosmetic Dermatitis ◽  
Facial Dermatitis ◽  
International Research Project

For almost 20 years after the end of World War II, many Japanese women were challenged by a dark secondary hyper pigmentation on their faces. The causation of this condition was unknown and incurable at the time. However this symptom became curable after a number of new cosmetic allergens were discovered through patch tests and as an aftermath, various cosmetics and soaps that eliminated all these allergens were put into production to be used exclusively for these patients. An international research project conducted by seven countries was set out to find out the new allergens and discover non-allergic cosmetic materials. Due to these efforts, two disastrous cosmetic primary sensitizers were banned and this helped to decrease allergic cosmetic dermatitis. Towards the end of the 20th century, the rate of positives among cosmetic sensitizers decreased to levels of 5% - 8% and have since maintained its rates into the 21th century. Currently, metal ions such as the likes of nickel have been identified as being the most common allergens found in cosmetics and cosmetic instruments. They often produce rosacea-like facial dermatitis and therefore allergen controlled soaps and cosmetics have been proved to be useful in recovering normal skin conditions.

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