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.

scholarly journals Supernatural Characters in the Quasi-Historical Discourse of Modern Ukrainian Literature: Specificity and Functions

2021 ◽  
Vol 11 (2) ◽  
pp. 49-63
Author(s):  
Oleksandra Nikolova ◽  
Kateryna Vasylyna
Keyword(s):  
21St Century ◽  
Historical Novels ◽  
Historical Discourse ◽  
Early 21St Century ◽  
Global Problem ◽  
The Past ◽  
Public Consciousness ◽  
Historical Past ◽  
The Early 21St Century

: The article is aimed at the study of Ukrainian quasi-historical novels of the early 21st century, characterized by the renunciation of “objectivity” of the narrative and emphasized the role of imagination. These are the pieces by Bakalets and Yarish (“From the Seventh Bottom”), Vynnychuk (“The Pharmacist”, “Lutetia”), and by Yatsenko (“Nechui. Nemov. Nebach”). The study reveals the features and functions of fantastic characters in the abovementioned novels. These fictional images of modern Ukrainian quasihistorical literary discourse are characterized by infernality, grotesque anthropomorphism, destruction of traditional antinomy “otherworldly– earthly/human”, philosophical and ironic coloring. Interpreting the fantasy in quasi-historical novels is expedient in the context of the global problem of perception of historical past by people of the 21st Century, with an emphasis on significant changes in public consciousness motivating writers to “Re-write/Reimagine the past”. The spread of this phenomenon reveals public distrust of the authorities, offering “correct” answers to the questions about past events, protest against permanent manipulation of historical facts (the tendency of growing consciousness and intellectualization of society).

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.

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 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.

scholarly journals BLEND-O-RAMA: BLENDING IN THE TITLES OF EPISODES OF ANIMATED TELEVISION SERIES FOR CHILDREN

2021 ◽  
Vol 18 (48) ◽  
pp. 53-69
Author(s):  
Jelena Danilović Jeremić ◽  
Keyword(s):  
Detailed Analysis ◽  
Formation Process ◽  
Structural Characteristics ◽  
Word Formation ◽  
Rich Source ◽  
Popular Press ◽  
Television Series ◽  
The Past ◽  
Television Shows ◽  
Key Characteristics

Often defined as a marginal word-formation process whose governing principles remain a matter of controversy, lexical blending has been examined from various perspectives over the past fifty years or so. Lexical blends have thus been described as (mostly) ephemeral linguistic creations, playful and witty, that are likely to occur in popular press, advertising, and product naming (Bryant 1974; Lieber 2010). Although we can nowadays understand the key characteristics of blends, in terms of their semantic, phonological and orthographic features, corpus-based studies of blends associated with particular types of discourse remain scarce. Television discourse is no exception. It has been cited as a rich source of blends (Mattiello 2013; Sams 2016), yet few have hitherto conducted their detailed analysis (cf. Andriani, Moehkardi 2019). Having noticed that blends frequently occur in the titles of episodes of animated television shows for children (e.g. Smeldorado in Inspector Gadget, The Three Smurfketeers in The Smurfs, Pinknic in The Pink Panther), we decided to investigate their structural characteristics. For this purpose, we collected a corpus of approximately 420 blends from the titles of animated series episodes, spanning 1950-2020. The analysis has shown that haplology and hyphenation feature prominently in the collected blends, as well as that several splinters are repeatedly used in their formation.

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.

Imagining Mary Magdalene

2014 ◽  
Vol 7 (1) ◽  
pp. 1-25
Author(s):  
Jodie Eichler-Levine
Keyword(s):  
Comic Books ◽  
Historical Novels ◽  
Religion And Spirituality ◽  
Mary Magdalene ◽  
The Past ◽  
Scholarly Discourse ◽  
Do So

In this article I analyze how Americans draw upon the authority of both ancient, so-called “hidden” texts and the authority of scholarly discourse, even overtly fictional scholarly discourse, in their imaginings of the “re-discovered” figure of Mary Magdalene. Reading recent treatments of Mary Magdalene provides me with an entrance onto three topics: how Americans see and use the past, how Americans understand knowledge itself, and how Americans construct “religion” and “spirituality.” I do so through close studies of contemporary websites of communities that focus on Mary Magdalene, as well as examinations of relevant books, historical novels, reader reviews, and comic books. Focusing on Mary Magdalene alongside tropes of wisdom also uncovers the gendered dynamics at play in constructions of antiquity, knowledge, and religious accessibility.

Uncommon Grounds

2017 ◽  
Author(s):  
Jeffrey Lawrence
Keyword(s):  
American Literature ◽  
Latin American ◽  
Historical Novel ◽  
Latin American Literature ◽  
Historical Account ◽  
American Novel ◽  
Song Of Solomon ◽  
The Past ◽  
The North ◽  
The Us

This chapter turns from a historical account of the development of the US literature of experience and the Latin American literature of reading to a textual analysis of the US and Latin American historical novel. Hemispheric/inter-American scholars often cite William Faulkner’s Absalom, Absalom! (1936), Gabriel García Márquez’s One Hundred Years of Solitude (1967), and Toni Morrison’s Song of Solomon (1977) as exemplifying instances of literary borrowing across the North–South divide. As I demonstrate, however, each of the later texts also realigns its predecessor’s historical imaginary according to the dominant logics of the US and Latin American literary fields. Whereas the American works foreground experiential models of reconstructing the past and conveying knowledge across generations, García Márquez’s Latin American novel presents reading as the fundamental mode of comprehending and transmitting history.

Ainsworth's Historical Accuracy Reconsidered

1972 ◽  
Vol 4 (1) ◽  
pp. 23-28
Author(s):  
Llewellyn Ligocki
Keyword(s):  
Historical Novel ◽  
Sir Walter Scott ◽  
Crucial Importance ◽  
Historical Sources ◽  
The Past ◽  
Waverley Novels ◽  
Literary Figure ◽  
Historical Fact ◽  
The Common ◽  
Failure To Progress

After Sir Walter Scott made the historical novel popular with his Waverley novels, many other writers, including the major novelists Dickens and Thackeray and the minor novelists Ainsworth, G. P. R. James, Bulwer-Lytton, and Reade, took up the form. But while the major novelists are credited with artistry in their use of history, the minor ones are generally regarded as hacks who used history indiscriminately in any way they wished in order to “make saleable novels.” The disparaging criticism of William Harrison Ainsworth's use of history exemplifies this unreflective critical tendency.For several probable reasons, critics have not been inclined to credit Ainsworth with using history responsibly; however, none of the reasons is based on an examination of his sources: his rapid ascension and decline as an important literary figure, his popularity with the common reading public, and his failure to progress artistically after his first few good novels. His artistic growth seems to have ended in 1840, forty-one years before the publication of his last novel. These critics have seen him as a “manufacturer of fiction,” and therefore not responsible in his treatment of historical fact and his use of historical documents, even though time and place are of crucial importance to Ainsworth. One could hardly regard Ainsworth more incorrectly. A close reading of Ainsworth's historical sources demonstrates that Ainsworth's history is extremely reliable in both generalities and particulars; his alterations, usually minor, serve only to adumbrate his concept of history as cycle. Thus, even though he is a novelist and not a historian, the faithful revelation of the past is central to his work. He examines history carefully in order to present truths about life and in order to demonstrate how history reveals these truths.

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