Nanon (1872) constitue une triple exception par rapport au roman de formation qui compte surtout des héros masculins et bourgeois et qui, en France au XIXe siècle, prend des formes caractérisées par ...la déception. Au contraire, Sand met ici en scène un personnage féminin et appartenant à la paysannerie. Par rapport à la morphologie de ce sous-genre, la trajectoire de sa petite analphabète qui, dans la tourmente de 1789, apprend à lire, devient propriétaire et épouse un aristocrate sans jamais renoncer à sa cornette campagnarde, est heureuse et exemplaire. Cet article essaie donc d’identifier quel type de socialisation Sand propose aux femmes relativement à l’expérience de l’Histoire, à celle du travail, et aux possibilités de parvenir dans la nation postrévolutionnaire.
Nanon (1872) is a threefold exception to the formative novel, which has mainly male and bourgeois heroes and which, in nineteenth-century France, takes forms characterised by disappointment. On the ...contrary, Sand portrays here a female character belonging to the peasantry, and in relation to the morphology of this sub-genre, the trajectory of her illiterate girl who, in the turmoil of 1789, learns to read, becomes a landowner and marries an aristocrat without ever giving up her country cornette, is happy and exemplary. This article attempts to identify what type of socialisation Sand proposes to women in relation to the experience of history, of work, and of the possibilities of reaching the post-revolutionary nation.
The paper begins by asserting that the historical novels of Ksaver Šandor Gjalski have received special treatment in Croatian literary historiography, which tends to ascribe to them a more a ...documentary and historiographic rather than literary value. This paper will analyse the Romantic, realist and modernist features of Gjalski’s historical novels Osvit. Slike iz tridesetih godina (Dawn. Pictures from the 1830s) (1892) and Za materinsku riječ. Slike iz četrdeset osme godine (For the Maternal Word. Pictures from 1848) (1906). In the light of theories of histories as stories (narratives), this paper will indicate that their so-called documentary value isattributable to literary strategies that are used to interpret the past they represent in a specific way, and not to record what is assumed to be the authentic past.
L’analisi di un periodo storico attraverso la sua narrazione, sia esso il Medioevo o persino un’epoca più recente, considera una moltitudine di fonti, assai eterogenee e di forma non sempre ...immediata. In alcuni casi uno studioso può nutrire un interesse perfino secondario per un documento storico in sé, rivolgendo l’attenzione alle motivazioni e al contesto che hanno portato alla creazione e alla conservazione di una testimonianza, sia essa scritta, orale o iconografica. La lettura del passato apre diverse prospettive: è possibile rintracciare un genere narrativo che più di ogni altro meglio descrive il Medioevo? In quale senso una fonte (un falso, una biografia, un resoconto controfattuale) arricchisce la nostra conoscenza del passato? È sensato estendere lo studio a testimonianze non strettamente testuali o iconografiche, come le mappe geografiche? La riflessione che poggia su questi quesiti rivela un Medioevo in parte inventato, una fantasia che non è tuttavia l’ombra del passato storico, bensì il suo complemento. Analysing an historical period, such as the Middle Ages, or a more recent era, through its narration, must take into consideration many heterogeneous sources, whose form is not always immediately identifiable. In some cases, scholars may even have a secondary interest in a specific historical document, preferring to study the motivations and context behind its creation and conservation of historical testimony, either written, spoken or iconographic. Interpreting the past opens up different perspectives: is it possible to determine a single narrative genre able to describe the Middle Ages better than others? In what sense does a historical source (a forgery, a biography or a counter-factual description) enrich our knowledge of the historical past? Does it make sense to include in the study of history, sources that are not strictly textual or iconographic, such as a geographical map? Reflecting on these questions reveals an invented aspect of the Middle Ages, a fictional portrait that not only brings into view history’s shadow but also complements it.
Este trabajo parte de considerar la publicación de Bomarzo (1962) de Manuel Mujica Lainez como un hito cultural que se impuso como un gran desafío para los cánones de lectura de la época. Las ...dificultades en la recepción de la obra, han quedado reflejadas en los testimonios críticos contemporáneos e, incluso, se aprecian evidencias de su persistencia años más tarde. En esa estela, resulta pertinente analizar la configuración del narrador, puesto que en su especificidad reside gran parte de la novedad de la novela. Para ello, además de tener en cuenta el componente fantástico, abordaremos la obra como una autoficción que jaquea los presupuestos historiográficos sostenidos, en gran medida, por la novela histórica de cuño tradicional.
Som genre er den historiske roman kendetegnet ved spændingsfeltet mellem fakta og fiktion. Denne artikel undersøger det kommunikative mulighedsrum i Margrete I (2020) af Anne Lise Marstrand-Jørgensen ...med fokus på den måde, hvorpå romanen formidler historiske fakta gennem brugen af en faktuel diskurs. Med afsæt i fiktionalitet og faktualitet som retoriske greb viser artiklen, hvordan romanens lokale, faktuelle diskurs kan kategoriseres i tre typer ud fra diskursens synlighed. For hver type bliver diskursen gradvist mindre tydelig i takt med, at fortællingens realhistoriske elementer bliver tiltagende indlejret i værkets globale, fiktive diskurs. Set fra et retorisk perspektiv betyder det, at graden af faktualitet falder, mens graden af fiktionalitet stiger. Samlet set illustrerer typerne Marstrand-Jørgensens komplekse måde at inkorporere historiske fakta på i sit fiktionaliserede portræt af Margrete I. Hvad angår faktualitet som retorisk strategi, er det artiklens argument, at strategien er mindre autonom sammenlignet med fiktionalitet, eftersom faktualitet både er afhængig af relevansen og sandheden af et udsagn.
The historical novel is widely accepted as a hybrid genre in which the interaction between fact and fiction is highly present. This article investigates the potential margin of fiction as a communicative tool for factual discourse in the case of Margrete I (2020) written by Anne Lise Marstrand-Jørgensen. By means of fictionality and factuality as rhetorical devices, the article shows how the use of a local factual discourse can be classified into three different types distinguished by the degree of overtness. For each type, the factual discourse becomes less overt due to the factual historical elements becoming increasingly embedded in the global fictive discourse of the novel. From a rhetorical point of view, this means that the degree of factuality decreases as the degree of fictionality increases. Overall, the types illustrate Marstrand-Jørgensen’s complex way of incorporating historical facts as part of her fictionalised portrait of Margrete I. Regarding factuality as a rhetorical strategy, the article argues that it is less autonomous than is fictionality since factuality is obliged to the truth as well as the relevance of a sender’s communicative content.
Sebastiano Vassalli’s historical novel Un infinito numero (1999) is based on the myth of the lost wisdom and the secrets of the remote Etruscan civilization and shows effectively how literary ...imagination can attempt to ‘fill the gaps’ of historical science. The novel effectively portrays a problematic relationship with a hidden area of antiquity and the creative strategies that the novelist can put in place to imaginatively retrieve it. This article analyzes Vassalli’s unique perspective on the ancient and puts it in dialogue with other examples from Vassalli’s oeuvre (i. e. Terre selvagge, 2014), and with comparable case studies from Italian and British literature.
In Heaven's Interpreters, Ashley Reed reveals how nineteenth-century American women writers transformed the public sphere by using the imaginative power of fiction to craft new models of religious ...identity and agency. Women writers of the antebellum period, Reed contends, embraced theological concepts to gain access to the literary sphere, challenging the notion that theological discourse was exclusively oppressive and served to deny women their own voice. Attending to modes of being and believing in works by Augusta Jane Evans, Harriet Jacobs, Catharine Maria Sedgwick, Elizabeth Oakes Smith, Elizabeth Stoddard, Harriet Beecher Stowe, and Susan Warner, Reed illuminates how these writers infused the secular space of fiction with religious ideas and debates, imagining new possibilities for women's individual agency and collective action. Thanks to generous funding from Virginia Tech and its participation in TOME (Toward an Open Monograph Ecosystem), the ebook editions of this book are available as Open Access volumes from Cornell Open cornellpress.cornell.edu/cornell-open) and other repositories.
