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Not Just the Past, but History: Researcher-Historian Characters in Canadian Postmodern Historical FictionAndrews, Katherine Jean January 2014 (has links)
Since the mid-1980s, the study of Canadian postmodern historical fiction has been dominated by Linda Hutcheon’s “historiographic metafiction.” Emphasizing historiography and textuality, critics of historiographic metafiction have flattened the past to text and image, inadvertently severing its active connection with the present and removing it from historical process. This is problematic for the ideological intentions of the texts in question because it is an awareness of the past/present dialectic that incites awareness that present action can lead to future change. This thesis, therefore, examines three novels that have overwhelmingly been viewed as historiographic metafiction for their inclusion of researcher-historian characters: Findley’s The Wars, Bowering’s Burning Water, and Marlatt’s Ana Historic. By opening up these texts to criticism that acknowledges history as process, I demonstrate that there is no need to limit these novels to this problematic framework and that researcher-historian characters are valuable for more than their foregrounding of historiography.
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Historiographic Metafiction and the Neo-slave Narrative: Pastiche and Polyphony in Caryl Phillips, Toni Morrison and Sherley Anne WilliamsHawkins, Christiane 01 November 2012 (has links)
The classic slave narrative recounted a fugitive slave’s personal story condemning slavery and hence working towards abolition. The neo-slave narrative underlines the slave’s historical legacy by unveiling the past through foregrounding African Atlantic experiences in an attempt to create a critical historiography of the Black Atlantic. The neo-slave narrative is a genre that emerged following World War II and presents us with a dialogue combining the history of 1970 - 2000. In this thesis I seek to explore how the contemporary counter-part of the classic slave narrative draws, reflects or diverges from the general conventions of its predecessor. I argue that by scrutinizing our notion of truth, the neo-slave narrative remains a relevant, important witness to the history of slavery as well as to today’s still racialized society. The historiographic metafiction of the neo-slave narrative rewrites history with the goal of digesting the past and ultimately leading to future reconciliation.
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Rozdílné koncepty britské post-modernistické dystopie v románech Londýnská pole od Martina Amise a England, England od Juliana Barnese / Different concepts of post-modernist British dystopian novel in Martin Amis's London Fields and Julian Barnes's England, EnglandFicza, Tomáš January 2012 (has links)
The aim of this thesis is to examine the poetics of postmodernism and explore to what extend were the dystopian novels London Fields (1989) by Martin Amis and England, England (1998) by Julian Barnes influenced by this concept. The first part of the work deals with the biographies of the authors, dystopian features of both books and the theory of postmodernism. The second part focuses on practical analyses of both novels. In the second part, the thesis theoretically introduces various concepts of postmodernism and then practically illustrates them on the works.
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NARRATIVIDADE, METAFICÇÃO E TRANSCRIAÇÃO EM BOCA DO INFERNO, DE ANA MIRANDAMendes, Ana Terra Roos 26 February 2018 (has links)
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Previous issue date: 2018-02-26 / In this work, our search object is the novel, Boca do Inferno, by Ana Miranda,
adopting as the focus the interpretative analysis the inflows of the narrator voice in its
immersion, in the search of the iconic subject: Gregório de Matos Guerra, his figure
controversial; the uniqueness of his style, which give his poetry unique importance to
Brazilian Literature. This work by Ana Miranda is a narrative construction based on
confluences and tensions, created by various discourses, transiting on the frontiers
between the historical universe and the history, that bring out lived and felt
experiences, grouped in the vast imaginary in which the own poet and his work. The
mirandian romanesque discourse will be observed here, in its enunciation, in the
transfigurative reconstitution, in its narrativity that crosses the historical and social
dimensions in its transcritical enterprise. It is intended, therefore, to investigate, in the
discourse of transcreation and transfiguration, based on the presuppositions of
theorists such as: Mikhail Bakhtin, Walter Benjamin, Roland Barthes, Homi Bhabha,
Haroldo de Campos, Gérard Genette, Julio Plaza, Linda Hutcheon, others, that
instrumentalize our critical discourse in the three chapters of this dissertation, being
that in the first one we pointed out how Miranda did emerge the subject narrated by
the procedures of its fictional language; and in the second, we dwell on the
meanderings of the historiographical metafiction and, in the third, the approaches go
back to what was used throughout the dissertation, ascertaining the discursive
strategies in which Ana Miranda translates Gregório de Matos Guerra in its multiple
dimensions, as central character of his romance. / Neste trabalho, tem-se como objeto de estudo, o romance, Boca do Inferno, de Ana
Miranda, adotando como foco a análise interpretativa os influxos da voz narradora
em sua imersão, na busca do sujeito icônico: Gregório de Matos Guerra, sua figura
controversa; a singularidade de seu estilo, que conferem à sua obra poética
importância ímpar para a Literatura Brasileira. Esta obra de Ana Miranda é uma
construção narrativa realizada a partir de confluências e tensões, criadas por
discursos vários, transitando nas fronteiras entre o universo histórico e o historial,
que fazem aflorar experiências vividas e sentidas, agrupadas no vasto imaginário no
qual é convertido o próprio poeta e sua obra. O discurso romanesco mirandiano será
observado aqui, em sua enunciação, na reconstituição transfigurativa, em sua
narratividade que atravessa as dimensões, histórica e social em sua empresa
transcriativa. Pretende-se, portanto, investigar, no discurso da transcriação e
transfiguração, com base nos pressupostos de teóricos como: Mikhail Bakhtin,
Walter Benjamin, Roland Barthes, Homi Bhabha, Haroldo de Campos, Gérard
Genette, Julio Plaza, Linda Hutcheon, além de outros, que instrumentalizam nosso
discurso crítico nos três capítulos desta dissertação, sendo que no primeiro
apontamos como Miranda fez emergir o sujeito narrado pelos procedimentos de sua
linguagem ficcional; e no segundo, nos detemos nos meandros da metaficção
historiográfica e, no terceiro, as abordagens remontam ao que foi empregado ao
longo da dissertação averiguando as estratégias discursivas nas quais Ana Miranda
traduz Gregório de Matos Guerra em suas dimensões múltiplas, como personagem
central do seu romance.
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Virginia Woolf’s Fictional Biographies, Orlando and Flush, as Prefigures of PostmodernismCastle, Jacob C 01 December 2016 (has links)
This thesis examines the way in which the fictional biographies of Virginia Woolf, Orlando and Flush, prefigure central tenets of postmodern fiction. To demonstrate the postmodern elements present in Orlando and Flush, this thesis focuses on how the fictional biographies exhibit three postmodern characteristics: concern for historiography, extensive use of parody, and the denaturalization of cultural assumptions. Born from Woolf’s desire to revolutionize biography by incorporating elements of fiction alongside historical fact, these two novels parallel later works of historiographic metafiction in several key respects. Woolf’s extensive use of parody in Orlando and Flush prefigures how postmodern parody foregrounds the many ways in which all narratives are inherently constructions. Woolf also expresses a postmodern attitude by denaturalizing cultural assumptions about sexual difference and social class. When taken together, these three traits reveal how Orlando and Flush possess an ontological philosophy indicative of postmodern literature.
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Obasan, by Joy Kogawa, and Alias Grace, by Margaret Atwood: fictional representations of Canadian identity and History / Obasan, by Joy Kogawa, and Alias Grace, by Margaret Atwood: fictional representations of Canadian identity and HistoryVansan Gonçalves 25 April 2013 (has links)
Esta dissertação investiga de que maneiras a representação do sujeito canadense pode ser encontrada em dois romances representativos da literatura canadense contemporânea: Obasan, de Joy Kogawa, e Alias Grace, de Margaret Atwood. Esta investigação também demonstra que a busca pela definição da identidade canadense tem sido tema constante e relevante da cultura deste país. A indefinição quanto ao que significa ser canadense também tem permeado a literatura canadense ao longo dos séculos, notadamente desde o século XIX. A fim de observar a representação literária da busca pela definição da identidade canadense, esta investigação aborda os conceitos relativos à representação de grupos subalternos tradicionalmente silenciados. A análise comparativa dos romances citados contempla a relação entre memória e trauma autobiográficos, assim como as semelhanças narrativas entre ficção e história. Esta investigação também verifica de que maneiras a literatura pós-moderna emprega documentação oficial, relatos históricos e dados (auto) biográficos a serviço da reescrita da história através da metaficção historiográfica / This dissertation investigates the ways through which the representation of the Canadian subject might be observed in two representative novels of contemporary Canadian literature: Obasan, by Joy Kogawa, and Alias Grace, by Margaret Atwood. This investigation also demonstrates that the search for the definition of a specific Canadian identity has been a constant and relevant theme to the countrys culture. The lack of definition concerning the meaning of being Canadian has also permeated Canadian Literature throughout the centuries, most notably since the XIX century. In order to observe the literary representation of the Canadian search for identity, this investigation makes use of the concepts related to the representation of traditionally silenced subaltern groups. The comparative analysis of the abovementioned novels contemplates the relationship between autobiographical memory and trauma, as well as the narrative similarities between fiction and history. This investigation also verifies the ways postmodern literature employs official documentation, historical accounts and (auto) biographical information in the rewriting of history through historiographic metafiction
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O riso e a ironia : a leitura da história em O Nome da Rosa /Greggio, Alan Jonathan. January 2007 (has links)
Orientador: Márcia Valéria Zamboni Gobbi / Banca: Maria Gloria Cuzumano Mazzi / Banca: Dóris Natia Cavalari / Resumo: As narrativas de ficção de caráter histórico tal como o romance O Nome da Rosa de Umberto Eco permitem uma vasta possibilidade de abordagem de estudos. Dentre estes, percebe-se a importância da ironia na construção do texto de Umberto Eco. Por meio dela, verifica-se como a obra ficcional em estudo abrange tanto a reflexão em torno do conceito de mímesis, quanto o uso reiterado da intertextualidade, elemento, aliás, constante dentro da ficção contemporânea. A ironia, recurso permanentemente presente na construção da narrativa, permite que se estabeleça um nicho entre aquilo que se espera de um texto histórico - a verdade - e aquilo que se espera de um texto ficcional - a invenção. Ela possibilita, portanto, um ponto de reflexão e questionamento das verdades históricas. Nota-se, assim, a capacidade que a narrativa de caráter histórico, em especial a obra O Nome da Rosa, apresenta de reavaliar o conceito mimético não como cópia da realidade, nem como o espaço de negação da condição referencial do texto literário. Ela, antes, possibilita uma reconsideração em torno do conceito aristotélico. Na construção da narrativa, observa-se ainda o quanto elementos, como o narrador, são fundamentais para a criação de uma mentalidade no leitor de que a verdade está sendo dita a todo instante, além de tantos outros elementos que têm a função de autentificação do discurso ficcional como expressão da realidade. Essa ambientação constante da verdade-realidade é a todo o momento desmantelada pela ação da ironia que desvela ao leitor não uma outra verdade, mas sim a possibilidade do questionamento constante do mero estabelecimento de uma verdade unilateral. Obra vasta em sua capacidade plurissignificativa, O Nome da Rosa apresenta, ainda, uma discussão de caráter filosófico em torno da proibição do riso na Idade Média demonstrando, assim, o quanto... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Fiction narratives of historic character like Umberto Eco's novel O Nome da Rosa allow a wide possibility of studies. Among them the importance of irony in Umberto Eco's text construction is realized. Through this irony it is seen how this fiction has a reflection about the concept of mimesis, as the reiterated use of intertextuality, element this often used in contemporary fiction works. Irony, recourse permanently present in narratives construction allows a relation between what is expected from a historical text - the truth - and what is expected from a fictional text - the invention. It enables, therefore, a reflection and questioning point of historical truth. It is noticed, then, the capacity that historical narrative, especially O Nome da Rosa, presents to reevaluate the mimetic concept not as a copy from reality, neither as a negation space of literary text's referencial condition. It enables just reconsideration on Aristotelian concept. In narrative construction it is visible how elements, like the narrator, are essential to the creation of a mentality in the reader that the truth is being told every instant, besides many other elements that have an authentication in the fictional discourse as a reality expression. This constant truth-reality environment is ruined every moment by the action of irony that reveals to the reader is not another truth, but a possibility of constant questioning of a simple act of instituting a unilateral truth. A wide work in its plurisignificant capacity, O Nome da Rosa presents, moreover, a philosophical discussion involving the laughter prohibition in Middle Ages, demonstrating, therefore, how Fiction and History match as elements of human knowledge boundaries and how they deserve to be studied and deepened for a better... (Complete abstract, click electronic access below) / Mestre
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Obasan, by Joy Kogawa, and Alias Grace, by Margaret Atwood: fictional representations of Canadian identity and History / Obasan, by Joy Kogawa, and Alias Grace, by Margaret Atwood: fictional representations of Canadian identity and HistoryVansan Gonçalves 25 April 2013 (has links)
Esta dissertação investiga de que maneiras a representação do sujeito canadense pode ser encontrada em dois romances representativos da literatura canadense contemporânea: Obasan, de Joy Kogawa, e Alias Grace, de Margaret Atwood. Esta investigação também demonstra que a busca pela definição da identidade canadense tem sido tema constante e relevante da cultura deste país. A indefinição quanto ao que significa ser canadense também tem permeado a literatura canadense ao longo dos séculos, notadamente desde o século XIX. A fim de observar a representação literária da busca pela definição da identidade canadense, esta investigação aborda os conceitos relativos à representação de grupos subalternos tradicionalmente silenciados. A análise comparativa dos romances citados contempla a relação entre memória e trauma autobiográficos, assim como as semelhanças narrativas entre ficção e história. Esta investigação também verifica de que maneiras a literatura pós-moderna emprega documentação oficial, relatos históricos e dados (auto) biográficos a serviço da reescrita da história através da metaficção historiográfica / This dissertation investigates the ways through which the representation of the Canadian subject might be observed in two representative novels of contemporary Canadian literature: Obasan, by Joy Kogawa, and Alias Grace, by Margaret Atwood. This investigation also demonstrates that the search for the definition of a specific Canadian identity has been a constant and relevant theme to the countrys culture. The lack of definition concerning the meaning of being Canadian has also permeated Canadian Literature throughout the centuries, most notably since the XIX century. In order to observe the literary representation of the Canadian search for identity, this investigation makes use of the concepts related to the representation of traditionally silenced subaltern groups. The comparative analysis of the abovementioned novels contemplates the relationship between autobiographical memory and trauma, as well as the narrative similarities between fiction and history. This investigation also verifies the ways postmodern literature employs official documentation, historical accounts and (auto) biographical information in the rewriting of history through historiographic metafiction
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O riso e a ironia: a leitura da história em O Nome da RosaGreggio, Alan Jonathan [UNESP] 23 February 2007 (has links) (PDF)
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greggio_aj_me_arafcl.pdf: 1204973 bytes, checksum: ba7dc71b4a0a7d5b17328e50bd2c80d2 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / As narrativas de ficção de caráter histórico tal como o romance O Nome da Rosa de Umberto Eco permitem uma vasta possibilidade de abordagem de estudos. Dentre estes, percebe-se a importância da ironia na construção do texto de Umberto Eco. Por meio dela, verifica-se como a obra ficcional em estudo abrange tanto a reflexão em torno do conceito de mímesis, quanto o uso reiterado da intertextualidade, elemento, aliás, constante dentro da ficção contemporânea. A ironia, recurso permanentemente presente na construção da narrativa, permite que se estabeleça um nicho entre aquilo que se espera de um texto histórico - a verdade - e aquilo que se espera de um texto ficcional - a invenção. Ela possibilita, portanto, um ponto de reflexão e questionamento das verdades históricas. Nota-se, assim, a capacidade que a narrativa de caráter histórico, em especial a obra O Nome da Rosa, apresenta de reavaliar o conceito mimético não como cópia da realidade, nem como o espaço de negação da condição referencial do texto literário. Ela, antes, possibilita uma reconsideração em torno do conceito aristotélico. Na construção da narrativa, observa-se ainda o quanto elementos, como o narrador, são fundamentais para a criação de uma mentalidade no leitor de que a verdade está sendo dita a todo instante, além de tantos outros elementos que têm a função de autentificação do discurso ficcional como expressão da realidade. Essa ambientação constante da verdade-realidade é a todo o momento desmantelada pela ação da ironia que desvela ao leitor não uma outra verdade, mas sim a possibilidade do questionamento constante do mero estabelecimento de uma verdade unilateral. Obra vasta em sua capacidade plurissignificativa, O Nome da Rosa apresenta, ainda, uma discussão de caráter filosófico em torno da proibição do riso na Idade Média demonstrando, assim, o quanto... / Fiction narratives of historic character like Umberto Eco's novel O Nome da Rosa allow a wide possibility of studies. Among them the importance of irony in Umberto Eco's text construction is realized. Through this irony it is seen how this fiction has a reflection about the concept of mimesis, as the reiterated use of intertextuality, element this often used in contemporary fiction works. Irony, recourse permanently present in narratives construction allows a relation between what is expected from a historical text - the truth - and what is expected from a fictional text - the invention. It enables, therefore, a reflection and questioning point of historical truth. It is noticed, then, the capacity that historical narrative, especially O Nome da Rosa, presents to reevaluate the mimetic concept not as a copy from reality, neither as a negation space of literary text's referencial condition. It enables just reconsideration on Aristotelian concept. In narrative construction it is visible how elements, like the narrator, are essential to the creation of a mentality in the reader that the truth is being told every instant, besides many other elements that have an authentication in the fictional discourse as a reality expression. This constant truth-reality environment is ruined every moment by the action of irony that reveals to the reader is not another truth, but a possibility of constant questioning of a simple act of instituting a unilateral truth. A wide work in its plurisignificant capacity, O Nome da Rosa presents, moreover, a philosophical discussion involving the laughter prohibition in Middle Ages, demonstrating, therefore, how Fiction and History match as elements of human knowledge boundaries and how they deserve to be studied and deepened for a better... (Complete abstract, click electronic access below)
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Escrever, resistir: ficção ameríndia na perspectiva pós -colonialVIEIRA, Maria Luiza de Paula Lopes Fernandes 25 February 2016 (has links)
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Previous issue date: 2016-02-25 / CAPEs / Este trabalho consiste no estudo dos romances Slash (1985), da escritora okanagan Jeannette
Armstrong, e Mean Spirit (1990), da chickasaw Linda Hogan, e busca examinar de que forma
as autoras ficcionalizaram, nas suas obras, certos acontecimentos da história dos povos
ameríndios no século XX, como os que envolveram a militância política que se fortaleceu a
partir dos anos 60 na América do Norte e os assassinatos de membros da nação Osage na
década de 1920. Para tanto, recorri ao conceito de metaficção historiográfica proposto por
Linda Hutcheon (1988, 1989) e aos estudos em memória de Anh Hua (2005), Maurice
Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) e Aleida
Assmann (2011). Considerando as obras de Armstrong e Hogan como espaços de enunciação
de uma resistência cultural que vai além dos limites tribais, optei por adotar uma perspectiva
cosmopolita tal qual sustentada por Arnold Krupat (2002), e que se apoia nas teorias póscoloniais
segundo Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart
Hall (2003), Kwame Anthony Appiah (1997) e Liane Schneider (2002, 2008). Ademais,
foram de suma importância os diálogos com alguns nomes da crítica indígena como Graça
Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon
Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) e Robert Warrior (2014).
Intentei, assim, verificar como a resistência ameríndia toma corpo na escrita de Armstrong e
Hogan, que constroem narrativas artisticamente complexas e de imensa relevância política. / This work consists of the study of Slash (1985), by Okanagan writer Jeannette Armstrong,
and Mean Spirit (1990), by Chickasaw Linda Hogan, and it aims to examine the way in which
the writers have fictionalized, in their books, certain events of the history of the American
Indian peoples in the twentieth century, such as those concerning the militancy that gained
strength in the 60s and the Osage murders that took place in the 20s. With that in mind, I have
resorted to the concept of historiographic metafiction, proposed by Linda Hutcheon (1988,
1989) and to the memory studies by Anh Hua (2005), Maurice Halbwachs (2006), Márcio
Seligmann-Silva (2008), Marianne Hirsch (2008) and Aleida Assmann (2011). Considering
the works of Armstrong and Hogan as sites of enunciation of a type of cultural resistance that
goes beyond tribal limits, I have chosen to adopt a cosmopolitan perspective such as sustained
by Arnold Krupat (2002) and which leans on the postcolonial theories by Mary Louise Pratt
(1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony
Appiah (1997) and Liane Schneider (2002, 2008). Moreover, dialogues with the following
authors of Native criticism were of the utmost importance: Graça Graúna (2013), Michael
Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona
Stevenson (1998), Paula Gunn Allen (1992) and Robert Warrior (2014). Thus, I have
attempted to verify how the Amerindian resistance takes form in the writings of Armstrong
and Hogan, who build narratives artistically complex and of an immense political relevance.
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