Cette thèse se propose de travailler à la définition d'un sous-genre du roman historique en expansion : le roman de la contre histoire, aussi appelé roman historique subversif. Les œuvres choisies permettent une analyse diachronique du problème, en commençant par la naissance du roman historique et allant jusqu'à nos jours. Pour cela, nous aborderons les œuvres de Scott, Hampâté Bâ, Roa Bastos, et Chamoiseau, s'attachant ainsi à différents continents et cultures, avec l'Europe, l'Afrique, mais également l'Amérique Centrale et l’Amérique du Sud. Pour cette recherche, il est nécessaire d'étudier le contexte de naissance de ces romans, ainsi que les moyens mis en place à l'écriture de cette histoire autre. Nous en viendrons à travailler sur le glissement de l'écriture de l'Histoire à celle d'une identité, ce qui nous poussera à nous interroger sur la place de la littérature dans la constitution de l'identité nationale. Nous ferons ici face à des controverses, étant donné que les romans vont partiellement à l'encontre des Histoires officielles, ce qui permettra de voir l'importance que peut avoir le point de vue autre dans la construction identitaire. La présence des contes et du folklore, sera étudiée afin de déterminer leur rôle dans la création de l'identité. Une étude de la réception de ces œuvres sera menée afin de voir l'impact concret de ces textes sur la construction identitaire. Ceci permettra donc d'avoir une vision totale de ce sous-genre en plein essor, et de voir son réel impact, amenant à une réflexion sur la place de la littérature dans la société actuelle ainsi que sur son rapport à l'histoire. / This thesis proposes to work on the definition of a sub-genre of the expanding historical novel: the novel of the counter-history, also called subversive historical novel. The selected works allow a diachronic analysis of the problem, starting with the birth of the historical novel and going until our days. For this, we will cover the works of Scott, Hampâté Bâ, Roa Bastos, and Chamoiseau, thus focusing on different continents and cultures, with Europe, Africa, but also Central America and South America . For For this research, it is necessary to study the birth context of these novels, as well as the means put in place to write this other story. We will come to work on the shift from the writing of history to that of an identity, which will push us to question the place of literature in the constitution of national identity. We will face controversy here, since the novels go partially against the official histories, which will allow to see the importance that the other point of view can have in the construction of identity. The presence of tales and folklore will be studied to determine their role in the creation of identity. A study of the reception of these works will be conducted to see the concrete impact of these texts on the construction of identity. This will allow us to have a total vision of this sub-genre booming, and see its real impact, leading to a reflection on the place of literature in today's society and its relationship to history.

Orientador: Ana Maria Carlos / Banca: Altamir Botoso / Banca: Antonio Roberto Esteves / Resumo: Este trabalho apresenta uma leitura do romance histórico Lealdade (1997), de Márcio Souza, que mostra a trajetória do protagonista Fernando Simões Correia em busca de sua identidade. O enredo relembra episódios do século XIX, na província do Grão-Pará e Rio Negro, quando a região combatia por sua independência. Assim, a luta pela identidade cultural que se estabelece na província dá-se paralelamente àquela do protagonista: ao lado do embate entre a identidade e a alteridade que vemos registrado na narrativa histórica da região, vemos o protagonista pender ora à identificação com o "outro", ora ao afastamento dele, encarando-o como inimigo. A chegada da Corte portuguesa ao Brasil (1808) e a invasão de Caiena pelo exército português (1809) são fatos históricos que alteram a identificação que o protagonista, nascido em Belém, tem com os portugueses ou com os paraenses. Os procedimentos intertextuais, como aquele estabelecido com a trilogia do escritor gaúcho Érico Veríssimo, por exemplo, são destacados nesta leitura. / Abstract: This essay presents an analysis of the historical novel Lealdade (1997), written by Marcio Souza, which shows the protagonist Fernando Simões Correia in search of his identity. The plot remembers episodes of the nineteenth century, in the province of Grão-Pará and Rio Negro, when the region was fighting for its independence. Thus, the fight for cultural identity that is established in the province occurs parallely to protagonist's fight: there is the fight between identity and otherness, recorded in the historical narrative of the region, and a pendulum with the protagonist that sometimes has a identification with the "other" and sometimes he gets away from him, facing him as an enemy. The arrival of the Portuguese Royal Family to Brazil (1808) and the invasion of the Portuguese Army in Caiena (1809) are historical facts that change the identity of the protagonist, born in Belém-PA, has with the Portuguese or the people who were born in Pará. Intertextual procedures, such as that established with the trilogy of the Brazilian writer Erico Verissimo, for example, are featured in this reading. / Mestre

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-12-18Bitstream added on 2014-06-13T18:55:26Z : No. of bitstreams: 1 mesquita_mc_me_assis.pdf: 369808 bytes, checksum: 18ebed3362d72e57b7120e9521fe7209 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho apresenta uma leitura do romance histórico Lealdade (1997), de Márcio Souza, que mostra a trajetória do protagonista Fernando Simões Correia em busca de sua identidade. O enredo relembra episódios do século XIX, na província do Grão-Pará e Rio Negro, quando a região combatia por sua independência. Assim, a luta pela identidade cultural que se estabelece na província dá-se paralelamente àquela do protagonista: ao lado do embate entre a identidade e a alteridade que vemos registrado na narrativa histórica da região, vemos o protagonista pender ora à identificação com o “outro”, ora ao afastamento dele, encarando-o como inimigo. A chegada da Corte portuguesa ao Brasil (1808) e a invasão de Caiena pelo exército português (1809) são fatos históricos que alteram a identificação que o protagonista, nascido em Belém, tem com os portugueses ou com os paraenses. Os procedimentos intertextuais, como aquele estabelecido com a trilogia do escritor gaúcho Érico Veríssimo, por exemplo, são destacados nesta leitura. / This essay presents an analysis of the historical novel Lealdade (1997), written by Marcio Souza, which shows the protagonist Fernando Simões Correia in search of his identity. The plot remembers episodes of the nineteenth century, in the province of Grão-Pará and Rio Negro, when the region was fighting for its independence. Thus, the fight for cultural identity that is established in the province occurs parallely to protagonist’s fight: there is the fight between identity and otherness, recorded in the historical narrative of the region, and a pendulum with the protagonist that sometimes has a identification with the other and sometimes he gets away from him, facing him as an enemy. The arrival of the Portuguese Royal Family to Brazil (1808) and the invasion of the Portuguese Army in Caiena (1809) are historical facts that change the identity of the protagonist, born in Belém-PA, has with the Portuguese or the people who were born in Pará. Intertextual procedures, such as that established with the trilogy of the Brazilian writer Erico Verissimo, for example, are featured in this reading.

This thesis examines nostalgia as a central literary trope of burgeoning modernisation in the mid-Victorian historical novel. Nostalgia began as a pathological form of homesickness and rapidly engaged with the perceived distancing from the past brought about by accelerated modernisation. This thesis suggests that literary representations of social, cultural and technological change echo nostalgic reactions of loss and longing. Charles Dickens, William Makepeace Thackeray, Elizabeth Gaskell and George Eliot are the primary focus of this study. Selected works by these authors are situated within the wider context of Victorian historical fiction which – following Walter Scott’s phenomenal success at the beginning of the century – became, as Franco Moretti put it, a ‘key genre’ in the Victorian era. Nostalgia’s first victims were soldiers and students displaced from home by new opportunities for mobility and new reasons to travel long distances and live away from home; it was a disease that responded to modernisation or, as Kevis Goodman has put it, ‘historical growing pains’. Nostalgia’s combination of historical and psychological dimensions, I argue, made it an aesthetic peculiarly suited to the historical novel. This thesis suggests that nostalgia was an important novelistic trope during the nineteenth century and argues that it quickly became enmeshed with the historical novel in a way that has seldom been acknowledged. Because of its medical origins, alongside its continued development as a poetic trope, nostalgia provided a language with which to intertwine emotional and psychological reactions to change with the fictional representation of real historical events. The thesis begins with a detailed account of nostalgia’s etymological history, scientific entanglements and early literary manifestations; the introduction establishes the theoretical and historical framework for the thematically organised chapters that follow. Chapter 1 explores the interlacing of personal and historical subject matter in Thackeray’s historical fiction. This chapter suggests that these interactions took place in Thackeray’s historical fiction through the mingling of nostalgic tropes in the person of his central protagonists. These figures frequently follow Scott’s Edward Waverley in being insipid spectator-participants who have been displaced from their homes and (directly or indirectly) mediate events from a perspective of nostalgic exile. Chapter 2 considers the transformation of landscape as a node of nostalgic representation. It explores the confusion of time and place in the original case studies collected by doctors studying nostalgia as a disease in relation to nineteenth-century representations of past landscapes. It suggests that part of the historicising potential of geographical places comes from this instinctive association of time with place. This overlap is exploited in the historical novel to represent changing times via changing places. Chapter 3 takes George Eliot’s Romola, frequently criticised both by contemporary commentators and subsequent critics for being too full of minutely researched objects, as a illustrative example of how things can become ‘memorative signs’ around which to build a narrative. This ‘clutter’ is reinterpreted as a system of souvenirs, artefacts and mementoes through which public history is reconstructed from excavated fragments of private life. Chapter 4 explores how mid-Victorian historical fiction tested the limits of its own nostalgic tropes. It uses Sylvia’s Lovers to probe the point at which forgetfulness overtakes the most carefully memorialised people and events. It discusses the ways in which these novels use nostalgia to represent a perilous closeness between memorialisation and erasure. It considers whether a trope premised on loss might require the threat of encroaching historical oblivion to complete its own metaphors. The thesis concludes with a coda looking forward to later nineteenth-century uses of nostalgia in historical fiction through a reading of Thomas Hardy’s The Trumpet Major (1880) and The Mayor of Casterbridge (1886).

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-01-22Bitstream added on 2014-06-13T19:22:27Z : No. of bitstreams: 1 arias_mhm_dr_assis.pdf: 422514 bytes, checksum: f3410816bc66fd9029f832323edaff3f (MD5) / O presente trabalho tem por objetivo o estudo do romance Cães da Província, de Luiz Antonio de Assis Brasil, publicado em 1987, que tem como protagonista o dramaturgo José Joaquim Campos de Leão, o Qorpo-Santo. O cenário é a cidade de Porto Alegre das últimas décadas do século XIX, época em que Qorpo-Santo viveu e criou o seu teatro, reconhecidamente inusitado e, por isso, incompreendido. Este romance apresenta elementos instigantes como, por exemplo, a freqüente utilização da intertextualidade, principalmente com a obra do dramaturgo gaúcho. Sendo assim, pretendemos abordar as características gerais que determinam o fator estético, no âmbito do novo romance histórico, contempladas em Cães da Província, para mostrar como a literatura, valendo-se da elaboração da linguagem, trabalha os elementos da história, ordenando-os e reescrevendo-os de modo particular. Ainda que, sem furtar-se a discutir os problemas do homem em sua relação com seus semelhantes, e com o contexto em que está inserido, o novo romance histórico não pretende apresentar verdades absolutas, mas verdades relativas que, pela plurissignificação da linguagem, possibilitam ao leitor confrontar essas variantes para poder escolher dentre elas a que mais se aproxime de seu desejo. / This paper aims to study the novel Cães da Província of Luiz Antonio de Assis Brasil, published in 1987, whose protagonist is the playwright José Joaquim Campos de Leão, the Qorpo-Santo. The setting is the city of Porto Alegre in the last decades of the nineteenth century, when Qorpo-Santo lived and created his theater, admittedly unusual and so misunderstood. This novel presents instigating elements such as the frequent use of intertextuality, especially with the work of the south Brazilian playwright. Therefore, we intend to address the general characteristics that determine the aesthetic factor, in the context of new historical novel, contained in Cães da Província, in order to show how the literature, considering the development of language, works with the elements of History, ordering them and rewriting them in a particular way. Even if, without discussing the problems of man in his relationship with his peers, and with the context in which it is inserted, the new historical novel does not intend to present absolute truths, but relative truths that, by the plurisignification of language, enable the reader to confront these variants to choose, among them, the one that comes closest to his desire.

No description available.

Master of Arts / Department of English / Timothy A. Dayton / This thesis project seeks to reconcile the literary criticism of Marxist critic and advocate of literary realism Georg Lukács with the writing of postmodern author Thomas Pynchon in order to validate the continued relevance of Lukácsian aesthetics. Chapter 1 argues that Lukács’ The Historical Novel is not only a valid lens with which to analyze Pynchon’s own historical novel, Mason & Dixon, but that such analysis will yield valuable insight. Chapter 2 illustrates the aesthetic transition from the historical drama to the historical novel by using Lukács’ ideas to explicate The Courier’s Tragedy, a historical drama found within the pages of Pynchon’s The Crying of Lot 49. Chapter 3 applies Lukács’ ideas on the “world-historical” figure and the “mediocre” hero of the classic historical novel to Mason & Dixon. Chapter 4 asserts that Mason & Dixon enables contemporary readers to experience the novel as what Lukács calls a “prehistory” to the present. This chapter also illustrates how the prehistory of Mason & Dixon anticipates Pynchon’s nonfiction essay “A Journey into the Mind of Watts.” Finally, this chapter demonstrates how Pynchon avoids the pitfall of modernization in Mason & Dixon, which Lukács defines as the dressing up of contemporary crises and psychology in a historical setting. Chapter 5 ties together the work of the previous four chapters and offers conclusions on both what Pynchon teaches us about Lukács, as well as what Lukács helps us to learn about Pynchon.

Academic study of women and WW1 literature has taken place since the 1970s, with a focus on female novelists published pre-1939. Despite the variety of studies, questions remain as to whether the breadth of women’s roles in WW1 is accurately represented in fiction. The purpose of this study was to examine female characters in WW1 novels (published in Britain) who challenge traditional war binarisms i.e. war (male)/peace (female), by taking on war work. It specifically compared novels published pre-1939 and historical (post-1939) novels written by both female and male novelists. The methods employed were the critical reading of forty novels, as well as data collection related to the roles of female characters and the language used to describe them. he study found that there is little representation of women’s war work in the forty novels. A key factor is that they are by middle class authors and written from a middle class point of view. Although historical novels are often used to re-imagine the role of women, WW1 is an exception. Key factors here include the perpetuation of stereotype and nervousness around detracting from the horrific experiences of the male soldier. Challenges to binarisms in subsequent wars (e.g. women in the armed services) have not stimulated a re-visioning of women’s roles in WW1. Society will continue to accept and endorse traditional binarisms, if they are not challenged by cultural representations of war. There is no novel based on the female military experience of WW1. In response, I was inspired to write a historical novel: The Half-Painted War. The protagonist is a female artist who enrols in the Women’s Army Auxiliary Corps (WAAC). It is intended as an act of remembrance but also allows the reader to consider the role of women in the military, both in WW1 and today.

This diploma thesis deals with contribution of chosen writings by Alois Jirásek and Zikmund Winter. It tries to clarify the term historism and its infiltration into Czech literature, particularly in novels Temno and Mistr Kampanus. The thesis also outlines the period after the Battle of the White Mountain. Its consequences dramatically influenced political, religious, social and cultural conditions in the Czech lands. It defines terms historical novel and historical short story to specify the border between this genre and the other proses of the then time. The practical part gives a concrete form of a complex interpretation of novels Temno and Mistr Kampanus. It introduces a dispute over historism between Alois Jirásek and Zikmund Winter. With the aid of content analysis of chosen readers for primary and secondary schools the thesis finds out the frequency of extracts by mentioned authors in schoolbooks. In closing the thesis focuses on evaluation of searched extracts in readers and mentions also FEP.

Les années 1830 sont marquées par l'émergence d'une jeune génération romantique. Parmi ces nouveaux écrivains se trouve Paul Lacroix, jeune homme ambitieux qui désire marquer la littérature de son temps. Il connaît le succès grâce à ses romans historiques publiés sous le pseuadonyme de « Bibliophile Jacob », vieil érudit amateur de livres. Il exprime à travers son œuvre la volonté de donner à son public le goût de l'histoire, science réputée austère et exigeante. Il cherche également à se démarquer de ses illustres aînés et à devenir le « Walter Scott français ». Il joue pour cela sur l'attrait de l'érotisme et introduit ses lecteurs au cœur des secrets les plus intimes de l'histoire de France. Érotiser l'histoire est une manière pour Paul Lacroix de proposer une définition personnelle du roman historique, de s'interroger sur l'esthétique romantique et d'exprimer ses revendications idéologiques. Cette approche plurielle permettra de cerner au mieux les enjeux de son écriture et de montrer les limites de son projet. / The 1830's are caracterized by the emergence of a young romantic generation. Among those new writers is Paul Lacroix, young ambitious man who desires to influence the litterature of his own time. He succeds to do so thanks to the historical novels he published under the pseudonym of « Bibliophile Jacob », old erudite book lover. He expresses through his work his will to give his public a taste for history, known to be an austere and demanding science. He also tries to stand out from his illustrious predecessors in becoming the « french Walter Scott ». Then, he plays on the attraction of eroticism and leads to his readers into the heart of the most intimate secrets of France history. By showing of the erotic side of history, Paul Lacroix gives his personal definition of the historical novel. That way, he brings up question about romantic aesthetic and expresses ideologicals claimings. This plural approach will enable to identify the issues of his writing and to show the limits of his project.