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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.

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.

This dissertation is an exploration of relationships between fiction and history as illuminated by historiographic fiction in general and the historiographic novel in particular. Here the term historiography is employed particularly in several of its many meanings: as the study of the materials and techniques of history, the study of what it means to be a historian, and the study of the philosophy of history. All of these are comprehended in the larger definition of issues pertaining to the writing of history. Four twentieth-century novels are presented and analyzed as historiographic novels. The common element in analysis of all the novels is the examination of historiographic material encoded in narrative, plot, characters, theme, structure or style. Each analysis focuses on one historiographic assumption or problem and brings in perspectives of historians or theorists of history as well as non-novelistic, critical perspectives of the authors themselves. E. M. Forster's Howards End (1910) is analyzed as an imaginative exposé of causality in historical thinking. All the King's Men by Robert Penn Warren (1946) is presented as a gloss on Isaiah Berlin's critique of Leo Tolstoy's second epilogue to War and Peace. Several essays by philosopher Eric Voegelin provide the theoretical framework for a historiographic analysis of Milan Kundera's The Book of Laughter and Forgetting (1978). The historiographic reading of Graham Swift's Waterland (1983) turns on the convergence of tensions between natural and human history with conflicting ideas of what constitutes revolution. In the process of these analyses, the study establishes general properties of the historiographic novel, as opposed to related categories (historical novel, nonfiction novel, and historiographic metafiction, for example). The isolation, description, and examination of historiographic novels as a category of history is offered as a contribution to the debate about the relationships, respectively, between narrative and objectivity, and experience and representation.

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.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-04-24T11:37:06Z No. of bitstreams: 1 Ana Terra Roos Mendes.pdf: 942634 bytes, checksum: 8e8ac9961d5953f69a79d0767be7a683 (MD5) / Made available in DSpace on 2018-04-24T11:37:06Z (GMT). No. of bitstreams: 1 Ana Terra Roos Mendes.pdf: 942634 bytes, checksum: 8e8ac9961d5953f69a79d0767be7a683 (MD5) 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.

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.

It is the aim of this dissertation to discuss the creation of historiographic space in the works of Francis Parkman. More specifically, this dissertation intends to analyze Parkman’s The Oregon Trail and Montcalm and Wolfe as literary texts that examine geographies of cultural interaction and transnational empire building. Parkman’s historical narratives, this dissertation suggests, not only describe historically significant sites, such as the Oregon Trail and the Northern Frontier, but further create literary heterotopias. These textual counter geographies, as for instance his conceptualizations of the trading posts of the far West and the wilderness fortifications of the far North, allow Parkman to effectively interrogate American history. By investigating the fruitful juncture between history, geography, and literature this project aims to establish the importance of historical geographies for Francis Parkman’s methodology and define its function for the creation of a national consciousness. In addition to Parkman’s use of space, this dissertation further analyzes the historian’s depiction of historical characters and his subsequent attempts to define American identity. Thereby, my analysis specifically highlights the relationship between Parkman’s literary characters and their environment. In an attempt to trace the impact Parkman’s historical narratives exert on postmodern authors of American literature, the concluding chapters interrogate the re-negotiation of Parkman’s historiographic spaces in Thomas King’s Truth and Bright Water and William T. Vollmann’s Fathers and Crows.

In spite of a lively debate during the last century, there is still no scholarly consensus about the identity of the opponents in Colossians. The aim of this essay is not to put forward yet another attempt to solve this complex historical problem, but rather to examine how boundaries are drawn between the author and the opponents in Colossians and how similar boundaries are maintained, developed or even created in scholarly historiography. In what Jonathan Z. Smith refers to as the “Protestant Historiographic Myth”, nineteenth and early twentieth century scholars of biblical studies often understood early Christian developments in terms of an original purity that was lost at a later stage. According to this historiographic construction, the essence of Christianity was distorted through interaction with the cultural and religious environment of the Roman Empire and through the incorporation of pagan elements. Throughout this essay, I argue that this essentialist conception of early Christianity has shaped the construction of the opponents of Colossians in scholarly literature. In studies of Colossians, many modern scholars have, problematically, recreated the dichotomy between an original apostolic Christianity and later Hellenized deviations. This legacy of the “Protestant Historiographic myth” is mainly expressed in two ways, either as an opposition between the author’s pure apostolic Christianity and the opponents, who are understood as a syncretistic group, composed of a mixture of various Hellenistic elements, or as a dichotomy between Christianity, as represented by the author, and “religion”, as represented by the opponents.

Daugelis mokslininkų studijavo istorijos vaidmenį bei reikšmę Europoje Baroko ir Renesanso epochose, siekdami suprasti reformacijos ir kontrreformacijos bei naujosios mokslo galios įtaką istoriniam mąstymui. Naujųjų religinių, politinių ir mokslo reformų iškelti iššūkiai istorijos filosofiją iš esmės pavertė ideologinės kovos lauku. Siekiant geriau suprasti konflikto dinamiką istorinėje mąstysenoje 1580–1661 m. laikotarpiu, pagrindiniu šio tyrimo tikslu išsikeltas siekis apibrėžti jėzuitų istoriografinį kanoną. Be to, siekiama parodyti, kad šis kanonas radikaliai skyrėsi nuo ekleziastinio ir buvo nuosekliai įdiegtas visoje Europoje nuo Ispanijos iki Lietuvos. Tyrimo objektas – reprezentatyvus ir simbolinis jėzuitų istorijos kūrimo pavyzdys – lietuvių jėzuito Alberto Vijūko-Kojalavičiaus istoriniai veikalai. Disertacijoje parodoma, kad jėzuitai 1580–1661 m. laikotarpiu, duodami atsaką naujo mokslinio metodo plitimui ir naujų moralinių bei politinių vertybių sklaidai, sukūrė savą istoriografinį kanoną. Jo pagrindu tapo Pedro Hurtado de Mendoza‘os metodologinės teorijos ir unionistinės Antonio Possevino idėjos. Remiantis pavyzdžiais, apimančiais šalis nuo Ispanijos (J. de Mariana) iki Lietuvos (A. Vijūkas-Kojalavičius) įrodyta, kad kanonas buvo nuosekliai diegiamas nepaisant geografinių ribų, kurios dažnai ribojo Europos intelektualinius debatus. A. Vijūko-Kojalavičiaus „istorinę produkciją“ galima būtų apibūdinti kaip reprezentatyvų šio istorinio kanono diegimo pavyzdį. Tai... [toliau žr. visą tekstą] / Many scholars have studied the role and function of history during Baroque and Renaissance in Europe. However, they often ignored that the challenges put out by the new religious, political and scientific reforms made the philosophy of history an ideological battlefield. Aiming to better understand the dynamics of the conflict in the field of history-thinking during the period 1580–1661, the definition of the Jesuits’ historiographic canon (coherently implemented at a European level) is the main goal of this research. The study of a symbolic and representative case of Jesuits’ method of history making has been defined as the object of this thesis. The emblematic case studied in this work is the historical production of the Lithuanian Jesuit Albert Wijuk-Koialowicz. The thesis demonstrates that the Jesuits, during the period 1580–1661, had actually elaborated an historiographic canon as an answer to the spread of the new scientific method and the dissemination of new moral and political values. This canon was based on the methodological theories of Pedro Hurtado de Mendoza and on the unionist prescriptions of Antonio Possevino. We proved that the canon was consistently implemented beyond the geographic limits usually attributed to the European intellectual debate with examples from Spain (J. de Mariana) to Lithuania (A. W. Koialowicz). Finally, we concluded that the historical production of A. W. Koialowicz could be described as a representative example of the implementation... [to full text]