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Ekphrastic Historiographic Metafiction – Enfolding Word, Image and History

100%
Bugno-Narecka D.
Lublin Studies in Modern Languages and Literature
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2020
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vol. 44
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issue 2
DE
Der Artikel enthält das Abstract ausschließlich in englischer Sprache.
EN
The purpose of this paper is to provide a dynamic model of ekphrasis which can be used to interpret literary works that refer to, and thus, represent works of art. The paper will also show how ekphrasis as a fold collaborates with historiographic metafiction in ekphrastic historiographic metafiction. Theoretical reflection will be illustrated with the relevant examples from Salman Rushdie’s The Enchantress of Florence, Patrick Gale’s Notes from an Exhibition, Tracy Chevalier’s Girl with a Pearl Earring and Joseph Heller’s Picture This. 
FR
L'article contient uniquement le résumé en anglais.
2

Une histoire vraie : La Terre et le ciel de Jacques Dorme d’Andreï Makine comme exemple de métafiction historiographique

88%
Duffy H.
Romanica Wratislaviensia
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2014
|
vol. 61
121 - 137
EN
The article deals with Andreï Makine’s eighth novel which simultaneously tells two stories: that of the eponymous French pilot dead on the Soviet soil during World War II and that of the narrator’s quest for a paternal figure. Highly self-reflexive and set in the past, La Terre et le ciel de Jacques Dorme can be potentially considered a historiographic metafiction, as Linda Hutcheon defines the most flagrant manifestation of postmodern literature. However, even if the story of the novel’s narrator defies chronology, is scattered with metafictional remarks and is fragmented, that of Jacques Dorme is a classical historical novel. I therefore argue that the chapters retracing the pilot’s service in the Red Army serve as a remedy against the sense of discontinuity marking the life of the narrator who grapples with his double non-belonging caused by, firstly, his orphanhood, and, secondly, the collapse of two empires, the Soviet and the French one.
3
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A Metafictional Reflection on Historiography: the Inclusiveness of Truth in Graeme Macrae Burnet’s His Bloody Project

88%
Kucała B.
Acta Neophilologica
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2022
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vol. 2
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issue XXIV
151-164
EN
This article analyses Graeme Macrae Burnet’s novel His Bloody Project (2015) as a metafictional exemplification of the problem of truth in historical accounts. Spuriouslyclaiming that his novel contains authentic material related to a nineteenth-century crime, Burnet recounts the case in the form of a collection of miscellaneous texts. The novel may be read in the light of the stance upheld in postmodern historiography that there is no ultimate truth to be reached at the end of a historical enquiry. This analysis of His Bloody Project aims to demonstrate that the obscure, multifaceted truth about the murder case is constituted by all the diverse − even if incongruous and contradictory − perspectives presented in the book.
4
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“Esa historia no puede contarse”. La dificultad de representar el pasado en dos novelas de Javier Cercas

87%
Potok M.
Studia Romanica Posnaniensia
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2013
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vol. 40
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issue 2
133-142
EN
In two novels based on the subject of war: Soldados de Salamina (“Soldiers of Salamis”) (2001) and Velocidad de la luz (“the Speed of Light”) (2005), Javier Cercas raises the problem of recuperation of a traumatic past through literary discourse. The questions which these novels discuss and which we want to examine here concern complex relations between fiction and reality, history and memory (individual and collective), guilt and responsibility. In order to confront the historical reality from the contemporary perspective, from postmemory, Javier Cercas proposes a narrative with a clear metafictional dimension creating interferences in distinct narrative levels.
5

Revisiting Noah’S Ark in Julian Barnes’ A History of the World in 10 ½ Chapters

75%
Muthu L.
Romanian Journal of English Studies
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2014
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vol. 11
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issue 1
98-102
EN
Considering that intertextuality is the text’s property of being connected to other previous texts, Julian Barnes’ novel, “A History of the World in 10 ½ Chapters”, rewrites the Biblical story of Noah’s Ark. Besides the narration accounted in the Bible, new elements are encountered here: e.g. the Ark wasn’t a simple vessel, but a small fleet; Noah butchered the animals from the Ark, animals selected initially to be saved from the Deluge; the woodworms, creatures that symbolize decay, were also present on the Ark, etc. Then, new versions of the Biblical story, all having connections with Noah, the Ark and the Sea are present. Therefore, Julian Barnes fructifies Noah’s story, readjusting it to other spaces and historic times.
6
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La reina Urraca desvelada – de la Historia Compostelana a La Reina Urracade Ángeles de Irisarri

51%
Działak A.
Zeszyty Naukowe Uczelni Vistula
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2015
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issue 39/2015 Filologia IV
24-35
ES
El objetivo del presente estudio consiste en el análisis de la novela histórica La Reina Urraca de Ángeles de Irisarri en el contexto de la “(re)escritura del pasado” y dentro del marco teórico de Linda Hutcheon. Proponemos yuxtaponer la imagen de Urraca novelesca a su imagen medieval. Esta primera es muy positiva y surge, entre otros, en oposición al discurso de las crónicas medievales. La segunda es resultado de diversas manipulaciones políticas operadas a través de la imagen en función de la disminución del papel de Urraca como soberana. Dichas manipulaciones fueron originadas por la Historia Compostelana.
EN
The present research aims at analysing “La Reina Urraca” – a historical novel by Angeles de Irisarri in the context of “writing the past anew”/“re-writing the past” as well as in the light of the theories postulated by Linda Hutcheon. We suggest juxtaposing the image emerging from the historical novel with the Medieval image of Alfons VI’s daughter. The former one is positive. The latter, in turn, is a fruit of political manipulations undertaken around the image whose purpose was to challenge Urraca’s role as the sovereign. The said manipulations were started by Historia Compostelana.
PL
Obecne badania mają na celu dokonanie analizy „La Reina Urraca” („Królowej Urraki”) – powieści historycznej autorstwa Angeles de Irisarri w kontekście „pisania przeszłości na nowo”/„pisania przeszłości od nowa”, jak również w świetle teorii postulowanych przez Lindę Hutcheon. Proponujemy zestawienie obrazu wyłaniającego się z powieści historycznej ze średniowiecznym wizerunkiem córki Alfonsa VI. Ten pierwszy jest pozytywny, drugi, z kolei, jest owocem manipulacji politycznych podjętych wokół wizerunku, których celem było zakwestionowanie roli Urraki jako suwerena. Wspomniane manipulacje zostały rozpoczęte przez pracę Historia Compostelana.
7
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On connaît la musique. Cultural life during the siege of Leningrad in La Vie d’un homme inconnu by Andreï Makine

38%
Duffy H.
Lublin Studies in Modern Languages and Literature
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2015
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vol. 39
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issue 1
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
The present article focuses on the representation of the cultural life during the siege of Leningrad (1941-1944) in Andreï Makine’s eleventh novel. Analysing the portrait of the blockade created by La Vie d’un homme inconnu (2009) in the light of historical works and personal writings, I demonstrate that despite its apparent wish to contest the official version of the blockade Makine ends up endorsing some of the myths established by Soviet propaganda. He thus emphasises the Leningraders’ heroism, altruism and high level of culture, representing the blokadniki as active defenders of the city rather than helpless victims of both the atrocious conditions imposed by the siege and Stalinist terror. Consequently, although the novel may seem to belong to the canon of historiographic metafiction which systematically questions official historiography and gives voice to those excluded from making and writing History, a careful reading of the Franco-Russian author’s eleventh work of fiction reveals its conservative - not to say reactionary - character, even if La Vie d’un homme inconnu may be challenging another dominant discourse regarding the Soviet Union’s role in World War II, namely that forged in the West.
FR
Le numéro contient uniquement les résumés en anglais.
PL
Tom zawiera abstrakty tylko w języku angielskim.
RU
Том не содержит аннотаций на английской языке.
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