Cirrus

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AbstractHistoryArchive Description

As a silent rule, historians do not mess with creative writers, but it a fact that works like Umberto Eco's best selling The Name of the Rose (1980) appeal to the essence and scope of narrating the past. Likewise, a host of modern and postmodern authors like Gabriel Garcia Marquez, Jose Saramago, Doris Lessing or Patrick White have opened new frontiers in historical fiction, submerging fact with invention, often disproving official historical evidence. The advent of anti-idealism in many fields of the humanities has also downsized history from indisputable, factual eyewitness to an elaborate, time-constrained, and often reticent account. Reliability and faithfulness have ceased to be the purpose of historical fiction and, to be true, what is at stake is not only the process of fictionalising history, but also the transmission of historical events as a distinct kind of narrative.' (Introduction)

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y Southerly Questionable Characters vol. 77 no. 1 2017 12297024 2017 periodical issue Abstract
'This issue of Southerly was conceived both a general topic that would attract a wide range of submissions and to reflect the return of the'character' to the fore of literary scholarship in the last decade. This return to character is taken up in John Frow's study Character and Person (Oxford : OUP, 2014) which details the fundamental 'problem that fictional characters are made of words, of images, of imaginings, and not real in the way that people are real : but that we endow these sketched- in figures with some semblance of reality which moves' (online Chs 1, 2). Each chapter of Frow's monograph focuses on a figuration - and considers how these strategies work together to affect the reader's sympathy, interest and judgement.' (Editorial)
2017
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2017
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pg. 199-219