The New Faces of the Historical Novel
This article analyzes the problem of referentiality in the historical novel, based on a comparison between its classic and contemporary forms. The first section addresses the “mixture of history and invention” that, following Alessandro Manzoni, was the foremost characteristic of the realist histori...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade Federal de Ouro Preto (UFOP) |
| Repositorio: | História da Historiografia |
| Idioma: | inglés |
| OAI Identifier: | oai:ojs.www.historiadahistoriografia.com.br:article/1530 |
| Acceso en línea: | https://www.historiadahistoriografia.com.br/revista/article/view/1530 |
| Access Level: | acceso abierto |
| Palabra clave: | Historical novel Fiction Historicity Romance histórico Ficção Historicidade Novela historica Ficción Historicidad |
| Sumario: | This article analyzes the problem of referentiality in the historical novel, based on a comparison between its classic and contemporary forms. The first section addresses the “mixture of history and invention” that, following Alessandro Manzoni, was the foremost characteristic of the realist historical novel. The next section discusses how the meta-historical novel of the second half of the 20th century - for example, Disgrace (J. M. Coetzee) and El entenado (Juan José Saer)-eclipsed the problem of referentiality by assuming that the historical novel should operate by its own procedures, and not those of history. The following sections discuss the referential turn in 21st century literary narratives, focusing on three novels: El material humano, by Rodrigo Rey Rosa; K. Relato de uma busca, by Bernardo Kucinski, and Jan Karski, by Yannick Haenel. The article concludes that the inversion of these two poles—from non-referentiality to the predominance of referentiality—is an unexpected facet of the elasticity of the concept (and practice) of fiction, which by denying itself ultimately enriches itself. |
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