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- W2162509304 abstract "Historical fiction has been defined as a hybrid genre, in the sense that it both contains a historical reality and an imagined reality. This hybridization or mixture of ontological spheres has sometimes been used to criticise this genre, due to the fact that it is neither history nor fiction and, thus, it violates some of the conventions established for each of them (Rigney 2001: 16-17). On the one hand, historians argue that historical novels do not reproduce the past as it actually happened. On the other hand, literary critics establish a lack of unity in this kind of works, because if the historical and the fictional components can be set apart, there is no unity of content. However, every work of historical fiction needs to include these two components because it is what distinguishes it from other fictional genres (ibid: 20). That is, the interplay between invented story elements and historical ones is the distinctive feature of the genre of historical fiction. Nevertheless, this lack of agreement among critics has led to a study of this genre in terms of truth telling and fictionality, without trying to analyse how these elements mix together (ibid: 17). However, it is important to be aware that historical novels are fiction, and thus, they cannot be valued only on the basis of their faithfulness to history but also because of their literary value (Henderson 1974: xiv; Rigney 2001: 20). There are different criteria on which the distinction between a historical novel from a novel is based. Avron Fleishman (1971:4) talks about fictional characters living in the same world than historical people as the main difference between them. Moreover, he talks about a 40- or 60-year separation between the life of the author and the time of the novel (ibid: 3). For Amado Alonso (1984: 80), a historical novel is the one that tries to rebuild a past way of life. Finally, Harry B. Henderson (1974: xiv) establishes the time prior to the life of the author as the defining criterion for them. The area in which most of the debate about historical fiction has been held is the one about the uses of history in fiction, in which three restrictions have been established (McHale 1987[2000]: 87-88). The first one is that the official record should not be contradicted. This limits the freedom of the artist to the so called dark areas of history, i.e., the elements of which we have no information or in which the official history is not interested. The second restriction is that the cultural system of a specific era should also be maintained unchanged so that characters should not behave in a way improper for the time in which they lived. Thus, this is related to anachronism. Finally, logical and physical laws should also be compatible with the ones of reality. Otherwise, the text would contradict the rules of classical historical fiction. As regards the actual integration of the historical materials in a fictional work, Ann Rigney (2001: 22-23) talks about three strategies: selection--some elements of the historical reality are used whereas other are omitted--, transformation--in the sense of adaptation and revision of existing historical contents--, and finally, addiction--that is, the actual invention of events and characters. Obviously, these restrictions are not always respected, and postmodernism is a good example of a violation of all of them. In any case, every historical element introduced in the literary work experiences a transformation, because it stops being independent and belongs to a new system of relations and meanings. This transformation has been called analogous configuration by Barbara Foley (1986: 68, 84) and the result is that all elements in a work of historical fiction have the same status and thus, the criticism of lack of unity we mentioned before disappears because all the elements enjoy equal status. As we have mentioned before, and as the examples of basic requirements for a historical novel to be considered as such and the restrictions on the uses of history in fiction show, the studies of historical fiction were and are still based on the historical component of the works under study or on the prevalence of one over the other. …" @default.
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- W2162509304 date "2010-09-01" @default.
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- W2162509304 title "Fields and Frames in Historical Fiction about the Salem Witchcraft Trials: An Analysis of Salem Witchcraft; or the Adventures of Parson Handy, from Punkapog Pond (1827)" @default.
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