Historiographic metafiction is a term originally coined by literary theorist Linda Hutcheon. The term “historiographic metafiction” was coined by Linda Hutcheon in her essay “Beginning to Theorize the Postmodern” in 1987 and then further developed in her seminal study A Poetics of Postmodernism ( 1988 ) to describe “those well-known and popular novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages.” According to Hutcheon‚ in "A Poetics
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Historiographic Metafiction Parody and the Intertextuality of History LINDA HUTCHEON Il y a plus affaire à interpreter les interpretations qu’a interpreter les choses‚ et plus de livres sur les livres que sur autre sujet: nous ne faisons que nous entregloser. -Montaigne The frontiers of a book are never clear-cut: beyond the title‚ the first lines‚ and the last full-stop‚ beyond its internal configuration and its autonomous form‚ it is caught up in a system of references to other books‚ other
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Historiographic Metafiction in The Wars The writing of history has consistently been under heavy scrutiny‚ however it is justifiable. When someone reads a book of history they are never getting the honest-to-god truth. This is because along with the writing of history comes bias. Historiographic literature is a style of writing that is found in The Wars‚ it is a style the critiques or gives somewhat of a commentary on the writing of history. However the historiographic nature of this book is
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Metafiction Professor Bampton English 111E September 28‚ 2012 “Happy Endings” by Margaret Attwood‚ is an oddly structured‚ metafictional story‚ which includes a series of possible scenarios all leading the characters to the same ending. This paper will show how Happy Endings is a metafictional text. It will also explain which parts of the story are indeed metafictional. Metafiction is defined by “Dictionary.com” as‚ “fiction that discusses‚ describes or analyzes a work of fiction or
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“President Polk as a Southern Sectionalist” in A Companion to the Antebellum Presidents‚ 1837-1861. Edited by Joel Silbey (Malden‚ MA: Wiley-Blackwell‚ Forthcoming 2012) James Knox Polk was a slave-owning Tennessee Democrat who devoted his private life to profit from plantation slavery and his public career to his party and his section. He was‚ in short‚ a fierce Southern partisan. Yet this reality has been masked by generations of shallow scholarship or outright Southern apologetics. Biographies
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Metafiction in Ficciones by Jorge Luis Borges Borges’ use of metafiction in the compiled short stories of “Ficciones”‚ shows a different type of narrative technique. The author interpolates ideas or stories within his stories to provide a critique of his own work in order to analyze the basic structures of narrative fiction. In Borges’ short stories “The Circular Ruins” and“The Approach to Al-Mu’tasim”‚ Borges critiques his own style of writing by creating a fictional story within his fictional
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The Battle of Gettysburg: Strategies Invested and Who is to Blame Historiographical Essay Prepared by: John Smith HISTORY 480‚ Historiography Dr. Smith Washington University Spring 2011 The American Civil War is a time in America’s history that is full of debatable topics. The country was split in two and was threatened with potential division if the North didn’t prevail in reeling the dissenting group of states of the South back into the Union. The war was complete with pivotal moments
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Metafiction is a literary device that makes a reader question what is reality and what is fiction. Tim O’Brien uses metafiction‚ in his chapter “How to Tell a True War Story”‚ to tell the reader how one can pick out a true war story as he is telling a war story. He uses this technique to emphasize how real the stories were to keep himself sane and get his bottled-up emotions off his chest. In the chapter “Notes”‚ O’Brien tells the reader a story about a man named Norman Bowker. Bowker committed
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Metafiction and Happy Endings (Margaret Atwood) METAFICTION A. Definition: The narrator of a metafictional work will call attention to the writing process itself. The reader is never to forget that what she is reading is constructed--not natural‚ not " real." She is never to get "lost" in the story. B. Possible Contents: intruding to comment on writing involving his or herself with fictional characters directly addressing the reader openly questioning how narrative assumptions
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THE REAL INSPECTOR HOUND Dramatic criticism of the play by Tom Stoppard | | | | |In The Real Inspector Hound Stoppard makes fun of the critical jargon used by reviewers; when they make quasi-official | |pronouncements‚ they are pompous and silly. Of course the satire is especially effective when it is partly self-satire‚ coming | |from a former theater critic
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