Titlebook: Metafiction and Metahistory in Contemporary Women‘s Writing; Ann Heilmann (Professor of English),Mark Llewellyn Book 2007 Palgrave Macmill

choleric

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maroon

過于光澤

Breaking the Mould? Sarah Waters and the Politics of Genreaters. My interest in this piece is to bring together some of the issues that have been raised throughout this volume in relation to the present condition of ‘women’s’ historical fiction and suggest ways in which we might read the self-reflective strain in contemporary works in this genre.

BYRE

IntroductionAmerica, Australia and the UK. Ranging from the popular to the literary, the fictional to the factual, and covering those narratives that defy categorization, the chapters assembled here represent new and varied approaches to the subject of how contemporary women fiction writers use and reconfigure history in their work.

overweight

諄諄教誨

Rewriting liberal-humanist feminism. In Susan Kenney’s recovery of ., we see an academic and — like Aphra Behn — a professional writer, reclaiming a genre of popular fiction for liberal-humanist-feminist purposes.

Addictive

羽毛長成

The Witch, the Puritan and the Prophet: Historical Novels and Seventeenth-Century Historyce of specific historical moments or events in historical fiction offers an opportunity to examine in more detail the truism that historical novels are always about the present, the time of writing, as well as the past; and I hope here at least to raise some questions about history, story and the re

大火

Time, Space and (,)Story in the Fiction of Eva Figesrrently a great deal of scepticism concerning the stability of such customary notions as time and space, the materiality of the body found within these notions and the stability of identity the body accommodates. It has already become a cliché to speak of (his)story: feminist theory has long disting

Transfusion

From Demidenko to Darville: Behind the Scenes of a Literary Carnivals author had argued, but had instead evolved out of a vivid imagination, propped up by a carefully selected pseudonym. In signing her name as Demidenko and not Darville, Helen D — as she was later referred to in true postmodern style. — had concocted an elaborate hoax, fooling Australia’s cultural e