Titlebook: Reading Historical Fiction; The Revenant and Rem Kate Mitchell,Nicola Parsons Book 2013 Palgrave Macmillan, a division of Macmillan Publish

軌道

CANON

原始

The Gothic Reader: History, Fear and Trembling,A typical Gothic scene: a young girl sits alone in a darkened room lit only by a guttering candle, her fearful gaze directed not at the text she has been reading, but over her shoulder. It is as if the very act of reading itself can raise a spectre from the past.

Arresting

Notes Towards a Poethics of Spectrality: The Examples of Neo-Victorian Textuality,I cannot do much but touch upon the other. The other never does anything other than to touch me.

無價(jià)值

Temporal Systems in Representations of the Past: Distance, Freedom and Irony in Historical Fiction,this occludes the ways that temporality is constructed textually. As Mikhail Bakhtin argues, time is not an abstract medium within which stories happen, but is produced in the course of narrative, and can take forms substantially more complex — and with more significant aesthetic and ideological imp

CRACY

Panoramic Byron: Reading, History and Pre-cinematic Spectacle,ron’s poems in early panoramic guides and reviews of various Leicester Square panoramas and concluding with the spectacular use of panoramic technologies in mid-nineteenth century adaptations of one of Byron’s many controversial historical fictions, ., this chapter argues that the inter-medial and m

不理會(huì)

,‘The Painted Record’ in George Eliot’s Historical Novel ,,velist shows particular concern with expressing a type of historical acclimation to her subject that relies upon contemporary discourses of Victorian visuality and their influence on how nineteenth-century British readers came to understand their position in relation to events separated by geographi

懸崖

Dickens and Ways of Seeing the French Revolution: ,, Two Cities, of course, famously ends with Sidney Carton’s vision of an afterlife in ‘a(chǎn) sanctuary in their hearts, and in the hearts of their descendants, generations hence’ (Dickens 2000, 390).. Plenty of people who have never read A Tale of Two Cities know the famous lines from its denouement: ‘It

Aromatic

The Uses of History: The Historical Novel in the Post-French Revolution Debate and Ellis Cornelia Kwith the form of history writing in order to re-imagine the nation. The historical novel became a vehicle for such national re-imagining because, in the decades before ., attempts to explain the French Revolution often relied on historical analogues, or invoked history as the major interpretative fr

GLOSS