Difference between revisions of "2013 Negotiating History in Contemporary Fiction"

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	*Handout: [[Traditions in our discourse about literature]]		*Handout: [[Traditions in our discourse about literature]]
	*Handout: [[Narratology]]		*Handout: [[Narratology]]
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		+	==Quotes==
		+	*"Current historical fictions seems to be written with the sole purpose of denying life. These novelists believe that literature belongs in a heritag theeme park or, better, the grave. Anywhere but the here an dnow" (Blincoe and Thorne, All Hail the New Puritans, 2000: xv)
	==Further Reading==		==Further Reading==

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Revision as of 10:57, 21 February 2013

    PLEASE NOTE: THIS PAGE IS STILL UNDER CONSTRUCTION. NOT ALL INFORMATION IS VERIFIED AND RELIABLE YET.

• Time: Mon, 08:00 - 10:00
• Venue: A01 0-007
• Lecturer: Anna Auguscik
• Modul: AM 15 Motifs - Themes - Issues (and their Media)

• Course Description:

"Thirty years or so ago, the historical novel had dropped below the horizon of respectable attention. [...] Yet, by the century's end, historical fiction commanded a prestige and acclaim unknown since its heyday." (Tonkin 2001)

Around the turn of the millennium, journalist and critic Boyd Tonkin described the ebb and flow of the historical novel, claiming that the Booker Prize for Fiction – allegedly the most important literary prize in the UK – played a pivotal role in the renaissance of this genre. In fact, author Hilary Mantel and her recent double Booker victory stand living proof that Tonkin's claim is still valid: she won the 2009 and the 2012 Booker Prize with the respective first and second part of her trilogy set at the court of King Henry VIII.

In this seminar, we will take a look at two novels which were both read as historical novels, and which, apart from being shortlisted for (or winning) the Booker Prize in the 2000s, have other striking resemblances. Margaret Atwood's The Blind Assassin (2000) and Sebastian Barry's The Secret Scripture (2008) both feature aging female narrators who attempt to re-write their histories with accounts of love and deceit, and referring back to events that span a respective Canadian or Irish twentieth century. At the same time, both novels had a swift entrance into literary history, if their status as bestselling, multi-award-winning, critically acclaimed fiction is anything to go by in this respect. In the course of the semester, we will read the two texts and their contexts from both perspectives: we will analyze how they negotiate the respective historical setting and their protagonists' past, and we will enquire how each negotiates its way into literary history.

Please, make sure to purchase and read these novels in advance (both will be made available at the CvO bookshop). Your reading of them is prerequisite to the course.

• Margaret Atwood, The Blind Assassin (2000)
• Sebastian Barry, The Secret Scripture (2008)

• Additional materials for preparation, as well as the detailed syllabus, will be made available here.

• Course Requirements

• Requirements for 6 KP: regular attendance and an oral contribution in the form of a presentation, with a term paper of ca. 10 pp. based on the topic of the presentation.
• Requirements for 9 KP: regular attendance and an oral contribution in the form of a presentation, with a term paper of ca. 15-20 pp. based on the topic of the presentation.
• As part of the "Aktive Teilnahme" regulation:

    Die aktive Teilnahme besteht aus folgenden Komponenten
    - regelmäßige Anwesenheit: max. 3 Abwesenheiten und gegebenenfalls Nacharbeit
    - Vor- und Nachbereitung des Seminarstoffs (z. B. Protokolle, Aufgaben, Vorbereitung/Lektüre von Texten) 
    - Entwicklung einer wissenschaftlichen Fragestellung aus dem Problembereich des Seminars, z.B. durch:
      *Übernahme von Impulsreferaten und 
      *(nur falls Seminararbeit angestrebt, verschriftlicht, ansonsten als Teil der Präsentation) 
       Entwicklung einer Research Paper Outline im Laufe des Semesters (die Zeitangaben verstehen sich als Empfehlungen): 
       Wahl eines Themenbereichs (3.-5.Woche), Eingrenzung (ca. 8.-10.Woche), 
       Abstract mit Fragestellung inkl. Forschungsbibliographie (RPO) (ca. 12.Woche), 
       Vorstellung der Fragestellung in der letzten Semestersitzung.

Session 1 Mo., 08.04.2013

• Introduction

Session 2 Mo., 15.04.2013

cancelled: I'll be here

Session 3 Mo., 22.04.2013

• Atwood, TBA: narration, characterization, themes and plot structure

Session 4 Mo., 29.04.2013

• Barry, TSS: narration, characterization, themes and plot structure

Session 5 Mo., 06.05.2013

• Narrating Histories: Traumatised Narrators and Unruly Endings

   [Specify research interest until 10 May]

Session 6 Mo., 13.05.2013

• Gender(ed) Histories: Female Subjectivities, Feminist Memoirs

Session 7 Mo., 27.05.2013

• National Histories: Public Politics, Private Pasts

Session 8 Mo., 03.06.2013

• The Genre(s) of History: Of Historical Novels and Spiritual Autobiographies

Session 9 Mo., 10.06.2013

• Writing History, Making History: Critical and Marketing Profiles of TBA and TSS

Session 10 Mo., 17.06.2013

• Atwood's TBA in reviews

 [Hand in RPOs until 21 June]

Session 11 Mo., 24.06.2013

• Barry's TSS in reviews
• evaluation

Session 12 Mo., 01.07.2013

• discussion of evaluation
• discussion of RPOs

Bibliography

Reading Material

• Margaret Atwood, The Blind Assassin (2000)
• Sebastian Barry, The Secret Scripture (2008)

and

Contemporary Historical Novel

• Laura J. Miller. "The Best-Seller List as Marketing Tool and Historical Fiction." Book History 3 (2000): 286-304. Cf. also [1]
• Boyd Tonkin. "Historical." Good Fiction Guide. Ed. Jane Rogers. Oxford: OUP, 2001. 62-64. Cf. also [2]
• Suzanne Keen. Romances of the Archive in Contemporary British Fiction. Toronto, ON: U of Toronto P, 2001.
• Suzanne Keen. The Historical Turn in British Fiction. A Concise Companion to Contemporary British Fiction. Ed. James F. English. Malden, MA: Blackwell, 2006. 167-87.
• Peter Widdowson. 'Writing Back': Contemporary Re-Visionary Fiction. Textual Practice 20.3 (Sept. 2006): 491-507.
• Richard Bradford. The Novel Now: Contemporary British Fiction. Malden, MA: Blackwell, 2007.
• Samantha Young. "Based on a True Story: Contemporary Historical Fiction and Historiographical Theory." Otherness: Essays and Studies 2.1 (Autumn 2011).
• Alan Robinson. Narrating the Past: Historiography, Memory and the Contemporary Novel. New York, NY: Palgrave Macmillan, 2011.

and

Contemporary Fiction and the Book Market

• Richard Todd. Consuming Fictions: The Booker Prize and Fiction in Britain Today. London, England: Bloomsbury, 1996.
• James F. English. The Economy of Prestige: Prizes, Awards, and the Circulation of Cultural Value. Harvard, 2005.
• Claire Squires. Marketing Literature: The Making of Contemporary Writing in Britain. London: Palgrave Macmillian, 2007.

Tools

• Handout: Traditions in our discourse about literature
• Handout: Narratology

Quotes

• "Current historical fictions seems to be written with the sole purpose of denying life. These novelists believe that literature belongs in a heritag theeme park or, better, the grave. Anywhere but the here an dnow" (Blincoe and Thorne, All Hail the New Puritans, 2000: xv)

Further Reading

Barry, TSS

• Grene, Nicholas. "Out of History: From The Steward of Christendom to Annie Dunne." Out of History: Essays on the Writings of Sebastian Barry. Ed. Christina Hunt Mahony. Dublin, Ireland: Carysfort, 2006. 167-82. MLA International Bibliography. Web. 10 Feb. 2013.
• Harney-Mahajan, Tara. "Provoking Forgiveness in Sebastian Barry's The Secret Scripture." New Hibernia Review/Iris Éireannach Nua: A Quarterly Record of Irish Studies 16.2 (2012): 54-71. MLA International Bibliography. Web. 10 Feb. 2013.

Atwood, TBA

• Raschke, Debrah, and Sarah Appleton. "'And They Went to Bury Her': Margaret Atwood's The Blind Assassin and The Robber Bride." Adventures of the Spirit: The Older Woman in the Works of Doris Lessing, Margaret Atwood, and Other Contemporary Women Writers. Ed. Phyllis Sternberg Perrakis. Columbus, OH: Ohio State UP, 2007. 126-52.
• Koyuncu, Nevin Yildirim. "Revising Scripts of Femininity in Margaret Atwood's The Blind Assassin." Interactions: Aegean Journal of English and American Studies/Ege İngiliz ve Amerikan İncelemeleri Dergisi 16.2 (2007): 73-86.
• McWilliams, Ellen. "Keeping Secrets, Telling Lies: Fictions of the Artist and Author in the Novels of Margaret Atwood." Atlantis: A Women's Studies Journal/Revue d'Etudes sur les Femmes 32.1 (2007): 25-33.
• Tolan, Fiona. "'Was I My Sister's Keeper?': The Blind Assassin and Problematic Feminisms." Margaret Atwood: The Robber Bride, The Blind Assassin, Oryx and Crake. Ed. J. Brooks Bouson and Sarah Graham. New York, NY: Continuum, 2010. 73-87. Continuum Studies in Contemporary North American Fiction.
• Ingersoll, Earl G. "Modernism/Postmodernism: Subverting Binaries in Margaret Atwood's Alias Grace and The Blind Assassin." Margaret Atwood Studies 1.1 (2007): 4-16.
• Peled, Nancy. "Motherless Daughters: The Absent Mothers in Margaret Atwood." Textual Mothers/Maternal Texts: Motherhood in Contemporary Women's Literatures. Ed. Elizabeth Podnieks and Andrea O'Reilly. Waterloo, ON: Wilfrid Laurier UP, 2010. 47-61.
• Jovanović, Aleksandra V. "Writing Closure." On the Borders of Convention. Ed. Aleksandra Nikčević Batrićević and Marija Knežević. Newcastle upon Tyne, England: Cambridge Scholars, 2010. 59-67.
• Wilson, Sharon R. "Through the 'Wall': Crone Journeys of Enlightenment and Creativity in the Works of Doris Lessing, Margaret Atwood, Keri Hulme, and Other Women Writers." Adventures of the Spirit: The Older Woman in the Works of Doris Lessing, Margaret Atwood, and Other Contemporary Women Writers. Ed. Phyllis Sternberg Perrakis. Columbus, OH: Ohio State UP, 2007. 83-102.
• Bouson, J. Brooks, and Sarah Graham, eds. Margaret Atwood: The Robber Bride, The Blind Assassin, Oryx and Crake. New York, NY: Continuum, 2010. Continuum Studies in Contemporary North American Fiction.
• Lee, Gui-Woo. "[The Narrator and Addressee of Testimony: Iris and Sabrina in The Blind Assassin]." Feminist Studies in English Literature 14.1 (2006): 99-120.
• Domínguez, Pilar Cuder. "Margaret Atwood's Metafictional Acts: Collaborative Storytelling in The Blind Assassin and Oryx and Crake." Revista Canaria de Estudios Ingleses 56 (2008): 57-68.
• Wilson, Sharon. "Fairy Tales, Myths, and Magic Photographs in Atwood's The Blind Assassin." Once upon a Time: Myth, Fairy Tales and Legends in Margaret Atwood's Writings. Ed. Sarah A. Appleton. Newcastle upon Tyne, England: Cambridge Scholars, 2008. 73-93.
• Dancygier, Barbara. "The Text and the Story: Levels of Blending in Fictional Narratives." Mental Spaces in Discourse and Interaction. Ed. Todd Oakley and Anders Hougaard. Amsterdam, Netherlands: Benjamins, 2008. 51-78. Pragmatics & Beyond: New Series 170.
• Ingersoll, Earl G. "Margaret Atwood's The Blind Assassin as Spiritual Adventure." Adventures of the Spirit: The Older Woman in the Works of Doris Lessing, Margaret Atwood, and Other Contemporary Women Writers. Ed. Phyllis Sternberg Perrakis. Columbus, OH: Ohio State UP, 2007. 105-25.
• Farca, Paula Anca. "Generations of Canadian Women Alone Together in Margaret Atwood's The Blind Assassin." Notes on Contemporary Literature 40.3 (2010): 10-12.
• Michael, Magali Cornier. "Narrative Multiplicity and the Multi-Layered Self in The Blind Assassin." Margaret Atwood: The Robber Bride, The Blind Assassin, Oryx and Crake. Ed. J. Brooks Bouson and Sarah Graham. New York, NY: Continuum, 2010. 88-102. Continuum Studies in Contemporary North American Fiction.
• Barzilai, Shuli. "'If You Look Long Enough': Photography, Memory, and Mourning in The Blind Assassin." Margaret Atwood: The Robber Bride, The Blind Assassin, Oryx and Crake. Ed. J. Brooks Bouson and Sarah Graham. New York, NY: Continuum, 2010. 103-123. Continuum Studies in Contemporary North American Fiction.
• Dancygier, Barbara. "Narrative Anchors and the Processes of Story Construction: The Case of Margaret Atwood's The Blind Assassin." Style 41.2 (2007): 133-152.
• Guo, Guoliang, and Jie Zhao. "Lun Mang ci ke zhong de cun zai zhu yi jie ru guan." Foreign Literature Studies/Wai Guo Wen Xue Yan Jiu 28.121 (2006): 113-20.
• Strolz, Andrea. "'True Stories' in the Course of Time in Margaret Atwood's 'The Blind Assassin'." A Sea for Encounters: Essays towards a Postcolonial Commonwealth. Ed. Stella Borg Barthet. Amsterdam, Netherlands: Rodopi, 2009. 287-306. Cross/Cultures: Readings in the Post/Colonial Literatures in English 117.
• Economou, Mary G. "Weaving Women: Confessions and Identity in Margaret Atwood's Lady Oracle, Alias Grace and The Blind Assassin." Cultures de la confession: Formes de l'aveu dans le monde anglophone. Ed. Sylvie Mathé and Gilles Teulié. Aix-en-Provence, France: PU de Provence, 2006. 143-58. Mondes Anglophones.
• Ingersoll, Earl. "Waiting for the End: Closure in Margaret Atwood's The Blind Assassin." Studies in the Novel 35.4 (2003): 543-58.
• Ku, Chung-hao. "Eating, Cleaning, and Writing: Female Abjection and Subjectivity in Margaret Atwood's The Blind Assassin." Concentric: Literary and Cultural Studies 30.1 (2004): 93-129.
• Staels, Hilde. "Atwood's Specular Narrative: The Blind Assassin." English Studies: A Journal of English Language and Literature 85.2 (2004): 147-60.
• Watkins, Susan. "The Blind Assassin, by Margaret Atwood." Booker Prize Novels: 1969-2005. Ed. Merritt Moseley. Detroit, MI: Gale, 2006. 313-324. Dictionary of Literary Biography 326.
• Still, Judith. "Bluebeards and Bodies: Margaret Atwood's Men." Ilha do Desterro: A Journal of Language and Literature 42 (2002): 165-80.
• Bouson, J. Brooks. "'A Commemoration of Wounds Endured and Resented': Margaret Atwood's The Blind Assassin as Feminist Memoir." Critique: Studies in Contemporary Fiction 44.3 (2003): 251-69.
• Paillot, Patricia. "To Bind or Not to Bind: Irony in The Blind Assasin by Margaret Atwood." Etudes Canadiennes/Canadian Studies: Revue Interdisciplinaire des Etudes Canadiennes en France 53 (2002): 117-26.
• Stein, Karen F. "A Left-Handed Story: The Blind Assassin." Margaret Atwood's Textual Assassinations: Recent Poetry and Fiction. Ed. Sharon Rose Wilson. Columbus, OH: Ohio State UP, 2003. 135-53.
• Robinson, Alan. "Alias Laura: Representations of the Past in Margaret Atwood's The Blind Assassin." Modern Language Review 101.2 (2006): 347-59.
• Davies, Madeleine. "Margaret Atwood's Female Bodies." The Cambridge Companion to Margaret Atwood. Ed. Coral Ann Howells. Cambridge, England: Cambridge UP, 2006. 58-71.
• Cooke, Nathalie. Margaret Atwood: A Critical Companion. Westport, CT: Greenwood, 2004. Critical Companions to Popular Contemporary Writers.
• Parkin-Gounelas, Ruth. "'What Isn't There' in Margaret Atwood's The Blind Assassin: The Psychoanalysis of Duplicity." MFS: Modern Fiction Studies 50.3 (2004): 681-700.
• Dvorak, Marta. "The Right Hand Writing and the Left Hand Erasing in Margaret Atwood's The Blind Assassin." Commonwealth Essays and Studies 25.1 (2002): 59-68.
• Harold, James. "Narrative Engagement with Atonement and The Blind Assassin." Philosophy and Literature 29.1 (2005): 130-45.
• Barnard, Anette, and Jan-Louis Kruger. "Hands as Markers of Fragmentation." Literator: Tydskrif vir Besondere en Vergelykende Taal- en Literatuurstudie/Journal of Literary Criticism, Comparative Linguistics and Literary Studies 26.2 (2005): 17-37.
• Waltonen, Karma. "'Bodies Conjured up for Them by Words': Structure through Myth in Atwood's The Blind Assassin." Identity and Alterity in Canadian Literature/Identité et altérité dans la littérature canadienne. Ed. Dana Puiu. Cluj-Napoca, Romania: Risoprint, 2003. 255-63.