"Historiographic
Metafiction: 'The Pastime of Past Time'"
Provider:
Angela Wei
11/4, 1998
Historiographic metafiction:
Historiographic metafiction is one kind of postmodern novel
which rejects projecting present beliefs and standards onto the past and
asserts the specificity and particularity of the individual past event.
It also suggests a distinction between ☆events★ and ☆facts★ that is one
shared by many historians. Since the documents become signs of events,
which the historian transmutes into facts, as in historiographic metafiction,
the lesson here is that the past once existed, but that our historical
knowledge of it is semiotically transmitted. Finally, Historiographic
metafiction often points to the fact by using the paratextual conventions
of historiography to both inscribe and undermine the authority and objectivity
of historical sources and explanations. (122-123, Linda Hutcheon)
- Facts and Events: Hutcheon mentions a
fact is discourse-defined; an event is not, in other words, events
have no meaning in themselves and facts are given meaning. Do you
agree? Why?
- History and Fiction: Since history can
be fictional and fiction can be veracity, do you think if there is
still a line between history and fiction?
What does the title of this article mean?
Is the title related to Midnight's Children? Does Hutcheon's
definition of historiographical metafiction help us understand Midnight's
Children or 《高砂百合》 ?
I. Postmodern views of history
and fiction
Postmodern theory and art, and recent critical
readings of both history and fiction focus on what the two modes of
writing share than on how they differ. (105)
A. Verisimilitude rather then Objective
truth:
They [both fiction and historiography] have
both been seen to derive their force more from verisimilitude than from
any
objective truth. (105)
B. Identified as linguistic Constructs:
They are both identified as linguistic constructs,
highly conventionalized in their
narrative forms, and not at all transparent
either in terms of language or structure. (105)
C. Equally Intertextual:
They appear to be equally intertexual, deploying
the texts of the past within their own
complex textuality. (105)
II. The relationship
between History and Literature in history
The separation of the two disciplines happened
in the nineteenth century, marked, for instance, by the rise of "scientific
fiction" or the rise of university. Before then literature and history
were considered branches of the same tree of learning, a tree for interpreting
experience, for the purpose of guiding and elevating man. (105).
- In the last century, historical writing
and historical novel writing influenced each other mutually. Ex. Dickens's
to Carlyle in A Tale of Two Cities. (106).
- Today, the new skepticism of suspicion
about the writing history challenges historiography in novels. Ex.
Shame, The Public Burning, or A Maggot. (106).
These novels question their common use
of conventions of narrative, of reference, of the inscribing of subjectivity,
and their identity as textuality and their implication in ideology.
III. The awareness of fictiveness and
reality can be traced to 18th century.
- Claiming "Truth★ in narrative: The writers
of novels from the start in 18th century seemed determined
to pretend that their work is not made[invented] but simply
exist. (107). Ex. Defoe's works claim to veracity and convinced some
readers that they were factual. (But Readers today or readers of contemporary
historiography metafiction are aware fictiveness and reality) e.g.
the use of witnesses' letters.
- Contemporary Fiction questions of the
relation of story and history: Michael Coetzee's novel Foe (1986)
reveals the storytellers and historians can certainly silence,
exclude and absent certain past events and suggest the historians
have done the same. Ex. Where are the women in the traditional histories
of 18th century? (107).
- Lies to multiple truths: The 18th
century concern for lies and falsity becomes a postmodern concern
for multiplicity and dispersion of truths and truths relative to the
specific place and culture. (108).
IV. The assertions and
characteristics of postmodern novels: the plural truths,
the problems of the rewritings of history
and the need and the danger to separate
fiction and history as two different
genres. (111).
- Postmodern novels openly assert that
there are only truths in the plural and never one Truth ; and
there is rarely falseness per se, just others' truths. Ex. Flaubert's
Parrot, Famous Last Words, and A Maggot. (109)
- Postmodern fiction suggests that to re-write
and to present the past in fiction and in history is to open it up
to the present, to prevent it from being conclusive. Ex. Susan Daitch's
L. C. There are two historical reconstruction and two translations
of Lucienne's ending. (110).
- The rewriting history is also problematic.
To take the film about Chekhov's
Journey as example, the actor begins to alter
the dates of verifiable historical events,
moving the Tunguska explosion from
1888 to 1908. Then, the film became
a projection of "a choas of unhistory." (110).
- History and fiction are not the same
even though they share social, cultural,
ideological contexts, as well as formal
techniques. [Hayden White sees
historiography as emplotment.]
- Paul Veyne signals the two genres'
[history and fiction's] conventions: selection, organization, diegesis,
anecdote, temporal pacing, and emplotment but they are not ☆the
same of discourse★ (111).
- Novels incorporate social and political
history to some extent, though the extent will vary; but history
only emphasis its historical development.(italic is added by
me, 111).
- Postmodernism deliberately confuses the
notion that history's problem is verification, while fiction's is
veracity. (112).
- Both forms of narratives are signifying
systems in our culture.(112).
- Both are Doctorow's modes of ☆mediating
the world for the purpose of introducing meaning★ (112) [It is necessary
for us to make meanings that historiographic metafiction reveals.]
V. The assertions and
characteristics of historiographic metafiction:
- Historiographic metafiction suggests
the continuing relevance of [fiction and fact] such an opposition.
(113).
- Historiographic metafiction both install
[inscribes] and then blurs the line between fiction and history. Ex.
From the classical epic, the Bible to the assertion and overt of postmodern
fictions.
- The differences between historical novel
and historiographic metafiction:
- Historical novels present the generalized
and concentrated microcosm. However, it is difficult to generalize
about historiographic metafiction because history plays a great number
of different roles, at different levels of generality, in its various
manifestations. (113).
- Three differences-- Lukacs's belief the
three major defining characteristics of historical novel:
Historical Novel |
Historiographic Metafiction |
The protagonist
should be a type. |
The protagonists
are anything but proper
Types. |
The accuracy
or even truth of detail is
Irrelevant in order to achieve historical
faithfulness: usually assimilates the data to lend a feeling of
verifiability..
|
Two different
ways to contests this: 1.plays upon the truth and lies of the historical
record. 2 use historical data but rarely assimilate such data. |
Historical personages
are secondary roles as if to hide the joins between fiction and
history in a formal and ontological sleight of hand. |
The metafictional
self-reflexive novels pose that ontological join as a problem: how
do know the past and what can we know of it now? |
VI. The issues about
the interaction of historiography and fiction
are the nature of
identity and subjectivity, the question of reference and representation,
the intertexual nature of the past, and the ideological nature of past.
- The nature of identity and subjectivity:
We do not find a subject confident of his/her ability to know the
past with any certainty. (117). Ex. Midnight's children: nothing
survives the instability caused by the rethinking of the past in noon-developmental,
non-continuous terms. (118). Postmodernism both installs and then
subverts traditional concepts of subjectivity. (118).
- The intertexual nature of the past:
- Parody is one of the postmodern ways
of literally incorporating the textualized past into the text of
the present. (118).
- Postmodern intertextuality has a desire
to close the gap between past and present of the reader and a new
desire to rewrite the past in a new context. (118).
- Postmodern novels teach that both fiction
and history actually refer the first level to other texts: we know
the past only through its textualized remains. (119).
- The new questions about reference: "To
which discursive context could this language belong? To which prior
textualizations must we refer?" Postmodern art suggests that there
is no presence, no external truth which verifies or unifies but there
is only self-reference. Historiographic metafiction self-consciously
suggests this, but then uses it to signal the discursive nature of
all reference. (119).
- The ideology of postmodernism while regarding
history: "every representation of the past has specifiable ideological
implications." [The postmodern ideology is paradoxical for its claiming
and denying its own truth, for questioning the history it seeks to
reconstruct, for critiquing the ideologies it is influenced by ].
It is part of the postmodern ideology not to ignore cultural bias
and interpretative conventions and to question authority-even its
own. (121).
(external)
Literary
Criticism Databank: Postmodernism and Urban Space ;
Postmodern Theories and Texts
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