Search

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Procesos Historicos is the property of Universidad de Los Andes (Venezuela) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is an analysis of the historiography of the battle of Cerro Gordo. It is intended to see the generalities of the story, as well as the authors who wrote the subject, their enunciation horizons, the importance they give it, and which ones are available to know the battle. At the end of this historiographic balance, it is established that some current works have reused an almost invariable narrative form, having as their origin a single story. Therefore, a methodological tool provided by historian John Keegan is proposed, called: "the piece of battle". [ABSTRACT FROM AUTHOR]

Copyright of Investigaciones Historicas is the property of Universidad de Valladolid, Facultad de Filosofia y Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia 396 is the property of Pontificia Universidad Catolica de Valparaiso, Instituto de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article we adopt a sociological line of argument to challenge the way in which François Furet constructed a dual discourse on the Terror. Furet defends the idea that the French Revolution-event was the matrix of all insurrections. But, at the same time, he proclaimed his rejection of historiographical determinism. Caught between these two contradictory sets of argumentation, Furet remained a prisoner of his epistemological presentism.

In postmodern fiction, historiographic metafiction is a kind of narration of the past where history and fiction merges to form a new form of fiction. The metafiction sets to explore the dilemma between the world of fiction and the world outside fiction. Therefore in historiographic metafiction the reader can experience not just one string of story but two. The one string is fictitious and the other historical. But there is no distinction between the history and fiction. The fictitious characters appear not to be made but to exist in the history. Also, it should be taken into account that historiographic metafiction is not an historical novel. Unlike historical novel, historiographic metafiction plays upon truth and lies of historical records. So it is neither an authentic representation nor inauthentic copy. To make a brief study of historiographic metafiction, here, Salman Ruhdie's The Moor's Last Sigh has been taken. In this novel, the fiction is taken back to the period of Vasco da Gama. He had been assumed to have landed and settled in India for pepper business. The novel has a long family tree where the chief character of each generation remains to be Camoens da Gama, Aurora da Gama and Moraes Zogoiby. Camoens is placed in the pre-independent India; while Aurora plays her role in the independence struggle and enjoys its fruit. Moraes Zogoiby has his major part in the post-independent India. The characters, thus, run along with neither authentic representation nor inauthentic copy of history to form a fictitious story. [ABSTRACT FROM AUTHOR]

Stories organize and transmit human events and experiences into meaningful units and suggest an intricate relationship between the past, present and future. A story is a work of fiction that is usually written in prose, often in narrative form. Short stories are highly suggestive since they are restricted to a certain length and tend to be less complex than novels. They foster a sense of right and wrong in the reader and have the power to influence the complete personality of an individual. During the mid-twentieth century, Angela Carter (1940-92) emerged as a staunchly feminist writer who gave a voice to women who had traditionally been assigned a secondary position in the patriarchal society. Many of Carter's stories focus on female protagonists and their conflict with the patriarchal culture and ideologies. The present paper focuses on two stories of Carter: "The Fall River Axe Murders" and "Lizzie's Tiger." The story "The Fall River Axe Murders" highlights the historical figure of Lizzie Borden (1860-1927), who was charged with murdering her parents in 1892. Lizzie was a controversial figure, as the fact that she had committed the murders had not been proved, and since then people have speculated about the incident. The second story "Lizzie's Tiger" describes the earlier days of Lizzie's life. The story is a fictional piece and centres on a day when Lizzie was a child. The events portrayed in this story help the readers to correlate the younger Lizzie with the older one. The paper discusses Carter's use of historiographic metafiction in these stories as a tool for retelling Lizzie Borden's past. Through these stories the writer brings the character of Lizzie Borden back to life, and recreates the situations, the setting, and the surrounding milieu which influenced Lizzie and directed her choices. [ABSTRACT FROM AUTHOR]