I propose to call these writings interventional in the sense that these historians use their autobiographies, with a more or less deliberate authorial intention, to participate, mediate, and intervene in theoretical debates by using the story of their own intellectual and academic trajectory as the source of historiography.
This article aims to examine this new historical-autobiographical genre-including the subgenre of the “autobiographical paper”-and highlights its ability to function as both history (as a retrospective account of the author's own past) and theory (as a speculative approach to historiographical questions). Sewell, Jr., Sheila Fitzpatrick, and John Elliott created a new form of academic life-writing that has challenged established literary and historiographical conventions and resisted generic classification. Spiegel, Dominick LaCapra, Gerda Lerner, William H. established by Carolyn Steedman, historians such as Geoff Eley, Natalie Z. At the beginning of the twentyfirst century, following the model.
This essay argues that, in their reflection of theoretical positions, autobiographies by historians may become valid historical writings (that is, both true narratives and legitimate historical interpretations) and, as a consequence and simultaneously, privileged sources for historiographical inquiry and evidence of its evolution. "Novel History" is both a uniquely compelling perspective and a superb collection of literary history. Coraghessan Boyle, William Kennedy, Charles Frazier, Thomas Fleming, and Tim O'Brien. Genovese, Richard White, and Tom Wicker, and responses from notable novelists, including Gore Vidal, John Updike, Russell Banks, Don DeLillo, Larry McMurtry, Jane Smiley, Madison Smartt Bell, William Styron, T. "Novel History" includes essays by distinguished historians such as John Demos, Michael Kammen, Joan D. These dialogues illuminate one of the most fascinating and perplexing issues of our time - the relation between the "real" past and our finest imaginative renderings of it. Their essays are followed in most instances by a response from the novelist. But how accurately do these masterpieces of the imagination reflect the past? In "Novel History, " twenty accomplished historians consider this question in relation to some of our most important historical novels. Their labors have brought forth many literary treasures. Yet great novelists have often disregarded this logical difficulty, taking up the tools of the historian to explore the shadowy recesses of the past. History is what happened fiction, what did not.
Historical fiction is a contradiction in terms.
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