{"title":"The Historical Novel in Nineteenth-Century Europe: Representations of Reality in History and Fiction","authors":"David Buchanan","doi":"10.5860/choice.50-1304","DOIUrl":null,"url":null,"abstract":"Brian R. Hamnett, The Historical Novel in Nineteenth-Century Europe: Representations of Reality in History and Fiction (Oxford University Press, 2011)This book revisits Gyorgy Lukacs's The Historical Novel (1937) by considering the historical novel of nineteenth-century Britain, France, and Italy, emphasising key authors such as Walter Scott, Honore de Balzac, and Alessandro Manzoni, and by discussing development of the historical novel in relation to drama early in the century and realism later. It also extends Lukacs's seminal work by discussing the historical novel of nineteenth-century Spain, Germany, and Russia, and the historical novel as it continued and changed into the Modernist period and throughout the twentieth century. The stated aims of the work are to set 'historical fiction in relation to the development of historiography in general' (1); 'to restate the case for historical fiction as a major branch of literary fiction' (2); and to challenge 'the disciplinary compartmentalizing of literature and history, and the containment of both disciplines into particular national straight-jackets' (2). The subject of this wide-ranging work is genre specific and comparatist, interdisciplinary and transnational, with potentially significant theoretical and practical implications for pedagogy and research of the novel, historiography, and history.Part one, 'The historical novel as genre and problem,' begins with an exploration of the categories 'history,' 'narrative,' 'the novel,' and 'romance.' Such categorisation could provide the basis to better understand the genesis and development of the nineteenth-century historical novel. However, the terms remain vague, along with others such as 'Romanticism.' More particularly, in a work that aims to examine the relationship between historical fiction and historiography, with initial emphasis on the Romantic period in Britain, the inclusion of histories (e.g. Hume's History of England [1754-61]), antiquarianism (e.g. by Percy, Ritson), narrative poetry (e.g. by Scott), national tales (e.g. by Edgeworth, Owenson), dramatisation (i.e. historical and otherwise), and other forms, upmarket and downmarket, would add to the discussion. In the following two chapters, important issues and topics common to criticism of the historical novel are addressed: chapter two, 'History and fiction: the trials of separation and reunion,' reconsiders the 'how much history and how much fiction?' question; chapter three, 'The German Sturm und Drang, historical drama, and early romantic fiction,' builds upon Lukacs.1 In chapter four, 'Scottish flowering: turbulence or Enlightenment?,' Hamnett justly locates Scott as a central figure in the development of the historical novel, but given the transnational connections pursued in later chapters it would be useful to more thoroughly relate the immediate and extended impact of the Waverley novels on the novel, publishing, criticism, and reading beyond Britain.2 Of more concern, to describe Waverley (1814) as a novel of 'self-doubt' (80) and 'indignation' (80) or 'political intrigue and disguised identities' (81) as 'the life-blood of Scott's fiction' (81) seems a return to early-twentieth-century notions of Scott as a pure romancer or a genius with costumes and scenery. Similar issues occur in chapter five, 'Romanticism and the historical novel.' For example, Hamnett states, 'The historical novel, with its emphasis on wild scenery and rebels, was ripe for further development by the Romantics' (103). While Hamnett focuses primarily on the nineteenth century, describing the early history of the historical novel in this way disregards the complex historical, political, and sociological portrayals of society in novels during the fifty (or more) years before Scott (e.g. by Reeve, Lee, Porter). 3 Further, the suggestion that the historical novel was developed by the 'Romantics,' a term that does not adequately describe Scott and other historical novelists of the period, may be questioned. …","PeriodicalId":135762,"journal":{"name":"Transnational Literature","volume":"73 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2012-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Transnational Literature","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5860/choice.50-1304","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Brian R. Hamnett, The Historical Novel in Nineteenth-Century Europe: Representations of Reality in History and Fiction (Oxford University Press, 2011)This book revisits Gyorgy Lukacs's The Historical Novel (1937) by considering the historical novel of nineteenth-century Britain, France, and Italy, emphasising key authors such as Walter Scott, Honore de Balzac, and Alessandro Manzoni, and by discussing development of the historical novel in relation to drama early in the century and realism later. It also extends Lukacs's seminal work by discussing the historical novel of nineteenth-century Spain, Germany, and Russia, and the historical novel as it continued and changed into the Modernist period and throughout the twentieth century. The stated aims of the work are to set 'historical fiction in relation to the development of historiography in general' (1); 'to restate the case for historical fiction as a major branch of literary fiction' (2); and to challenge 'the disciplinary compartmentalizing of literature and history, and the containment of both disciplines into particular national straight-jackets' (2). The subject of this wide-ranging work is genre specific and comparatist, interdisciplinary and transnational, with potentially significant theoretical and practical implications for pedagogy and research of the novel, historiography, and history.Part one, 'The historical novel as genre and problem,' begins with an exploration of the categories 'history,' 'narrative,' 'the novel,' and 'romance.' Such categorisation could provide the basis to better understand the genesis and development of the nineteenth-century historical novel. However, the terms remain vague, along with others such as 'Romanticism.' More particularly, in a work that aims to examine the relationship between historical fiction and historiography, with initial emphasis on the Romantic period in Britain, the inclusion of histories (e.g. Hume's History of England [1754-61]), antiquarianism (e.g. by Percy, Ritson), narrative poetry (e.g. by Scott), national tales (e.g. by Edgeworth, Owenson), dramatisation (i.e. historical and otherwise), and other forms, upmarket and downmarket, would add to the discussion. In the following two chapters, important issues and topics common to criticism of the historical novel are addressed: chapter two, 'History and fiction: the trials of separation and reunion,' reconsiders the 'how much history and how much fiction?' question; chapter three, 'The German Sturm und Drang, historical drama, and early romantic fiction,' builds upon Lukacs.1 In chapter four, 'Scottish flowering: turbulence or Enlightenment?,' Hamnett justly locates Scott as a central figure in the development of the historical novel, but given the transnational connections pursued in later chapters it would be useful to more thoroughly relate the immediate and extended impact of the Waverley novels on the novel, publishing, criticism, and reading beyond Britain.2 Of more concern, to describe Waverley (1814) as a novel of 'self-doubt' (80) and 'indignation' (80) or 'political intrigue and disguised identities' (81) as 'the life-blood of Scott's fiction' (81) seems a return to early-twentieth-century notions of Scott as a pure romancer or a genius with costumes and scenery. Similar issues occur in chapter five, 'Romanticism and the historical novel.' For example, Hamnett states, 'The historical novel, with its emphasis on wild scenery and rebels, was ripe for further development by the Romantics' (103). While Hamnett focuses primarily on the nineteenth century, describing the early history of the historical novel in this way disregards the complex historical, political, and sociological portrayals of society in novels during the fifty (or more) years before Scott (e.g. by Reeve, Lee, Porter). 3 Further, the suggestion that the historical novel was developed by the 'Romantics,' a term that does not adequately describe Scott and other historical novelists of the period, may be questioned. …
Brian R. Hamnett, 19世纪欧洲的历史小说这本书通过考虑19世纪英国、法国和意大利的历史小说,重新审视了乔治·卢卡奇的《历史小说》(1937年),强调了沃尔特·斯科特、奥诺雷·德·巴尔扎克和亚历山德罗·曼佐尼等主要作者,并讨论了历史小说在20世纪早期与戏剧和后来的现实主义之间的发展。它还扩展了卢卡奇的开创性工作,讨论了19世纪西班牙,德国和俄罗斯的历史小说,以及历史小说在现代主义时期和整个20世纪的延续和变化。这项工作的既定目标是将“历史小说与史学的发展联系起来”(1);“重申历史小说是文学小说的一个主要分支”(2);并挑战“文学和历史的学科划分,以及这两门学科被限制在特定的民族紧张衫中”(2)。这项广泛的工作的主题是特定的体裁和比较主义,跨学科和跨国的,对小说、史学和历史的教育学和研究具有潜在的重要理论和实践意义。第一部分,“作为类型和问题的历史小说”,从探索“历史”、“叙事”、“小说”和“浪漫”这几个类别开始。这样的分类可以为更好地理解19世纪历史小说的起源和发展提供基础。然而,与“浪漫主义”等其他术语一样,这些术语仍然很模糊。更具体地说,在一部旨在研究历史小说和史学之间关系的作品中,最初的重点是英国的浪漫主义时期,包括历史(例如休谟的《英格兰史》[1754-61]),古物研究(例如珀西,里特森),叙述者诗歌(例如斯科特),民族故事(例如埃奇沃斯,欧文森),戏剧(即历史或其他),以及其他形式,高端和低端,将增加讨论。在接下来的两章中,讨论了历史小说批评中常见的重要问题和主题:第二章,“历史与小说:分离与团聚的考验”,重新考虑了“有多少历史和多少小说?”的问题;第三章,“德国风暴和Drang,历史剧和早期浪漫小说”,以卢卡奇为基础。1在第四章,“苏格兰的开花:动荡还是启蒙?”,哈姆内特公正地将斯科特定位为历史小说发展的中心人物,但考虑到后面章节所追求的跨国联系,更彻底地将韦弗利小说对英国以外的小说、出版、评论和阅读的直接和广泛影响联系起来将是有用的。将《韦弗利》(1814)描述为一部充满“自我怀疑”(1980)和“愤怒”(1980)的小说,或将“政治阴谋和伪装的身份”(1981)描述为“斯科特小说的生命之源”(81),似乎是对20世纪早期斯科特作为纯粹的浪漫主义者或服装和布景天才观念的回归。类似的问题出现在第五章“浪漫主义与历史小说”中。例如,哈姆内特说,“历史小说,其重点是狂野的风景和叛乱,是成熟的进一步发展的浪漫主义”(103)。哈姆内特主要关注19世纪,以这种方式描述历史小说的早期历史,忽略了在斯科特之前的50年(或更久)的小说中对社会的复杂的历史、政治和社会学描绘(例如里夫、李、波特的作品)。此外,历史小说是由“浪漫主义者”发展起来的说法可能会受到质疑,“浪漫主义者”一词并不能充分描述斯科特和那个时期的其他历史小说家。...