V masters to be a bit honest. The historical novel is a solid literary genre that has always been fashionable. To say that something has always been fashion is one of those linguistic paradoxes, such as the ancient Greeks, is like stating that Linares are always liars. I mean if something has always been fashionable, it has never been fashionable, by definition. Neither can be a bit honest, neither gets to relive the past. Or re-live, or relive.
Looking past is also a relative. As we know, time passes, and every novel then becomes historical, that is, to treat a past tense. Except for a few science fiction novels, we do not know if they will ever be historical. But I think I'm going through the branches of history. So what is a historical novel ? We can say that it is trying to credibly reflect a bygone era, distant in time. Lacks the definition of definition, as any definition that price, be stated that leaves out many of its components. Obviously, a novel of the Roman Empire is historical, but it is a novel based on the Tejero coup? What a novel based on what happened yesterday?
We are much more complicated life, I think, with this novel. Me I'm complicated, you readers less. For me, a historical novel that describes a historical fact, something really true in the plot, but with a lot of fiction. The National Episodes of Galdós gender paradigm would also consider a master of the genre to Robert Graves, one of my favorite writers in this complicated matter of mixing history and fiction, ie , checked facts and fiction. But to be considered part of history, the facts described are not any, but have sufficient importance to have been included in treaties and scholarly essays.
That said, there are novels that can be considered historical, because they are located in the past, but for me are not at all. The amazing journey of Pomponio Flato is one of them, because it makes the historical issue rather than a setting where the plot, the bulk of the novel, runs more or less success. The are also two novels by Orhan Pamuk , My Name is Red and The White Castle.
Why Pamuk writes these novels of the past? Obviously, this question is a truism. Each author writes what he thinks fit, and that is their prerogative. Pamuk himself, in the aftermath of White Castle, says not knowing what to do, although critics have opined that it is to escape from the problems of Turkish society today. I think not, especially after the publication of Snow . However, for a historical novel seems convincing, the authors often resort to a process of more or less extensive documentation, in order to educate themselves and learn from the daily life of the time, or at least the life that they might take their characters in a past time where society could be established in a different way. Write a historical novel extraliterary requires hard work, access to an extensive bibliographic, and devoting hours to detail. Sometimes this work becomes so engrossing that the work of the novelist, to create a fictional world, overtaken by the historical thoroughness needed to give credibility to the story. No wonder, then, to write historical novels become the specialty of some writers, and others seeking to exploit the time-series novels or sagas that amortize this previous work. Pamuk
choose the Ottoman Empire sixteenth century to put these two novels, but they are really different in content and purpose. White Castle takes the relationship between a slave and his master, which obviously can only have in the past to recreate the literary theme of the double, almost a genre in itself. The situation between the two protagonists, master and servant, seems invested throughout the novel, and the opposition not only covers the nature of the characters, but the two cultures, East and West, they represent. The book, though brief, is extremely dense, is presented in the form of a letter or document found by a regular Pamuk's books. Grazing sometimes metaphysical, Pamuk explores the individuality and human feelings of self and super-ego, an almost psychoanalytic. Imagine the great difficulty of the translator, Rafael Carpintero in Transfer the line of thought of the supposed author of the manuscript into English. Pamuk's third novel was first translated into English and fundamental part of its international recognition. In English appeared in 1994 under the name The Sultan and the astronomer, eliminating the roots the symbolism of the title, which is only revealed at the end of the novel. Thanks to the editors, reprinted in 2001 with a title more in line with the original.
My Name is Red is another masterpiece of Pamuk, and catapulted him Nobel literally. Each chapter is narrated in first person by a different character, which can be as varied as a coin, a painted horse head, or the color red, which the novel takes its title. The story is based on the life of all the illustrators illuminators in the service of the Sultan, Islamic books that illuminate the traditional way. Induces an order sacrilegious murder of a master illustrator, and since the first chapter we know that the criminal must be one of the three most important illustrators of the workshop. The mystery, one of the least interesting of the book resources, serves as the novel plot and is revealed only at the end. But this thread is weak and hardly visible. Throughout of the many pages of the book, we find stories of love, the conception of art of the Muslims, the origin of religious extremism, philosophical, and, of course, the contrast between East and West in the structure of society in general and in this case, in particular art.
multifaceted vision of the facts for different narrators is a tool that Pamuk cleverly used to describe the thinking of Muslims, men and women of sixteenth-century Istanbul, from his conception of religion, life and art. The violence that accompany the book are, in my opinion, a metaphor for current events Turkish society, and banish the idea of \u200b\u200bescape from the reality that this novel might suggest.
Two novels, say historical, but highly original and true, to rejoice in reading. Exploit them.
Looking past is also a relative. As we know, time passes, and every novel then becomes historical, that is, to treat a past tense. Except for a few science fiction novels, we do not know if they will ever be historical. But I think I'm going through the branches of history. So what is a historical novel ? We can say that it is trying to credibly reflect a bygone era, distant in time. Lacks the definition of definition, as any definition that price, be stated that leaves out many of its components. Obviously, a novel of the Roman Empire is historical, but it is a novel based on the Tejero coup? What a novel based on what happened yesterday?
We are much more complicated life, I think, with this novel. Me I'm complicated, you readers less. For me, a historical novel that describes a historical fact, something really true in the plot, but with a lot of fiction. The National Episodes of Galdós gender paradigm would also consider a master of the genre to Robert Graves, one of my favorite writers in this complicated matter of mixing history and fiction, ie , checked facts and fiction. But to be considered part of history, the facts described are not any, but have sufficient importance to have been included in treaties and scholarly essays.
That said, there are novels that can be considered historical, because they are located in the past, but for me are not at all. The amazing journey of Pomponio Flato is one of them, because it makes the historical issue rather than a setting where the plot, the bulk of the novel, runs more or less success. The are also two novels by Orhan Pamuk , My Name is Red and The White Castle.
Why Pamuk writes these novels of the past? Obviously, this question is a truism. Each author writes what he thinks fit, and that is their prerogative. Pamuk himself, in the aftermath of White Castle, says not knowing what to do, although critics have opined that it is to escape from the problems of Turkish society today. I think not, especially after the publication of Snow . However, for a historical novel seems convincing, the authors often resort to a process of more or less extensive documentation, in order to educate themselves and learn from the daily life of the time, or at least the life that they might take their characters in a past time where society could be established in a different way. Write a historical novel extraliterary requires hard work, access to an extensive bibliographic, and devoting hours to detail. Sometimes this work becomes so engrossing that the work of the novelist, to create a fictional world, overtaken by the historical thoroughness needed to give credibility to the story. No wonder, then, to write historical novels become the specialty of some writers, and others seeking to exploit the time-series novels or sagas that amortize this previous work. Pamuk
choose the Ottoman Empire sixteenth century to put these two novels, but they are really different in content and purpose. White Castle takes the relationship between a slave and his master, which obviously can only have in the past to recreate the literary theme of the double, almost a genre in itself. The situation between the two protagonists, master and servant, seems invested throughout the novel, and the opposition not only covers the nature of the characters, but the two cultures, East and West, they represent. The book, though brief, is extremely dense, is presented in the form of a letter or document found by a regular Pamuk's books. Grazing sometimes metaphysical, Pamuk explores the individuality and human feelings of self and super-ego, an almost psychoanalytic. Imagine the great difficulty of the translator, Rafael Carpintero in Transfer the line of thought of the supposed author of the manuscript into English. Pamuk's third novel was first translated into English and fundamental part of its international recognition. In English appeared in 1994 under the name The Sultan and the astronomer, eliminating the roots the symbolism of the title, which is only revealed at the end of the novel. Thanks to the editors, reprinted in 2001 with a title more in line with the original.
My Name is Red is another masterpiece of Pamuk, and catapulted him Nobel literally. Each chapter is narrated in first person by a different character, which can be as varied as a coin, a painted horse head, or the color red, which the novel takes its title. The story is based on the life of all the illustrators illuminators in the service of the Sultan, Islamic books that illuminate the traditional way. Induces an order sacrilegious murder of a master illustrator, and since the first chapter we know that the criminal must be one of the three most important illustrators of the workshop. The mystery, one of the least interesting of the book resources, serves as the novel plot and is revealed only at the end. But this thread is weak and hardly visible. Throughout of the many pages of the book, we find stories of love, the conception of art of the Muslims, the origin of religious extremism, philosophical, and, of course, the contrast between East and West in the structure of society in general and in this case, in particular art.
multifaceted vision of the facts for different narrators is a tool that Pamuk cleverly used to describe the thinking of Muslims, men and women of sixteenth-century Istanbul, from his conception of religion, life and art. The violence that accompany the book are, in my opinion, a metaphor for current events Turkish society, and banish the idea of \u200b\u200bescape from the reality that this novel might suggest.
Two novels, say historical, but highly original and true, to rejoice in reading. Exploit them.
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