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‘No One Is Forgotten, Nothing Is Forgotten’
Can it be ever possible to write about war in a work of fiction? asks a protagonist of one of Makine’s strongly metafictional and intensely historical novels. Helena Duffy’s World War II in Andreï Makine’s Historiographic Metafiction redirects this question at the Franco-Russian author’s fiction itself by investigating its portrayal of Soviet involvement in the struggle against Hitler. To write back into the history of the Great Fatherland War its unmourned victims — invalids, Jews, POWs, women or starving Leningraders — is the self-acknowledged ambition of a novelist committed to the postmodern empowerment of those hitherto silenced by dominant historiographies. Whether Makine succeeds at giving voice to those whose suffering jarred with the triumphalist narrative of the war concocted by Soviet authorities is the central concern of Duffy’s book.
In: World War II in Andreï Makine’s Historiographic Metafiction
In: World War II in Andreï Makine’s Historiographic Metafiction
In: World War II in Andreï Makine’s Historiographic Metafiction
In: World War II in Andreï Makine’s Historiographic Metafiction
Comic Subversions and Unlaughter in Contemporary Historical Re-Visions
This volume highlights humour’s crucial role in shaping historical re-visions of the long nineteenth century, through modes ranging from subtle irony, camp excess, ribald farce, and aesthetic parody to blackly comic narrative games. It analyses neo-Victorian humour’s politicisation, its ideological functions and ethical implications across varied media, including fiction, drama, film, webcomics, and fashion. Contemporary humour maps the assumed distance between postmodernity and its targeted nineteenth-century referents only to repeatedly collapse the same in a seemingly self-defeating nihilistic project. This collection explores how neo-Victorian humour generates empathy and effective socio-political critique, dispensing symbolic justice, but also risks recycling the past’s invidious ideologies under the politically correct guise of comic debunking, even to the point of negating laughter itself.

"This rich and innovative collection invites us to reflect on the complex and various deployments of humour in neo-Victorian texts, where its consumers may wish at times that they could swallow back the laughter a scene or event provokes. It covers a range of approaches to humour utilised by neo-Victorian writers, dramatists, graphic novelists and filmmakers – including the deliberately and pompously unfunny, the traumatic, the absurd, the ribald, and the frankly distasteful – producing a richly satisfying anthology of innovative readings of ‘canonical’ neo-Victorian texts as well as those which are potential generic outliers. The collection explores what is funny in the neo-Victorian and who we are laughing at – the Victorians, as we like to imagine them, or ourselves, in ways we rarely acknowledge? This is a celebration of the parodic playfulness of a wide range of texts, from fiction to fashion, whilst offering a trenchant critique of the politics of postmodern laughter that will appeal to those working in adaptation studies, gender and queer studies, as well as literary and cultural studies more generally."
- Prof. Imelda Whelehan, University of Tasmania, Australia

I argue that Alan Hollinghurst’s The Line of Beauty (2004) utilises comedy as a corrective to the rampant materialism and aesthetic ugliness of the Thatcher years. In doing so, he follows in the footsteps of Henry James, whose 1897 novel The Spoils of Poynton is an evident model for Hollinghurst’s novel. Hollinghurst seems to take from James his deeply ironic perception of the lives of the upper classes, and his sense of aesthetic value as embedded in economics and politics. Although both novels end tragically, they also deploy comedy as a key element of their exposé of how the social order marginalises certain groups. The Line of Beauty satirises the upper classes for their disregard for the less fortunate and their blind devotion to Prime Minister Thatcher, while also mourning the loss of a generation of gay men to aids and the concomitant cultural impoverishment wrought by a decade of Thatcher.

In: Neo-Victorian Humour