BEGIN:VCALENDAR VERSION:2.0 PRODID:cau.ub.fid.cal CALSCALE:GREGORIAN NAME:vifanord (Historical Fictions Research Network (HFRN) Conference 2024) URL:https://service.vifanord.de/cal/event.xhtml?eventPid=q8odAtXPQxXvxopK SOURCE;VALUE=URI:https://service.vifanord.de/cal/ics/event.ics?eventPid=q8o dAtXPQxXvxopK REFRESH-INTERVAL;VALUE=DURATION:P1D X-WR-CALNAME:vifanord (Historical Fictions Research Network (HFRN) Conferen ce 2024) X-PUBLISHED-TTL:P1D BEGIN:VEVENT UID:q8odAtXPQxXvxopK@cau.ub.fid.cal DTSTAMP:20230411T084712Z SUMMARY:Historical Fictions Research Network (HFRN) Conference 2024 LOCATION:Malmö\, Sweden DESCRIPTION:Title: Historical Fictions Research Network (HFRN) Conference 2 024\nLocation: Malmö\, Sweden\nOrganizer: Historical Fictions Research Net work\nWebsite: https://historicalfictionsresearch.org/hfrn-conference-2024 /\nFirst day: 2024-02-23\nLast day: 2024-02-24\nCategories: Literary Studi es\, Cultural History\, History / Archeology\n\nWhat happens when well-kno wn historical narratives are adapted for present-day audiences\, or are tr ansformed into another genre or medium? Historical fictions induce questio ns about mediated heritage and collective memories and problematize proces ses of canonization and appropriations in local as well and global context s (Cartmell\, Hunter and Whelehan 2000). The term “classics” brings up dis cussions on claims about originals and copies\, challenged by the idea of every mediation as one of a kind (Hutcheon 2012). Debates on what constitu tes originals\, models and adaptations raise questions on authenticity\, e ye-catching aspects when dealing with historical fiction. A central issue is how the afterlives and appropriations of historical canon and establish ed narratives in history-writing are transformed into new generations of h istorical fictions.\nThe term adaptation refers to how art work move from one medium to another. But as Linda Hutcheon states in A Theory of Adaptat ion\, the phenomenon involves more than the journey from novel to film or film to video game or novel to filmscript and explains its complexity as “ an acknowledged transposition of a recognizable other work or works\; A cr eative and an interpretive act of appropriation/salvaging\; An extended in tertextual engagement with the adapted work. Therefore\, an adaptation is a derivation that is not derivative — a work that is second without being secondary. It is its own palimpsestic thing.” (p. 9)\nThus the combination of adaptation and historical fictions sheds light on epistemological and cultural aspects on form and content\, aesthetics and embodiment\, values and ethics\, authenticity and credibility\, traditions and re-thinking and a variety of uses of the past in fiction. The perspectives of adaptation furthermore explore historical fictions as transformative contents in tran smedial storytelling\, mediated in old as well as new media\, exploring ho w processes of adaptations and media form the content\, including how stor y worlds and franchises are created. (Thomas 2022\; Harvey 2015) Yet anoth er angle is how adaptations invite users to interact in transcultural enco unters such as fan culture in gaming and social media.\nPapers are invited on topics related\, but not limited\, to:\n- The past in fictional adapta tions\n- Heritage\, adaptation and historical fiction\n- Historical fictio n and cultural legacy\n- Intermedial storyworlds and historical fiction\n- Adapting non-fiction to fiction\n- Renewals and traditions in historical fiction\n- Popular and ‘classic’ adaptations\n- Authenticity\, adaptation and historical fiction\n- Adaptations between genres\n- Franchises\, adapt ation and historical fictions\n- Epistemological aspects on historical fic tions and adaptations\n- Adaptation\, historical fiction and pedagogics X-ALT-DESC;FMTTYPE=text/html:
Title:< /td>Historical Fictions Research Network (HFRN) Conference 2024
Location:Malmö\;\, Sweden
Organizer:< /small>Historical Fictions Research Network
Website:https://historical fictionsresearch.org/hfrn-conference-2024/
First day:2024-02-23
Last day:2024-02-24
Categories:Li terary Studies\, Cultural History\, History&thinsp\;/&thinsp\;Archeology

What happens when well-known historical nar ratives are adapted for present-day audiences\, or are transformed into an other genre or medium? Historical fictions induce questions about mediated heritage and collective memories and problematize processes of canonizati on and appropriations in local as well and global contexts (Cartmell\, Hun ter and Whelehan 2000). The term “classics” brings up discussions on claim s about originals and copies\, challenged by the idea of every mediation a s one of a kind (Hutcheon 2012). Debates on what constitutes originals\, m odels and adaptations raise questions on authenticity\, eye-catching aspec ts when dealing with historical fiction. A central issue is how the afterl ives and appropriations of historical canon and established narratives in history-writing are transformed into new generations of historical fiction s.

\n

The term adaptation refers to how art work move from one medium to another. But as Linda Hutcheon states in A Theory of Adaptation\, the phenomenon involves more than the journey from novel to film or film to vi deo game or novel to filmscript and explains its complexity as “an acknowl edged transposition of a recognizable other work or works\; A creative and an interpretive act of appropriation/salvaging\; An extended intertextual engagement with the adapted work. Therefore\, an adaptation is a derivati on that is not derivative — a work that is second without being secondary. It is its own palimpsestic thing.” (p. 9)

\n

Thus the combination of adaptation and historical fictions sheds light on epistemological and cul tural aspects on form and content\, aesthetics and embodiment\, values and ethics\, authenticity and credibility\, traditions and re-thinking and a variety of uses of the past in fiction. The perspectives of adaptation fur thermore explore historical fictions as transformative contents in transme dial storytelling\, mediated in old as well as new media\, exploring how p rocesses of adaptations and media form the content\, including how story w orlds and franchises are created. (Thomas 2022\; Harvey 2015) Yet another angle is how adaptations invite users to interact in transcultural encount ers such as fan culture in gaming and social media.

\n

Papers are inv ited on topics related\, but not limited\, to:

\n\n DTSTART;VALUE=DATE:20240223 DTEND;VALUE=DATE:20240225 CATEGORIES:History / Archeology, Literary Studies, Cultural History URL:https://service.vifanord.de/cal/event.xhtml?eventPid=q8odAtXPQxXvxopK STATUS:CONFIRMED END:VEVENT BEGIN:X-FID END:X-FID END:VCALENDAR