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This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Cole, Richard Title: Fiction and the Historical Frame General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Fiction and the Historical Frame Richard Alan Cole A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts, School of Humanities, Department of Classics and Ancient History June 2019 Word count: 79374 1 Abstract This thesis makes the case for the existence of the ‘historical frame’, defined here as an (in)tangible border around historical materials that shapes their reception. By looking at a case study of historical novels and plays set in the late Roman Empire, it argues for the use of the historical frame as an analytical tool to better understand the complex framing processes in works defined as both ‘historical’ and ‘fictional’. The aim, by looking at the historical frame in fiction, is to offer a new perspective on the development of popular impressions of antiquity by considering how these impressions are stamped, approved, transmitted, appreciated, and inherited. The historical frame is divided here into five interrelated aspects, namely the material, spatial, cultural, cognitive, and imaginative. These aspects are further grouped into two sides or categories that model the reading experience of historical fiction. The public-facing side of the historical frame is what the reader sees, and is produced by the author and publisher. It is made up of the material, spatial, and cultural aspects, which take the form of paratexts, genre, and ideas of history and fiction. The non-public-facing side consists of the reader’s cognitive and imaginative input as they negotiate the public-facing side. Building on theories of framing, paratextuality, reader- response and classical reception, the chapters that follow explore the interface between the two sides of the historical frame. In particular, they consider how this interface triangulates the reception of antiquity by connecting the reader to the past as it can be known and its representation. By investigating the theoretical underpinnings, construction, and dialogical workings of the historical frame, this thesis offers valuable insights into how it embeds not only the historical content of antiquity in the historical imagination, but also various conceptual ways to understand this. 2 Acknowledgements To acknowledge someone in a work of literature involves recognising their importance and especially their help in shaping the final product; it is a way of expressing gratitude and a sense of indebtedness. What you see here would not be possible without those mentioned below. The culmination of this doctorate, after four years of intensive work, along with the writing of these acknowledgements, is very much like the moment before a wedding, when all those who matter have gathered to witness the birth of something new, a future yet to be made. In looking back, I realise what led me here. The second meaning of ‘acknowledge’, therefore, is also in effect, the idea of accepting the truth of something, of confessing what my support network – formed of family, friends, and colleagues – has meant to me, and how it shaped what you see here. My first thanks must go to Melissa Cole, nymph and muse, and the one to whom this thesis is dedicated. Her support, which never once faltered, from application to submission, has been nothing short of miraculous, her companionship the greatest and most necessary boon. Devoting so much time and energy to a project can have a significant impact on loved ones. Melissa, being the most adept person I know at summarising complex situations, said that near the end she became the mistress and the PhD the wife. I have since attempted to reassure her of my fidelity. Thanks are also due to my parents, Martin and Julie Cole, for their unfailing belief in what I set out to achieve. They laid the foundations, and instilled in me a desire to inquire into the nature of things. Special thanks go to my brother, Dr Ross Cole who both inspired and encouraged me to work towards this PhD. Our shared interest in history and culture has led to some of the most stimulating conversations, the fruits of which are self-evident. In a similar vein, I would like to thank my father-in-law, Valentine de Haan, for the many (mostly civil) debates we have had on a range of topics. My mother-in-law, Ginny de Haan, also deserves mention, for her hospitality and calming influences. I have been very fortunate, not just with family, but also with colleagues at the Department of Classics and Ancient History. My alma mater provided the perfect setting in which to complete this doctorate, while its lecturers (the true beating heart of the University) have challenged me to become the academic I am. The mother of all thanks goes to my supervisor, Dr Ellen O’Gorman. She has had to read, comment on, and edit more of my work than anyone should have to, yet she has always done it with exceptional wit, insight, and camaraderie. This thesis is the result of our long discussions, ones that will always stay with me, and which I will sorely miss. Further thanks must go to Dr Laura Jansen for our work together organising postgraduate reading groups on Borges and Calvino, which determined new directions for my research, and Dr Bella Sandwell, who mentored me as I explored my teaching ambitions. This project was only made possible by a University of Bristol Research Scholarship and part-time work for the Department. I therefore wish to pass on my considerable gratitude to Professor Nicoletta Momigliano, who appointed me as Intern for the Institute of Greece, Rome, and the Classical Tradition. The work we did expanded my horizons in ways I am still discovering, while our mutual fascination with literature (both good and bad) has led to many a lively exchange. Other colleagues who I wish to name include Professor Neville Morley, Dr Pantelis Michelakis, Professor Richard Buxton, Dr Shelley Hales, and Dr Genevieve Liveley, all of whom have contributed significantly to the development of my ideas over the years. Doctorates seem to have a life of their own, but there are often moments of serendipity that provide direction. I would like to pass on my thanks to Dr Rhiannon Daniels and Dr Jenny Batt of the Centre for Material Texts, for helping me to organise an interdisciplinary conference on the book. This thesis would be far less ‘paratextual’ without their guiding influence. Equally, I have been fortunate enough to present work at conferences in the UK and abroad. Not only did these expand my network and research opportunities, but they also helped to foment a particular style and approach to my topic. The final acknowledgments, but by no means the least, go to my friends, especially to Andy Hicks and Katie Brown, who helped more than they know, and to my mentors at school, particularly Chris Rees-Bidder, who first encouraged me to purse my interests in the ancient world. Perhaps most of all, the thesis is the result of this lasting influence. 3 For Melissa 4 Author’s declaration I declare that the work in this dissertation was carried out in accordance with the requirements of the University's Regulations and Code of Practice for Research Degree Programmes and that it has not been submitted for any other academic award. Except where indicated by specific reference in the text, the work is the candidate's own work. Work done in collaboration with, or with the assistance of, others, is indicated as such. Any views expressed in the dissertation are those of the author. SIGNED: ............................................................. DATE: .......................... 5 Table of Contents Abstract..................................................................................................................................................2 Acknowledgments..................................................................................................................................3 List of Figures..........................................................................................................................................7 Chapter 1: Theorising the Frame............................................................................................................8

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