Counterfactual Historical Fiction and Possible Worlds Theory
Total Page：16
File Type：pdf, Size：1020Kb
Alternative realities: Counterfactual historical fiction and possible worlds theory RAGHUNATH, Riyukta Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19154/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version RAGHUNATH, Riyukta (2017). Alternative realities: Counterfactual historical fiction and possible worlds theory. Doctoral, Sheffield Hallam University. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Alternative Realities: Counterfactual Historical Fiction and Possible Worlds Theory Riyukta Raghunath A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy September 2017 Abstract The primary aim of my thesis is to offer a cognitive-narratological methodology with which to analyse counterfactual historical fiction. Counterfactual historical fiction is a genre that creates fictional worlds whose histories run contrary to the history of the actual world. I argue that Possible Worlds Theory is a suitable methodology with which to analyse this type of fiction because it is an ontologically centred theory that can be used to divide the worlds of a text into its various ontological domains and also explain their relation to the actual world. Ryan (1991) offers the most appropriate Possible Worlds framework with which to analyse any fiction. However, in its current form the theory does not sufficiently address the role of readers in its analysis of fiction. Given the close relationship between the actual world and the counterfactual world created by counterfactual historical fiction, I argue that a model to analyse such texts must go beyond categorising the worlds of texts by also theorising what readers do when they read this type of fiction. For this purpose, in my thesis I refine Ryan's Possible Worlds framework so that it can be used to more effectively analyse counterfactual historical fiction. In particular, I introduce an ontological domain which I am calling RK-worlds or reader knowledge worlds to label the domain that readers use to apprehend the counterfactual world presented by the text. I also offer two cognitive concepts – ontolological superimposition and reciprocal feedback – that support a Possible Worlds analysis of counterfactual historical fiction and model how readers process such fiction. In addition, I redefine counterpart theory, transworld identity, and essential properties to appropriately theorise the way readers make the epistemological link between a character and their corresponding actual world individual. The result is a fully fleshed out Possible Worlds model that addresses the reader's role by focusing on how they cognitively interact with the worlds built by counterfactual historical fiction. Finally, to demonstrate my model's dexterity, I apply it to three texts – Robert Harris' Fatherland (1992), Sarban's The Sound of his Horn (1952), and Stephen Fry's Making History (1996). I conclude that the Possible Worlds model that I have developed is rigorous and can be replicated to analyse all fiction in general and counterfactual historical fiction in particular. i "History, despite its wrenching pain, cannot be unlived, but if faced with courage, need not be lived again" Maya Angelou, On the Pulse of Morning ii For Mumma and Raghuacha, For everything. For Shrav, For never telling me my odds. iii Acknowledgements This doctoral thesis marks the end of one big chapter of my life. Writing this thesis has been one of my most significant academic challenges. I am ever so thankful to my Director of Studies, Dr Alice Bell for her unfailing and unselfish support right from the initial stages of writing the research proposal. The encouragement, direction, and knowledge that she has offered me have been invaluable. She has always been patient with me, especially in answering several of my naive and unintelligible questions. To her, I owe my deepest gratitude. I am equally grateful to my Supervisor, Prof Steven Earnshaw for his continuous support, guidance and encouragement. I am especially thankful to them for their detailed feedback on earlier drafts of this work. I could not have asked for a better supervisory team. I would like to thank the rest of my thesis committee: Dr David Peplow and Dr Keith Green for their insightful comments and encouragement. My sincere gratitude goes to Sheffield Hallam University for providing me with the platform and resources to pursue my PhD. I would also like to thank the English department at SHU for giving me the opportunity to teach and also for welcoming me into the department. I would like to express gratitude to the Digital Capability team at SHU for being a massive support throughout this journey. Huge thanks are also due to Dr Richard Steadman-Jones and Dr Joanna Gavins for guiding me through my Masters' degree that has inadvertently led to this thesis. I cannot thank my father enough for introducing me to the genre of counterfactual historical fiction and my mother for putting up with all the emotional ups and downs. My parents have given me their unequivocal support throughout, as always, for which my mere expression of thanks will not suffice. This milestone is for them. To my friends and relatives, who in one way or the other that shared their support either emotionally or financially – thank you. To Sushanth and Suren, thanks for being a constant support and a wonderful distraction. To Emma, for showing me I wasn't alone on this journey. This experience would not have been the same without her. My once in a lifetime person, my pillar of strength – Niki – I owe her a debt of gratitude for the important role that she plays in my life. Shravan requires a special mention for not only tolerating but also tirelessly participating in all my conversations about possible worlds. Thank you for being my home away from home (even literally for very willingly putting a roof over my head during my frequent trips to the British Library). My counterparts from all other possible worlds thank him too. iv Table of Contents Abstract ............................................................................................................................................ i Acknowledgements ................................................................................................................... iv List of Figures ............................................................................................................................. viii List of Tables ................................................................................................................................. x Candidate's Statement ............................................................................................................. xi Chapter 1: Introduction - Counterfactual Historical Fiction, Existing Scholarship, and Thesis Outline ...................................................................................................................... 1 1.1 Introduction ....................................................................................................................... 1 1.2 An Overview of Counterfactuals and the Concept of Counterfactual Thinking ...................................................................................................................................... 2 1.3 Counterfactual Writing – The Genre of Counterfactual Historical Fiction ... 7 1.3.1 Counterfactual World War II Fictions ............................................................ 16 1.4 Existing Research on Counterfactual Historical Fiction: from Formal Typologies to the Importance of Readers ................................................................... 20 1.5 Outline of This Thesis .................................................................................................. 35 Chapter 2: Methodology: Possible Worlds Theory – From Philosophical Logic to Literary Studies .......................................................................................................................... 42 2. Introduction ....................................................................................................................... 42 2.1 The 'World' Terminology ............................................................................................ 43 2.2 The Philosophical Origins of Possible Worlds Theory ..................................... 47 2.3 The Ontological Debate on Possible Worlds ...................................................... 53 2.3.1 Possible Worlds as Concrete Entities – Modal Realism .......................... 55 2.3.2 Possible Worlds as Abstract Entities – Moderate Realism ..................... 57 2.3.3 A Third School of Thought – Anti-Realism .................................................. 60 2.4 An Overview of the Literary Applications of Possible Worlds Theory ....... 62 2.5 A Special Possible World – The Autonomous Status of Fictional Worlds 67 2.6 Ontological Configurations of the Actual and Fictional Universe ............... 71 2.7 Ryan's (1991) Possible Worlds Model ................................................................... 75 2.7.1 Fictional Recentering ........................................................................................... 88 2.7.2 Principle of Minimal Departure ......................................................................