First Fiction Book

The first fiction book

Each of the following literary works was the first novel to be claimed in English. That I loved this book only confirms my literary nerd status. The author may not have published a short game book at the time of the entry, although novels are in order. The first prize for novels goes to the best debut novel of the year. Editors of fiction and non-fiction books dealing with the pleasant understanding of different cultures.

Which was the first novel?

Maybe this is just a badly formulated issue, or maybe it is too hard to answer the issue with the right nuances. To those of you who have progressed from Genji to Europeans since Chaucer, the answer might be better than "the early novel".

Up to now, the name of the oldest song still belonged to the Gilgamesh epic. It is probably much older than Homer (which probably originates from the tenth c. B.C.).

It is quite possible that one day something from China or India will turn up that is even older - archaeologists say that these areas have a great deal of pent-up demand - but in the meantime it is still Gilgamesh. It is particularly interesting to notice that some Gilgamesh topics and figures in the Old Testament are reused a thousand years later (which is very unpleasant for the Bible literary scholar).

The Finnish scientist Simo Parpola has a captivating book on the topic for all interested parties. As it was new, Gilgamesh may have been correlating with our own nostalgic fiction about nostalgic heroic history and mediaeval monarchs - a royal historian of the same name secretly looks us behind the veils of old writings that were almost five thousand years old when the old Sumerians laid the foundation for civilization in the West.

Wasn' no wonder they'd give us our first novel.

Origins of Fiction

Nowadays we are well conscious that detective fiction and other fiction are all about fantasy. But if these ledgers had been released in the Middle Ages, their writers would have thought that the Harry, Holmes and Watson story was about them. Recent research shows how our forefathers came up with the notion of telling great histories in a book.

"During the Middle Ages, literature was considered solemn and binding. According to Professor Mortensen of the Institute of Social and Cultural Anthropology at the University of Southern Denmark, "People thought that everything that was said in a book had to be truth. Mortensen and his colleagues' preparatory work has been released in the book Medieval Narratives between History and Fiction.

Until the High Middle Ages in the twelfth century, the works were very earnest. Ordinary people only ever saw a book in the temple where the Bible was reading for the preacher. For this reason, the spelled words were generally associated with the earth. Perceptions of textbooks were no different among the scholarly friars who were studying textbooks on scholarship and philosophies in the great medieval cloisters.

Rectarians had been reading the book for hundreds of years from generations to generations, and this means that they were given a particular authorization. At the end of the twelfth and eighteenth decades, the practical relation to religion began to slowly alter - and has changed ever since.

The fiction is separated from the non-fiction in the museum book. During the Middle Ages, literature was considered to be exclusively and binding. It was automatic that everything that was in a book had to be real. On the other side, if we go into fiction and record a book from the "Lord of the Rings" serie, we get a completely different perspective on the subject.

If we are fiction, we are expecting to be amused by a good tale, and therefore we are accepting that the novel we are writing differs from the fact that it is acceptable. The reason for this is a silent arrangement between the writer and the readers - a kind of hidden covenant. "A fiction can only be understood as something if an'invisible contract' was previously concluded between the writer and readership.

An agreement that says: "This is only appearance," says Mortensen. The" unseen contract" between authors and their readership first came into being in the Middle Ages. It shows that the treaty was concluded over several hundred years. Medieval and ancient believers did not have the feeling that the Bible gave them all the responses they were looking for.

This great book provides much information about the lives of Jesus, but there are also loopholes in the description, e.g. when the Son of God comes back to earth after his dying and remains there for almost 40 years. Anything can only be understood as fiction if an'invisible contract' was previously concluded between the writer and readership.

An agreement that says: "This is only an illusory world". Not the only book to have received creative transformations and additions. An example of this is the Danish mediaeval story, Saxo Grammaticus, around 1200. Saxo's book was full of fictitious stories that were supposed to establish the connection between a series of myths that were transmitted through time.

He and his collegues have gained their knowledge by studying ancient and medieval literature on religion, philosophy, science and history. As they read it, they appreciated whether the book had signed a fiction deal with its readers: did the book suggest an implicit understanding that it was a fantasy world, or should the readership believe every last one?

As a result, the scientists were able to get together when for the first and for the first reason in Europe there appeared a sign of a silent treaty or a "fiction treaty". Since the" fiction contract" between the reader and writer had not yet come about, however, it was presumed that the description found in the book corresponded to the truth. "We have the feeling that it was actually seen as a historic fact, because there was no clear border between fiction and non-fiction," says Mortensen.

The number of additional histories grew over the years. "In the course of the Middle Ages the additional histories were so often re-written that in the end they found out that they were only great histories and deceptions. As a result, readers began to get used to the fact that literature could also be a way of talking - and that they did not necessarily tell the whole story from front page to front page.

Some or all of the medieval and ancient works are fictitious. The majority of them were storybooks with fictitious features. This is one of the most important results of the new book Medieval Narratives between history and fiction. While the first indications of the beginning of fiction were already apparent in ancient times, no one realized at that point that the "fiction treaty" had not yet been made up.

This first simple work of fiction was composed in the 1170s by the Frenchman Chr├ętien de Troyes. This book, a tale about King Arthur and the Knights of the Round Table, became extremely well known. The noble Parisian nobility in particular liked the fanciful stories they wrote in this language. People were not used to it, as the old Greek or Latin versions of the book were used, which only clergy could do.

It took several hundred years, however, before the "Fiction Treaty" became a fully integral part of the book industry in Europe. Only in the nineteenth-century was it common to subdivide fiction into fiction and non-fiction. Perhaps part of the mediaeval blank belief in the book's authenticity still exists today.

Isn' t it often the case that information acquires more authoritative power when it is typed in a book than when it is shared by a mate?

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