Among their topics are collaborative manuscript production and the case of Reykjab k: paleographical and multi-spectral analysis, Sveinsb k: a reexamination of a fragment of Njal's saga, the
historical present tense in the earliest textual transmission of Njal's saga: an example of synchronic linguistic variation in the 14th-century Icelandic Njal's saga manuscripts, the post-medieval production and dissemination of Njal's saga manuscripts, and creating in color: illustrations of Njal's saga in a 19th-century Icelandic paper manuscript.
Many novels these days, in a bid for immediacy, feel pushed up incredibly close against the author's personal reality, as in autofiction, or against the
historical present, as in Olivia Laing's zinging debut novel Crudo, written during -- and very much about _ the news events of last summer.
In Jewish Arbel the particle la in the present progressive tense la-qatil can equally mark prominence and have
historical present functions.
Temporal drag constitutes an affective glue that does not tie subjects within a shared
historical present together into a contemporaneous community so much as it stakes a certain generative yet 'impossible' longing upon a relationship between a present historical subject and a past historical moment ...
To conclude, both the "historical past" with its practical-as-moral dimension and the "
historical present" with its critical attitude, even when they show relationships with living experiences, make experiences the discovering of two different worlds.
One of the great features of Gourley's work is how he effectively utilizes
historical present tense to put his readers into the time period.
I have myself experienced the scholarship and friendship of Ianziti, having had many fruitful discussions with him concerning the origins of modern historiographical patterns (on which now see the challenging observations of Walter Kudrycz, in his The
Historical Present, Medievalism and Modernity, 2011).
While the ostensible premise of sci-fi rests on some imagined future, its "deepest subject may in fact be our own
historical present," displaced by our inability to come to terms with it, as Fredric Jameson has written.
Berlant trains her critical eye on both the
historical present and the ordinary.
While such re-negotiations continue to provide counter-hegemonic inspiration, the essays in Living Fanon maintain that we can only refine our understanding by paying much closer attention to the peculiarities of geo-political, economic, ideological, and cultural contexts, both in relation to the period from which the original texts emerge and in terms of the peculiar dynamics of the
historical present.