Abstract:In spite of the lagging theoretical interest in historical fiction, the literary production of historical novels continues to be extremely rich among younger representatives of Austrian literature. Till Eulenspiegel by Clemens J. Setz, Das lange Echo by Elena Messner, and rotten by Lydia Haider att est to an ambiguous relation not only to the poetics of postmodern historiographic metafiction (per Linda Hutcheon) but also to its critical reinterpretations. This article analyzes the core features of these works—the self-reflective meta-level of paratexts, the language shaped by deconstructivist impulses, and the skepticism toward historical knowledge—in order to demonstrate to what extent the selected works apply an innovative approach to generic traditions and to what extent they prefer certain canonized forms of historical narrative. Even though a strong claim is made for the revision of the canon in terms of youth literature (Setz), of the elite literary canon (Messner), and the cultural memory of the Holocaust (Haider), the three examples solve these questions in differing ways.

中文翻译：

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“Auch ein Wir kann allein sein”：Gattungskonventionen des historischen Romans neu gedacht bei Elena Messner、Clemens J. Setz 和 Lydia Haider

摘要：尽管对历史小说的理论兴趣滞后，但在奥地利文学的年轻代表中，历史小说的文学作品仍然极为丰富。Clemens J. Setz 的 Till Eulenspiegel、Elena Messner 的 Das lange Echo 和 Lydia Haider 的 rotten 证明了一种模棱两可的关系，不仅与后现代史学元小说（根据琳达·哈钦）的诗学有关，而且与其批判性的重新解释有关。本文分析了这些作品的核心特征——副文本的自我反思元层次、解构主义冲动塑造的语言以及对历史知识的怀疑——以展示所选作品在多大程度上将创新方法应用于泛文本传统以及他们在多大程度上喜欢某些经典的历史叙事形式。