14. История Великобритании в творчестве Дж.Барнса, п.Акройда.

Julian Patrick Barnes (born 19 January 1946) is a contemporary English writer. Barnes won the Man Booker Prize for his book The Sense of an Ending (2011), and three of his earlier books had been shortlisted for the Booker Prize: Flaubert's Parrot (1984), England, England (1998), and Arthur & George (2005). He has also written crime fiction under the pseudonym Dan Kavanagh (his late wife's surname), though has published nothing under that name for more than twenty-five years. In addition to novels, Barnes has published collections of essays and short stories. He was selected as the recipient of the ^[2] 2011 David Cohen Prize for Literature.

England, England is a satirical, postmodern novel by Julian Barnes, published and shortlisted for the Booker Prize in 1998. While researchers have also pointed out the novel's characteristic dystopian and farcical elements,^[2] Barnes himself described the novel as a 'semi-farce'.^[3]

England, England broaches the idea of replicating England in a theme park on the Isle of Wight. It calls into question ideas of national identity,invented traditions, the creations of myths and the authenticity of history and memory.^[4] The novel thereby relates to Baudrillard's concept of simulacra and negotiates the meaning of replicas in a postmodern age.

Peter Ackroyd  (born 5 October 1949) is an English biographer, novelist, and critic with a particular interest in the history and culture of London. For his novels about English history and culture and his biographies of, among others, Charles Dickens, T. S. Eliot and Sir Thomas More he won the Somerset Maugham Award and two Whitbread Awards. He is noted for the volume of work he has produced, the range of styles therein, his skill at assuming different voices and the depth of his research. 

Major Works

Most of Ackroyd's prodigious body of work resides in the realm of historiographic metafiction—an experimental, postmodern technique that blurs distinctions between imagination and historical fact. In particular, Ackroyd's prose explores the convergence of past and present time, and human lives associated with a place—generally London—through successive centuries. In The Great Fire of London (1982) Ackroyd began the practice of merging fact and imagination and traversing time through characters and plot. A skilled mimic, Ackroyd identifies strongly with various literary figures. This is especially evident in The Last Testament of Oscar Wilde, a novel purporting to be Wilde's autobiographical account of the last months of his life in exile in Paris. Ackroyd captures Wilde's voice, wit, and persona, offering insight into the author's psyche. 

Ackroyd's Chatterton posits that Thomas Chatterton, the famed eighteenth-century faker of medieval texts, did not commit suicide at age seventeen; rather he fabricated his own death and survived to continue his fraudulent production of antique manuscripts. Ackroyd plays with the ideas of fraud and plagiarism, littering the plot with deceptions at every turn. In the course of the narration, Ackroyd exploits opportunities to examine themes important to him: the cyclical nature of history, the cross-genre aesthetic, and real and imagined people who both transform and are connected through time.

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