For the first modality it cites, as example, Alan Poe in the police romance. When deep using as plain of distant cities of the American reader (London, Paris), Poe makes with that the reader, for not being expert of these places, arrests its attention much more in the ficcionais aspects of the plot, in the logical and intellectual development them personages, of what in the realistic details. This same strategy, believes Of Decca, also was used in the name of Rose, for Umberto Echo. When getting loose itself, therefore, of the realistic elements, the reading one passes all its attention to the logical, intellectual and ficcional development of the tram. With this, the present historiogrfica base in the narrative, in contrast to functioning as truth criterion, functions as ficcional base. Thus, the sort police romance must be judged as such and not as a historical romance.
Being thus, the fact of a romance to be ambientado at passed historical times does not indicate realistic pretensions. One another one of these modalities is the romances that they intend to be certifications of its proper time, as the social romances difficult Times, of Dickens, and Mysteries of Paris, Eugne Sue. Workmanships are that if intend descriptions when denouncing the hard realities lived for vast sectors of the society, looking for to alert privileged social sectors for the social injustices. They make the history of the present time filling a gap left for the historical research, constructing enredos of social citizens which history not yet gave attention. Also they anticipate significant changes that will occur much later in history. According to De Decca, the attention of current historians Par