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Journal articles on the topic 'Bildungsromans'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Sirković, Nina. "CHARACTERS IN BILDUNGSROMAN: FROM PARADIGM TO PARODY (Junaci Bildungsromana: od paradigme do parodije)." Folia linguistica et litteraria X, no. 28 (December 26, 2019): 73–99. http://dx.doi.org/10.31902/fll.28.2019.5.

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The paper discusses the Bildungsroman as a subgenre of the novel regarding main characters of two German Bildungsromans, Goethe’s Wilhelm Meister from the novel Wilhelm Meister’ Apprenticeship and Thomas Mann’s Hans Castorp from the novel The Magic Mountain. First are considered theoretical assumptions of the Bildungsroman in general and then its position in 20th century when modern writers abandon notion of the hero as a fuly developed, stable and coherent character and give space to reflections, recollections and stream of consciousness. The central part of the paper deals with analyses of main characters of two Bildungsromans, Goethe’s Wilhelm Meister, the main character of the novel which is considered as a paradigm of the subgenre, and Mann’s Hans Castorp, as a parodied character from the Bildungsroman of 20th century. Key words: Bildungsroman, Goethe, Wilhelm Meister’s Aprenticeship, Thomas Mann, The Magic Mountain, parody.

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2

Jenni, Oskar. "Medical Bildungsromans." Lancet 348, no. 9039 (November 1996): 1453. http://dx.doi.org/10.1016/s0140-6736(04)70100-2.

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3

Pohl, Peter C. "Der west-östliche Bildungsroman der Gegenwart. Ein Vergleich von Judith Schalanskys Der Hals der Giraffe. Bildungsroman (2012) und Gerhard Henschels Bildungsroman (2014)." Literatur für Leser 42, no. 3 (January 1, 2022): 231–48. http://dx.doi.org/10.3726/lfl.2019.03.05.

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Abstract Gerhard Henschels autofiktionaler Romanzyklus um Martin Schlosser weist neben diversen anderen Texten auch einen Bildungsroman auf; allerdings stellt sich die Frage, inwieweit der Titel auch als Gattungsbezeichnung ernst zu nehmen ist. Die Gründe, die dagegen sprechen, sind zahlreich und gewichtig. Der vorliegende Aufsatz versucht nicht erst, diese Gründe zu entfalten, sondern verfolgt einen anderen Weg: Ausgehend von Goethes Wilhelm Meisters Lehrjahre und einer Gattungsdiskussion und -neubestimmung des Bildungsromans liest er Henschels Text als einen Bildungsroman der Gegenwart und fundiert seine Lektüre im Vergleich mit einem anderen zeitgenössischen Text, der sich zwar auch Bildungsroman nennt, gleichfalls aber am ehesten noch als Genre-Parodie für die Bildungsromanforschung brauchbar scheint: Judith Schalanskys Der Hals der Giraffe. Bildungsroman. Das Ziel ist es, einerseits die Bildungsromanforschung an die Gegenwart heranzuführen, andererseits die Notwendigkeit des Genres für die Reflexion der gesamtdeutschen Gegenwart mit ihren ästhetisch-medial-kulturellen Spezifika aufzuzeigen. Dabei fällt auf: Wie der Bildungsroman Goethes bildet(e) sich die deutsche Gegenwart weder nur integrativ und harmonisch noch nur desintegrativ und disharmonisch.

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4

Hardin, James, and Rolf Selbmann. "Zur Geschichte des deutschen Bildungsromans." German Quarterly 62, no. 2 (1989): 268. http://dx.doi.org/10.2307/407398.

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5

Jones, Leisha. "Contemporary Bildungsromans and the Prosumer Girl." Criticism 53, no. 3 (2011): 439–69. http://dx.doi.org/10.1353/crt.2011.0027.

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6

Jones, Anne Hudson. "Images of physicians in literature: medical Bildungsromans." Lancet 348, no. 9029 (September 1996): 734–36. http://dx.doi.org/10.1016/s0140-6736(96)07315-1.

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7

Hernández, Isabel. "Don Quijote als Vorläufer des Bildungsromans." Jahrbuch für Internationale Germanistik 48, no. 1 (January 1, 2016): 123–41. http://dx.doi.org/10.3726/82054_123.

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8

김일구. "American Newbery Bildungsromans and Animal Rights and Liberation." Literature and Environment 16, no. 1 (March 2017): 7–32. http://dx.doi.org/10.36063/asle.2017.16.1.001.

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9

Novianti, Nita. "Teaching Character Education to College Students Using Bildungsromans." International Journal of Instruction 10, no. 4 (October 3, 2017): 255–72. http://dx.doi.org/10.12973/iji.2017.10415a.

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10

Srikanth, Siddharth. "National Sovereignty and the Postcolonial Bildungsroman." Genre 56, no. 3 (December 1, 2023): 283–307. http://dx.doi.org/10.1215/00166928-10779300.

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Abstract Recent scholarship on the bildungsroman highlights the ideological implications of bildung in relation to empire and human rights discourse. This essay adds to that scholarship by reading the postcolonial bildungsroman as an expression of the erosion of national sovereignty after decolonization. Bildung in post-SAP (Structural Adjustment Program) novels is contested because the development of a fully modern personality—rational, cosmopolitan, economically agentive, entrepreneurial, nonadversarial—privileged by modernization theory and global institutions symbolically undermines the political sovereignty promised by decolonization. Through an analysis of Pankaj Mishra's The Romantics, this essay argues that such contestation of bildung in post-SAP postcolonial bildungsromans generates narratives of negation in which the imagining of bildung is always deferred to imaginative and political futures. In The Romantics, bildung turns into an enduring historical trauma; Mishra juxtaposes various trajectories of individual and national growth both before and after India's adoption of SAP policies in 1991 to show how the symbolic realization of full and free personality development would paradoxically negate the claims to sovereignty that elevate such personality development as an expression of successful modernization. In The Romantics, as in Chimamanda Adichie's Purple Hibiscus and Mohsin Hamid's How to Get Filthy Rich in Rising Asia, the negation of successful bildung—and the deferral of fully formed visions of “development”—become the only registers in which to register liberatory growth in the peripheries of the capitalist world-economy.

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11

Tolibovna, Safarova Zilola. "The image of orphan heroes in romans of formation (bildungsromans)." ACADEMICIA: An International Multidisciplinary Research Journal 12, no. 1 (2022): 525–29. http://dx.doi.org/10.5958/2249-7137.2022.00088.x.

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Tolibovna, Safarova Zilola. "“Longing” as a main theme in english and Uzbek bildungsromans." Asian Journal Of Multidimensional Research 12, no. 8 (2023): 11–15. http://dx.doi.org/10.5958/2278-4853.2023.00103.9.

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13

Schmitt, Cannon. "Technical Maturity in Robert Louis Stevenson." Representations 125, no. 1 (2014): 54–79. http://dx.doi.org/10.1525/rep.2014.125.1.54.

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Technical language in novels, rare in itself, is still more rarely interpreted. Focusing on Robert Louis Stevenson’s bildungsromans, in this essay I argue that a technical maritime lexicon marks their protagonists’ accession to maturity. But that lexicon and the love for the world it attests to and demands also forces a redefinition of what it means to be mature, offering an open, adventurous, never-to-be completed Bildung that refuses the stasis of marriage or a settled profession.

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14

Attree, Lizzy. "Daring to Be Different: The First-Person HIV-Positive Narrator in Two South African Novels." Thinker 92, no. 3 (September 2, 2022): 26–40. http://dx.doi.org/10.36615/thethinker.v92i3.1456.

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Masande Ntshanga’s novel The Reactive (2014) is the first South African novel written by a black male writer to feature the first-personvoice of an HIV-positive man, Lindanathi. Following Kgebetli Moele’s The Book of the Dead (2009), which gave the virus itself a voice, The Reactive heralds a significant shift in the portrayal of HIV in South African literature. Eben Venter’s Afrikaans novel Ek Stamel, EkSterwe (1996) which was translated into English by Luke Stubbs as My Beautiful Death (2004), and which has – significantly – received little critical review in English as an HIV narrative, tells the story of a white South African man, Konstant, in the Australian diaspora whoeventually succumbs to AIDS. Both novels complicate ideas of masculinity and can be described as ‘coming of age’ narratives or bildungsromans. Both novels sit historically on the cusp of change, before and after the widespread availability of ARVs. Given theircommonality of subject and narrative perspective, these texts seem ripe for comparison despite their authors’ different backgrounds. The shifts and continuities in the representation of HIV/AIDS found between these two novels, published 18 years apart, seem to disrupt the trajectory of the post-colonial bildungsroman as it is mediated (for the first time?) through the HIVpositive narrator. Reading these two novels together helps us to understand literary patterns, associations and dissociations, which reveal a cultural symbology of HIV/AIDS, part of a wider cultural symbology of illness in South African literature.

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15

Epp, Marla. "Harkis, Fille de harki, and France, récit d’une enfance as Feminist Bildungsromans." French Review 91, no. 1 (2017): 94–104. http://dx.doi.org/10.1353/tfr.2017.0099.

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16

Epp, Marla. "Harkis, Fille de harki, and France, récit d’une enfance as Feminist Bildungsromans." French Review 91, no. 4 (2018): 94–104. http://dx.doi.org/10.1353/tfr.2018.0233.

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17

Stanitzek, Georg. "Bildung und Roman als Momente bürgerlicher Kultur Zur Frühgeschichte des deutschen “Bildungsromans”." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 62, no. 3 (September 1988): 416–50. http://dx.doi.org/10.1007/bf03376002.

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18

Assis, Érico, and Ian Gordon. "Cruzando gêneros." 9ª Arte (São Paulo) 6, no. 1-2 (August 20, 2018): 7–17. http://dx.doi.org/10.11606/2316-9877.2017.v.6i1-2e149159.

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Discute as graphic novels sob o ponto de vista das Bildungsromane, defendendo que elas propõem uma modalidade de Bildungsroman na qual o processo é mais importante que o desfecho. Enfoca especialmente as narrativas autobiográficas em quadrinhos, analisando a obra Fun Home, de Alison Bechdel.

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19

Sangmeister, Dirk. "Der vergessene ,Erfinder‘ des Bildungsromans. : Zum 250. Geburtstag des Philologen Karl Morgenstern (1770–1852)." Zeitschrift für Germanistik 30, no. 2 (January 1, 2020): 455–60. http://dx.doi.org/10.3726/92166_455.

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20

Sardella-Ayres, Dawn, and Ashley N. Reese. "Where to from Here?" Girlhood Studies 13, no. 1 (March 1, 2020): 33–49. http://dx.doi.org/10.3167/ghs.2020.130104.

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In this article, we seek to articulate a genre theory-centered definition of girls’ literature, and interrogate its subgenre, the girl’s bildungsroman, as contextual, cultural sites of rhetoric regarding girls and girlhood. By exploring English-language North American girls’ literature, we identify it within a framework of genre as social action, tracing the protagonists’ maturation into the socially determined roles of wife and mother. We explore the ways in which the girl’s bildungsroman follows a home-away-home model, but with the end result of socially acceptable community integration, rather than the boy’s bildungsroman’s culmination in heroic independent identity via quests and adventures.

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21

Lee Dok-Hyong. "Auf der Suche nach dem goldenen Mittelweg der deutschen Literatur - am Beispiel des deutschen Bildungsromans." Koreanische Zeitschrift für Germanistik 57, no. 3 (September 2016): 45–65. http://dx.doi.org/10.31064/kogerm.2016.57.3.45.

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22

Marková, Ivana, and Adelina Novaes. "Chronotopes." Culture & Psychology 26, no. 1 (November 21, 2019): 117–38. http://dx.doi.org/10.1177/1354067x19888189.

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Dialogical single case studies involve mutually interdependent relations between humans in their real locations and in real time (here-and-now). Mikhail Bakhtin explored such relations in terms of chronotopes, i.e. as indivisible units serving as analytical tools for the study of dynamic processes in literature. We argue that chronotopic thinking also serves as an epistemological and ethical organising principle of human activities in daily thinking, knowing, actions and communication. This article explores different types of chronotopic thinking in dialogical single case studies, such as routines and changes; bildungsromans and heteroglossia; and values, meanings and intensities of these chronotopes in different time-scale situations. Considering ethical and dynamic interdependencies between the participants, this article suggests in what ways knowledge obtained in dialogical single case studies could be transferred (extended, generalised, resituated) to other kinds of studies.

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23

Koval, Martín. "El sistema Bildungs/Anti-Bildungsroman para especialistas: combatiendo una tentación posmoderna." Badebec 12, no. 24 (April 10, 2023): 128–48. http://dx.doi.org/10.35305/b.v12i24.593.

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Este trabajo parte de la constatación de un doble inconveniente en torno al uso del término “Bildungsroman”. Por un lado, que ninguna de las obras tradicionalmente consideradas Bildungsromane encaja realmente en la concepción de una integración armoniosa del individuo a la sociedad. Por otro, que es una etiqueta que, en las últimas décadas, parece aplicar a casi cualquier producto cultural que tenga como protagonista a un adolescente. Aquí se buscará superar estas dos posiciones extremas delimitando lo que preferimos llamar sistema Bildungs/Anti-Bildungsroman respecto del macrogénero más abarcador de la novela evolutiva. El supuesto para hacerlo es que en el primer caso se activa una competencia genérica propia de un lector más especializado y que esto es lo que le permite al receptor ligar la obra dada con su hipotexto, el Wilhelm Meister de J. W. Goethe. Esta dependencia de una obra fundacional, que solo un determinado tipo de receptor está en condiciones de reconocer, es elevada así, junto con la premisa de la historicidad y “alemanidad” del “sistema”, a criterio central.

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24

Guo, Rui. "The Writing of the Vagrancy Motif in Bildungsromans: A Comparative Analysis of Kim Joo-young’s Stingray and Cao Wenxuan’s The Bird." Institute of Humanities at Soonchunhyang University 42, no. 2 (June 30, 2023): 5–28. http://dx.doi.org/10.35222/ihsu.2023.42.2.5.

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Vagrancy, a common form of human existence, has been closely linked to the historical process of human civilization and, as a result, has become one of the most frequently employed motifs in literature. In Kim Joo-young’s Stingray and Cao Wenxuan’s The Bird, both the young protagonists departed from home and embarked on a journey of self-growth through their direct and indirect experience of vagrancy, thereby reflecting the similarities in the portrayal of the vagrancy motif. Nonetheless, the writing of the vagrancy motif in the two novels also presents differences, characterized by the contrasting depictions of realistic vagrancy featuring “crisis-escapefreedom” and romantic vagrancy featuring “dream-pursuit-return”. The similarities between the two novels are attributed to the correspondences between the vagrancy motif and the Bildungsroman genre, while the differences stem primarily from Kim and Cao's divergent interpretations of the vagrancy motif, with Kim regarding vagrancy as an essential form of human existence, whereas Cao romanticizes vagrancy as the pursuit of one's dream.

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25

Walsh, Clare. "From `Capping' to Intercision: Metaphors/Metonyms of Mind Control in the Young Adult Fiction of John Christopher and Philip Pullman." Language and Literature: International Journal of Stylistics 12, no. 3 (August 2003): 233–51. http://dx.doi.org/10.1177/09639470030123004.

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This article undertakes a comparative analysis of two trilogies written for a young adult readership: the Tripods trilogy by John Christopher (1967-8) and the His Dark Materials trilogy by Philip Pullman (1995-2000). Both trilogies can be described as science fiction/fantasy Bildungsromans which centre on attempts by adults or surrogate adult figures to thwart the rite of passage from childhood to adulthood for their young protagonists. Contrary to what one might expect, the figurative language used in the texts which comprise the trilogies comes relatively high on Goatly's cline of 'metaphoricity' (Goatly, 1997: 11), partly because of the incorporation of an `open' address in Pullman's case and partly because of the wide-ranging intertextual allusions employed by both writers. In addition, I argue that in common with other dystopian architexts both trilogies exhibit a marked tendency to blur the boundaries between the metaphorical, the metonymic and the literal and, more specifically, that the `cognitive estrangement' intrinsic to the genre of sf leads readers to interpret metaphorically objects and processes that are literal in the world(s) of the text. Finally, I conclude with the view that both Christopher and Pullman offer empowering subject positions to their young protagonists and, by extension, to their young adult readers, with the clear aim of encouraging them to move beyond the circumscribed world of childhood inexperience.

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26

Gómez Viu, Carmen. "El bildungsroman y la novela de formación femenina hispanoamericana contemporánea." Epos : Revista de filología, no. 25 (January 1, 2009): 107. http://dx.doi.org/10.5944/epos.25.2009.10609.

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El Bildungsroman es un género novelesco que, sin ser exclusivo ni originariamente alemán, llega a su forma clásica en Alemania. El término, del alemán Bildung (período de formación posterior a la fase correspondiente a la enseñanza primaria) y Roman (novela), es empleado para designar a las novelas cuyo tema principal es la representación literaria de las experiencias de un joven protagonista, desde su niñez o adolescencia hasta su madurez, en un proceso de aprendizaje cuya finalidad es lograr la consolidación de la personalidad del individuo y su integración en la sociedad. Asimismo este proceso formativo del protagonista evidencia el conflicto entre sus deseos y los intereses contrarios de la sociedad. De acuerdo con la crítica reciente, el Bildungsroman femenino difiere del tradicional género masculino tanto en los aspectos formales como en los hitos y metas del desarrollo y en las expectativas sociales que enfrentan las protagonistas de este tipo de relatos. Al igual que en los Bildungsromane masculinos los finales son variados y, al tratarse de un género socialmente condicionado, el éxito o fracaso de los protagonistas de estas novelas hay que interpretarlo a la luz del contexto social en el que se desarrollan. De hecho, las múltiples manifestaciones del proceso de desarrollo de los protagonistas de las novelas de formación cambian con el momento histórico y con las condiciones culturales y sociales de cada sociedad.

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27

Hildebrand, Jayne. "Environmental Desire in The Mill on the Floss." Nineteenth-Century Literature 76, no. 2 (September 1, 2021): 192–222. http://dx.doi.org/10.1525/ncl.2021.76.2.192.

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Jayne Hildebrand, “Environmental Desire in George Eliot’s The Mill on the Floss” (pp. 192–222) This essay argues that George Eliot’s expansive use of landscape description in The Mill on the Floss (1860) represents an engagement with the emerging concept of a biological “medium” or “environment” in the nineteenth-century sciences. In the 1850s, scientific writers including Auguste Comte, Herbert Spencer, and G. H. Lewes redefined biological life as dependent on an abstraction called a “medium” or “environment”—a term that united all the objects, substances, and forces in an organism’s physical surroundings into a singular entity. Eliot in The Mill on the Floss draws out the ecological potential of this new biological concept by imbuing the described backgrounds of her novel with a lyrical affect I call “environmental desire,” a diffuse longing for ambient contact with one’s formative medium that offers an ethical alternative to the possessive and object-driven forms of desire that drive the plot of a traditional Bildungsroman. Maggie Tulliver’s marriage plot is structured by a tension between environmental desire and possessive desire, in which her erotic desire for Stephen Guest competes with a more diffuse environmental desire that attaches to the novel’s described backgrounds. Ultimately, the new environment concept enables Eliot to reconceive the Bildungsroman’s usual opposition between self and world as a relationship of nourishment and dependency rather than struggle, and invites a reconsideration of the ecological role of description in the Bildungsroman genre.

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Cruz-Gutiérrez, Cristina. "From Bildungsroman to Bildungsromance: Physical and Affective War in Chinelo Okparanta’s Under the Udala Trees." Revista Alicantina de Estudios Ingleses, no. 40 (January 31, 2024): 97–117. http://dx.doi.org/10.14198/raei.2024.40.06.

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The bildungsroman has dominated the Nigerian literary landscape since the 1990s with novels such as Chimamanda N. Adichie’s Purple Hibiscus (2004), Unoma Azuah’s Sky-High Flames (2005), Chika Unigwe’s Night Dancer (2012), and Chinelo Okparanta’s Under the Udala Trees (2015). These coming-of-age stories place a special emphasis on the national evolution of Nigeria. Thus, by delving into such interrelation of the national and personal domains, I propose to theorize Under the Udala Trees as a “bildungsromance,” or novel of affective and romantic development. I use the term “bildungsromance” to describe the growth of Okparanta’s protagonist, Ijeoma, as intrinsically associated with the experiences gathered from her affective attachments both in the public and the private spheres. I will analyze Ijeoma’s sentimental relationships as she discovers and naturalizes her queer identity. For this, I will delve into the negative affects − in the form of fear, shame and guilt (Braidotti 2009, 50) − that influence Ijeoma’s experience as a result of her non-conforming to the dictums of Nigerian customary laws. Ironically, such negative affects will be introduced as tightly associated with “the promise of happiness” (Ahmed 2010, 14). In turn, I shall underline the role of Ijeoma’s intimate and romantic relationships in prompting positive forms of affect such as self-love and pride. These affective experiences allow Ijeoma to acquire a critical perspective towards Nigerian customary laws and their impact on identity formation and on what has been referred to as the “democratisation of the private sphere” (Giddens 1992, 184). Ultimately, I will hinge upon Ijeoma’s awareness of her own affective advancements as a key element in her bildungsromance.

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Hicks-Bartlett, Alani Rosa. "Deceptive Art, Bad Education, and the Letter to Michetti: Classical Intertexts and Artistic Failure in D’Annunzio’s Il Piacere." Comparative Literature 71, no. 4 (December 1, 2019): 381–407. http://dx.doi.org/10.1215/00104124-7709591.

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Abstract Gabriele D’Annunzio’s Il Piacere (Pleasure) feints at being a bildungsroman. Even as it incorporates the genre’s defining tropes, it repeatedly undermines them, staging an educational process that is continually frustrated and problematized. Il Piacere can therefore be read as the story of a bad education, as it foregrounds an educational model that is upended before it even starts. More specifically, due to his faulty education, the novel’s protagonist sputters through the stages of his formation, failing to mature or develop appropriately. He founders in a crisis of representation as the fullness of creative, artistic, and amorous satisfaction continues to elude him. The objective of the bildungsroman thus stands as the elusive and problematic ideal to which Il Piacere’s protagonist should strive and remains a constant, tortured concern throughout the novel. D’Annunzio prefigures this impasse in his overlooked dedicatory letter, which recalls and subverts traditional models of formation. The letter uses a Catullan intertext to emphasize and model the importance of instruction and guidance to growth and artistic maturation. By understanding the portrayal of education in the dedicatory letter and the novel, readers learn that the structures that might have upheld the bildungsroman’s implicit promise are in short supply. The same dynamic is reiterated through classical topoi like the stories of Pygmalion and Zeuxis. These artistically grounded intertexts anticipate the major concerns of Il Piacere’s protagonist: how to engage with beauty and art to obtain pleasure, and how to overcome an improper orientation to reach amorous, artistic, and authorial objectives.

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30

Black, Malachi. "Bildungsroman." Prairie Schooner 89, no. 4 (2016): 78–79. http://dx.doi.org/10.1353/psg.2016.0000.

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31

Birdsong, Destiny O. "Bildungsroman." Pleiades: Literature in Context 39, no. 1 (2019): 138–39. http://dx.doi.org/10.1353/plc.2019.0040.

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32

Schneider, Ana-Karina. "Reading Kazuo Ishiguro’s “Bewilderment Trilogy” as Bildungsromane." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 27–46. http://dx.doi.org/10.2478/abcsj-2018-0015.

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Abstract In this essay, Kazuo Ishiguro’s “Bewilderment Trilogy” is read as a series of Bildungsromane that test the limits of that genre. In these thematically unrelated novels, characters reach critical points in their lives when they are confronted with the ways in which their respective childhoods have shaped their grownup expectations and professional careers. In each, the protagonist has a successful career, whether as a musician (The Unconsoled), a detective (When We Were Orphans), or a carer (Never Let Me Go), but finds it difficult to overcome childhood trauma. Ishiguro’s treatment of childhood in these novels foregrounds the tension between individual subjectivity and the formal strictures and moral rigors of socialisation. In this respect, he comes close to modernist narratives of becoming, particularly James Joyce’s A Portrait of the Artist as a Young Man. Narrative strategies such as epiphanies and the control of distance and tropes such as boarding schools and journeys to foreign lands provide the analytical coordinates of my comparative study. While raising the customary questions of the Bildungsroman concerning socialisation and morality, I argue, Ishiguro manipulates narration very carefully in order to maintain a non-standard yet meaningful gap between his protagonists’ understanding of their lives and the reader’s.

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33

Stephanson, Anders. "En sorts bildningsroman." Arkiv. Tidskrift för samhällsanalys, no. 13 (2021): 113–32. http://dx.doi.org/10.13068/2000-6217.13.k1.

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34

Sumathi, Mrs E., Dr B. Kogilavani, and Mrs M. Sumithasree. "Bildungs Roman in Avni Doshi’s ‘Girl in White Cotton”." Journal of University of Shanghai for Science and Technology 23, no. 11 (November 6, 2021): 1–12. http://dx.doi.org/10.51201/jusst/21/10874.

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The term “Bildungsroman” is a literary genre. The German word Bildungsroman means “novel of education” or “novel of formation”. It deals with the particular person‟s intellectual and ethical growth from the childhood to adulthood. Avni Doshi „s „Girl in White Cotton”relates the growing up or “coming of age” of a protagonist. Bildungsroman also deals with the conflict between the main character and society, where the protagonist tend to accept the social value. This paper brings out the Bildungsroman based novel.

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Santos, José Lucas Zaffani dos, and Wilma Patricia Maas. "Aspectos diluídos do Bildungsroman em Extinção – Uma derrocada, de Thomas Bernhard." Literatura e Sociedade 23, no. 28 (December 6, 2018): 246–62. http://dx.doi.org/10.11606/issn.2237-1184.v0i28p246-262.

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O objetivo deste artigo é destacar algumas características do conceito de Bildungsroman presentes na obra Extinção – Uma derrocada (1986), de Thomas Bernhard. O termo Bildungsroman surge associado à obra Os anos de aprendizado de Wilhelm Meister (1795-1796), de Goethe. No entanto, uma vez que os pressupostos históricos presentes no paradigma goethiano se alteraram, os elementos do Bildungsroman encontram-se diluídos nas obras que apresentam traços desse gênero. O romance Extinção possui semelhanças com o programa narrativo do Bildungsroman, contudo elas estão presentes de maneira diluída.

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Santos, José Lucas Zaffani dos, and Wilma Patricia Maas. "Aspectos diluídos do Bildungsroman em Extinção – Uma derrocada, de Thomas Bernhard." Literatura e Sociedade 23, no. 28 (December 6, 2018): 252–68. http://dx.doi.org/10.11606/issn.2237-1184.v0i28p252-268.

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O objetivo deste artigo é destacar algumas características do conceito de Bildungsroman presentes na obra Extinção – Uma derrocada (1986), de Thomas Bernhard. O termo Bildungsroman surge associado à obra Os anos de aprendizado de Wilhelm Meister (1795-1796), de Goethe. No entanto, uma vez que os pressupostos históricos presentes no paradigma goethiano se alteraram, os elementos do Bildungsroman encontram-se diluídos nas obras que apresentam traços desse gênero. O romance Extinção possui semelhanças com o programa narrativo do Bildungsroman, contudo elas estão presentes de maneira diluída.

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Maas, Wilma Patrícia Marzari Dinardo. "Formação feminista e formação proletária: O Bildungsroman no Brasil." Pandaemonium Germanicum, no. 3 (November 5, 1999): 65. http://dx.doi.org/10.11606/1982-8837.pg.1999.63837.

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Der vorliegende Artikel zeigt, wie die Gattung Bildungsroman von der literarischen Tradition Brasiliens assimiliert wird. Anhand des Buches O 'Bildungsroman' feminino von Cristina Ferreira Pinto und des Aufsatzes Jorge Amado e o 'Bildungsroman' proletário von Eduardo de Assis Duarte wird der Prozeß nachvollzogen, durch den ein typisch europäisches Textgenre durch eine junge südamerikanische Literaturtradition aufgenommen wird.

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Horwitz, Jennifer. "Place-Based Learning in Three Bildungsromane: To Kill a Mockingbird; Roll of Thunder, Hear My Cry; and Under the Feet of Jesus." MELUS 46, no. 2 (June 1, 2021): 131–52. http://dx.doi.org/10.1093/melus/mlab023.

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Abstract This article, which focuses on Harper Lee’s To Kill a Mockingbird (1960); Mildred Taylor’s Roll of Thunder, Hear My Cry (1976); and Helena María Viramontes’s Under the Feet of Jesus (1995), argues that the American bildungsroman is a genre that is uniquely situated to challenge and recast dominant assumptions about education in the United States. Although mainstream forms of education are often presented as neutral and inevitable, or what education scholar Kevin Kumashiro deplores as “commonsensical,” the three young protagonists positioned on the margins of dominant society in Lee’s, Taylor’s, and Viramontes’s texts know otherwise. Drawing on the work of bell hooks and Edward Soja, this article analyzes the educational geographies that the protagonists must move through to show that these geographies are structured through choices that center the white, ruling class and disadvantage poor white children and children of color. While formal schooling in the novels conceptually and materially reinforce a power structure of marginalization and domination—the same power structure that has led to the current climate crisis—the three novels also offer a corrective. It is only when the three protagonists stand outside institutional sites of education and center themselves in the local community that they are able to counter their oppressive schooling with place-based knowledge. The transformative educations across these bildungsromane demonstrate relational, or, in environmental terms, ecological, ways of thinking as the means to combat a status quo that obscures our material connection to each other and to the earth.

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Garff, Joakim. "Either/Or Read as Bildungsroman." Kierkegaard Studies Yearbook 27, no. 1 (July 14, 2022): 3–33. http://dx.doi.org/10.1515/kierke-2022-0002.

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Abstract In this article, I investigate Either/Or’s generic affinity with the Bildungsroman. I demonstrate that it both imitates the topological structure (home-homeless-home) of this genre and that it is likewise composed of a number of formation narratives and tropes that mirror the Bildungsroman. This is documented by following the development of an often-overlooked textual figure at the conclusion of the second part of Either/Or and through a reading of “The Seducer’s Diary” as a demonic Bildungsroman with maieutic implications. Finally, I examine the relationship between the Bildungsroman and the Entwicklungsroman [novel of development] with particular attention to Kierkegaard’s late authorship.

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Kurth-Voigt, Lieselotte E., and Rolf Selbmann. "Der deutsche Bildungsroman." MLN 101, no. 3 (April 1986): 721. http://dx.doi.org/10.2307/2905622.

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Coley, Lem. "A Graphic Bildungsroman." American Book Review 42, no. 6 (2021): 25. http://dx.doi.org/10.1353/abr.2021.0104.

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Schoonebeek, Danniel. "Bildungsroman (Spare American)." Colorado Review 39, no. 2 (2012): 151–53. http://dx.doi.org/10.1353/col.2012.0117.

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Duncan, Ian. "Against the Bildungsroman." Modern Language Quarterly 80, no. 1 (March 1, 2019): 13–19. http://dx.doi.org/10.1215/00267929-7247230.

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Jack Hagopian, Kevin. "Film History’s Bildungsroman." American Journalism 8, no. 4 (October 1991): 266–73. http://dx.doi.org/10.1080/08821127.1991.10731385.

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Patrick Allen, Michael. "The Thatcherite Bildungsroman." Textual Practice 34, no. 12 (October 29, 2020): 2113–30. http://dx.doi.org/10.1080/0950236x.2020.1833532.

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Kadvany, John. "A Mathematical Bildungsroman." History and Theory 28, no. 1 (February 1989): 25. http://dx.doi.org/10.2307/2505268.

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Ramírez, Héctor. "A Broken Bildungsroman." American Book Review 35, no. 6 (2014): 17. http://dx.doi.org/10.1353/abr.2014.0125.

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Лук’янова, Ольга Сергіївна. "ТРИЛОГІЯ «МЕТЕЛИКИ НА ШПИЛЬКАХ» ІРИНИ ВІЛЬДЕ ЯК BILDUNGSROMAN." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, no. 100 (2022): 28–45. http://dx.doi.org/10.34142/2312-1076.2022.2.100.02.

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Пропонована розвідка присвячена аналізу трилогії Ірини Вільде «Метелики на шпильках» («Метелики на шпильках», 1935; «Б’є восьма», 1935; «Повнолітні діти», 1939) в контексті такого жанрового різновиду роману, як Bildungsroman, змістовою домінантою якого є моральне, психологічне й соціальне становлення особистості головного героя. Сучасним, «постмодерним», варіантом класичного роману виховання є роман ініціації, який завжди пов’язаний з екзистенційним поворотом у свідомості героя, його якісною внутрішньою зміною, де сама життєва ситуація виконує функцію інстанції посвячення. Методологія дослідження передбачає використання методу сlose reading («близького читання») ‒ повільного й прискіпливого прочитання тексту. Головна героїня трилогії – Дарка Попович – перебуває в пошуку самоактуалізації; важливим аспектом у процесі самопізнання, довкола якого вибудовується чимало сюжетних колізій (йдеться як про зовнішній, так і про внутрішній психологічний сюжет), є жіночий чуттєвий досвід (відкриття власного тіла, перший підлітковий ерос тощо). Це історія (особливо в другій частині) про феномен підліткової дівчачої дружби, про різні види сестринства, що випробовується, зокрема, закоханістю в того самого хлопця. Серед нагальних проблем, проартикульованих Іриною Вільде в трилогії, є проблема патріархальних традицій і норм, які травматизують дівочу психіку, обмежують становлення жінки, а також проблема формування національно свідомої молоді, нового покоління загалом, важливість родинної атмосфери в цьому процесі. Зосередження на психологічному стані особистості – її внутрішніх переживаннях, враженнях, зміні настроїв, почуттів, думок – дозволяє говорити про тяжіння творчості письменниці до естетичних засад літератури імпресіонізму. Проте фрагментарність, мозаїчність оповіді є так само однією з ознак Bildungsroman’у, доведення близькості до якого становить мету цієї статті.

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Le-Khac, Long. "Bildungsroman Hermeneutics in the Post–Civil Rights Era." American Literature 90, no. 1 (March 1, 2018): 141–70. http://dx.doi.org/10.1215/00029831-4326439.

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AbstractThis essay defines the problem of bildungsroman hermeneutics for literary criticism and social policy in the post–civil rights era. Examining critical responses to Sandra Cisneros’s The House on Mango Street, it argues that the traditional bildungsroman exerts a powerful hold on interpretations of minority mobility. Bildungsroman hermeneutics understands social relations as organized around individual development. This model undermines the collective politics many critics sense in Cisneros’s text and obscures her revisions of the genre. Furthermore, bildungsroman hermeneutics intersects with neoconservative arguments that helped to roll back civil rights reforms and stymie government interventions. To address the inequalities enduring after civil rights we must circumvent an individual-centered template that has shaped plots of narrative and social change. Part of a broader effort to decenter the bildungsroman (including the work of Maxine Hong Kingston and Gloria Naylor), Cisneros’s text can help us do so, if we can learn to read it otherwise.

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Abuhassan, Ali Sabri, and Mohd Nazri Latiff Azmi. "PSYCHOSOCIAL DEVELOPMENT PORTRAYED IN JANE AUSTEN’S EMMA." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 3, no. 2 (December 19, 2019): 185–200. http://dx.doi.org/10.30743/ll.v3i2.1387.

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This paper investigates the bildungsroman phenomenon as depicted in Jane Austen’s Emma (1817) by consulting Erik Erikson’s theory of psychosocial development as a framework of analysis. The most two conflicting readings in this regard could be best seen in Buckley’s (1974) claim which excluded Emma from the bildungsroman, for the genre has always been associated with the protagonist’s physical quest seeking maturity and social integration. However, Kohn (1995) read Emma as a domestic bildungsroman when he argued that Emma did not have to travel physical distances to achieve her maturity. For Kohn, Emma matured within her social sphere. This paper particularly traced Emma’s psychological and social development since this type of development is the basic ingredient of any bildungsroman novel. This paper argued that Emma cannot be read as bildungsroman not because the protagonist did set on a quest, as Buckley claimed, but mainly because Emma did not develop a sense of psychological or social maturation. After placing Emma in Erikson’s developmental stages, the study revealed that she did not really mature neither she realized her own identity. This paper proposed that Emma should not be classified as bildungsroman because the heroine distorted the real meaning of maturity and social integrity.

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