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Academic literature on the topic 'Novel. Author'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Novel. Author"

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George, Soumya, M. Sudheep Elayidom, and T. Santhanakrishnan. "A Novel Approach to Find Author's Research Areas of Interests Using Graph Database." International Journal of Web Portals 11, no. 2 (2019): 67–74. http://dx.doi.org/10.4018/ijwp.2019070105.

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Research areas of interests reveal the area of expertise of an author or the field in which the author has in-depth knowledge. This is one of the core components of an author profiles of any academic search engine that can be efficiently utilized by other authors or researchers to identify all authors who have proficiency in a specified field. This article proposes a graph-based approach for automatic creation of author profile by finding the author's area of interests in research using subject classification of their published papers. Classification accuracy of the author's research areas of interest also tested manually for 415 authors by comparing classified areas of interests of each author with areas of interests given in Google scholar profile. Total mismatch occurs only for 37 others. Results showed that accuracy could be improved by adding more papers.

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Guignery, Vanessa. "David Lodge's Author, Author and the genre of the biographical novel." Études anglaises 60, no. 2 (2007): 160. http://dx.doi.org/10.3917/etan.602.0160.

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Siddiqui, Ahsan Ali. "The Epidemiology of COVID-19 Novel Corona Virus in Incidence and the Distribution of the Disease across the World." American Journal of Biomedical Science & Research 9, no. 4 (2020): 280–88. http://dx.doi.org/10.34297/ajbsr.2020.09.001407.

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Pakhsaryan, N. T. "IMPLIED AUTHOR AND IMPLIED READER IN ROCOCO NOVEL." Human Being: Image and Essence. Humanitarian Aspects, no. 3 (2020): 68–82. http://dx.doi.org/10.31249/chel/2020.03.05.

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The article concerns the forms and functions of the implied author and the implied reader in the novels by Lesage, Prevost, Marivaux, Crébillon, Bibiena, Diderot, Defoe, Fielding and Stern. Referring to the narrative on behalf of the hero, which is mainly used in the Rococo novel, as well as the narrative from the author in Fielding's novels equally, although in different ways, complicate the identification of the implied author, whose image is displaced by the explicit narrator. At the same time, there is a process of making the relations with readers intimate, both in the «Appeals to the reader» and in the novels themselves in various forms of appeal to explicit readers – to the community of friends, to a friend, etc. In the Rococo novelistic prose, an «uncertain narrative» is formed, consisting of a chain of stories within one story and a variety of narrators, which reveals the ambiguity of the implied author's statements and descriptions, as well as the breadth and indefiniteness of the reading public that the novelist actually addresses.

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Maulidina, Bunga Hening, Edy Suryanto, and Nugraheni Eko Wardani. "PROSES KREATIF DAN KRITIK SOSIAL DALAM NOVEL BABAD NGALOR-NGIDUL KARYA ELIZABETH D. INANDIAK." Widyaparwa 47, no. 2 (2019): 150–61. http://dx.doi.org/10.26499/wdprw.v47i2.187.

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This study aims to describe and explain the creative process of authors and social criticism found in Babad Ngalor-Ngidul novel. This research use desciptive qualitative approach. Data sources in the form of Babad Ngalor-Ngidul novels by Elizabeth D. Inandiak and author interviews and data collection were carried out by purposive sampling. Data were analyzed based on the author's creative process theory and literary sociology in the form of speech, sentence, or discourse contained in the data source. Data is filtered and classified according to research objectives, which are related to the creative process of authors and social criticism. The results of the study stated that there is a connection between the creative process of the author and social criticism in the Babad Ngalor-Ngidul novel. The author's creative process is based on the eruption and earthquake events in Yogyakarta, and is influenced by the interaction of the author with the community of Kinahrejo and Bebekan. The criticisms contained in the Babad Ngalor-Ngidul novel are social, cultural and political criticisms of the dynamics of post-disaster community change. The creative process of the author and the delivery of the message of criticism are intertwined in the moderate position of literature as a form of sanctification (catharsis), and healing.Penelitian ini bertujuan mendeskripsikan dan menjelaskan proses kreatif pengarang dan kritik sosial yang terdapat pada novel Babad Ngalor-Ngidul. Penelitian ini menggunakan pendekatan deskriptif kualitatif. Sumber data berasal dari novel Babad Ngalor-Ngidul karya Elizabeth D. Inandiak dan hasil wawancara pengarang serta pengambilan data dilakukan secara purposive sampling. Data dianalisis berdasarkan teori proses kreatif pengarang dan sosiologi sastra yang berupa tuturan, kalimat, atau wacana yang terdapat dalam sumber data. Data disaring dan diklasifikasikan sesuai tujuan penelitian, yakni terkait dengan proses kreatif pengarang dan kritik sosial. Hasil penelitian mengemukakan bahwa terdapat kaitan antara proses kreatif pengarang dan kritik sosial yang ada dalam novel Babad Ngalor-Ngidul. Proses kreatif pengarang dilandasi atas peristiwa erupsi dan gempa di Yogyakarta serta dipengaruhi interaksi pengarang dengan masyarakat Kinahrejo dan Bebekan. Adapun kritik yang terdapat dalam novel Babad Ngalor-Ngidul adalah kritik sosial, budaya, dan politik atas dinamika perubahan masyarakat pascabencana. Proses kreatif pengarang dan penyampaian pesan kritik berkelindan dalam posisi moderat karya sastra sebagai bentuk penyucian (katarsis) serta penyembuhan.

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Novoseltseva, A. V. "A novel study: history and modernity." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 2 (2019): 200–208. http://dx.doi.org/10.29235/2524-2369-2019-64-2-200-208.

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There is the necessity in the contemporary science of literature for development of the intra-genre novel typology to systematize the knowledge of certain novel texts and determine the aesthetic possibilities of the modern novel. Traditionally the genre novel typology is considered in social-historical way and based on its content characteristics. Representatives of formalistic approach suppose the genre as a system of methods; they emphasize the artistic uniqueness of new novel form, which determines the specificity of the plot development and theme disclosure in a novel. G. N. Pospelov associates the interpretation of characters with the plot-composition peculiarities, M. M. Bakhtin formulates the idea of dialogue, defines the monologic and polyphonic novels. Bakhtin’s novel theory is developed by N. A. Verderevskaya, focusing on the image structure of protagonist. A. Ya. Esalnek considers the genre of a novel in close interconnection between the method and style of the author. N. S. Leites carries on the tradition of formalistic approach, and according to the type of plot formation, singles out a novel of direct and indirect reflection. N. D. Tamarchenko retraces the novel evolution through its aesthetic potential in the works of famous authors. The classifications developed in Western European literary criticism (the Anglo-American school of “neo criticism”, the German school of “interpretation”) are distinguished with dualism or variability. They focus on the structural organization, the artistic relationship between the author and narrator, author and character.

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Forero Quintero, Gustavo. "La anomia en las novelas de crímenes en Colombia." Literatura y Lingüística, no. 24 (May 18, 2015): 33. http://dx.doi.org/10.29344/0717621x.24.96.

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ResumenEste artículo propone el análisis de algunas novelas colombianas escritas entre losaños 1990 y 2005 a partir de teoría de la anomia. Para ello, el autor ofrece una consideración de lo que es la anomia; en segundo lugar, explica la pertinencia del concepto para la literatura y, en tercer lugar, lo aplica a algunas de esas novelas. Finalmente, a partir de tal metodología, propone una caracterizaciónde lo que denomina la novela de crímenes en Colombia.Palabras clave: Novela de crímenes, Anomia, Novela colombiana The anomie in colombian crime novelsAbstractThis paper proposes an analysis of some Colombian novels written between1990 and 2005 based on anomie theory. From this sociological perspective,it defines the Crime Novel genre. Thus, the author provides a brief account ofwhat anomie is. Secondly, he explains this concept in literature and, third, heapplies it to contemporary Colombian novels. Finally, he proposes a characterizationof the Crime Novel.Keywords: Crime Novel, Anomie, Colombian Novel Este trabajo hace parte del proyecto de investigación “La anomia en la novela de crímenes enColombia (1990-2005)”, inscrito en la línea de investigación Novela de Crímenes del GrupoEstudios Literarios, GEL, que coordina el autor y que pertenece a la Vicerrectoría de Investigaciónde la Universidad de Antioquia.

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Bogdan, Julia. "FEATURES OF THE AUTHOR’S POSITION IN A. ALTMANN'S TRAVEL NOVEL “LAND OF THE RAINBOW SNAKE. TRAVEL IN AUSTRALIA”." Research Bulletin Series Philological Sciences 1, no. 193 (2021): 283–89. http://dx.doi.org/10.36550/2522-4077-2021-1-193-283-289.

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This study is devoted to the investigation of the narrator’s typology in the modern German-language travel novel, in particular the first-person narrative. The range of unresolved problems in the typology of the narrator is outlined, namely the expediency of studying the author’s image in a travel novel. On the example of the work of the famous German writer-traveler and reporter A. Altmann, the author's position is analyzed and the author's intentions are established. Peculiarities of the formation of modern wandering novel prose determine a high degree of autobiography in the work. Using the "I" -telling, the author-protagonist forms a combination of the real author, the narrator and the main character, offers the reader a world created by him, in which the focus is on the author's impressions and guidelines. For the reader to rethink, it remains to follow the author's reflection and determine which of the described is real and which is the author's fantasy. An attempt is made to analyze the author's selfpresentation at the compositional-speech and speech-stylistic levels. This novel is 12th of the 23 novels by the famous German reporter and travel writer A. Altmann. It is a combination of historical and geographical information, the stories of ordinary Australians, philosophical considerations and the author's reflection on what is seen. The figure of the author with his spiritual values and critical attitude to society found its imprint in the image of the author, creating the impression of complete identity with the real author. It is a novel with predominant compositional and speech forms - messages with descriptive elements and author's reflections. A typical architectural-speech form of the work is a monologue-reflection. At the speech-stylistic level, it should be noted the author's perfect use of a wide range of stylistically colored lexical layer from poetic to colloquial language. In the future, it is considered appropriate to compare and explore the author's position in the modern Ukrainian and German travel novel.

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Byrd, Charles, and Les W. Smith. "Confession in the Novel: Bakhtin's Author Revisited." Slavic and East European Journal 42, no. 3 (1998): 552. http://dx.doi.org/10.2307/309702.

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Basara, Kurniawan, Sri Suryana Dinar, and Hilaluddin Hanafi. "ANALISIS GAYA BAHASA DALAM NOVEL SEBUAH USAHA MELUPAKAN KARYA BOY CANDRA." Jurnal Bastra (Bahasa dan Sastra) 5, no. 2 (2020): 204. http://dx.doi.org/10.36709/jb.v5i2.13989.

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Abstract : This research examines the language style in Boy Candra's novel An Usaha Forgetting. A novel is a literary work whose medium is language. language is a very important support tool for authors. Every author is not the same in utilizing the treasures of language in his work because language to develop stories in order to attract the attention of readers of complex stories does not have to be presented with complex language, but complex stories can be made interesting by utilizing the best possible language in the works of literature especially. novel. The language style used by the author is in accordance with the author's skill in playing the language in the delivery of the story, whether it is conveyed in a complex manner, the meaning is that it is easy to understand by the reader. With one reading, the reader already knows what the story is, or does the author use analogical or figurative language. So that to understand the story, the reader must also imagine like the novels by Boy Candra. The formulation of the problem in this study are: what language styles are used in Boy Candra's novel An Usaha Forgetting ?. The purpose of this study is to describe and analyze the style of language in Boy Candra's novel An Effort to Forget. This research is a qualitative descriptive study. The data source used in this research is Boy Candra's novel An Usaha Forgetting. The data collection technique used the reading note technique. The analysis technique uses a structural approach. The results of the analysis show that there are four types of comparative language styles, namely: (1) metaphorical language style, (2) personified language style, (3) personified language style (4) antithesis language style. Then the disagreement language style shows that there is one type of language style, namely hyperbole language style. Keywords: analysis, language style, novel

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Dissertations / Theses on the topic "Novel. Author"

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Bahous, Abbes. "The novel and Moorish culture : Cide Hamete #author' of Don Quixote." Thesis, University of Essex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.290442.

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Spurgeon, Charles Wayman. "J. Henry Shorthouse, 'The author of #John Inglesant'' (with references to T.S. Eliot and C.G. Jung)." Thesis, Birkbeck (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294753.

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Hudson, Elaine C. "Writing the author : Sylvia Plath, Henry James, Virginia Woolf and the biographical novel." Thesis, University of Nottingham, 2015. http://eprints.nottingham.ac.uk/30403/.

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This thesis explores the effect produced when contemporary novelists write about fellow authors. Since the mid-1990s, the biographical novel, which fictionalises the lives of real-life historical authors, has become an increasingly popular literary genre in Britain and the United States. This contemporary exploration of authorial subjectivity, viewed here through the lens of life-writing, provides a reengagement with debates surrounding the crisis of the author-figure (exemplified by Roland Barthes), and the unreliability of biography as a discourse of subjectivity at the turn of the twenty-first century. Through its inherent self-reflexivity (with its exposure of both the author-biographer alongside the author-subject), I consider how the biographical novel succeeds in reconciling the author-figure with the literary text in new ways. While critical interest in the biographical novel has tended to focus on a limited number of texts, little attention has been paid to their status as an emergent sub-genre of life-writing. Through the exemplary figures of Sylvia Plath, Henry James and Virginia Woolf and their corresponding biographical novels, I draw together a core body of texts to demonstrate their unity as a literary form. With an emphasis upon the role of life-writing in the construction of authorial subjectivity, I consider how each of the three author-subjects have cultivated — and been cultivated by — particular recurrent motifs: firstly through their own texts (whether fictional or biographical), then as they become manifest once again in the writing of the contemporary biographical novelists. Modernist developments in biographical modes, particularly Woolf's revision of the relationship between the biographer and his or her subject, provide both context for the biographical novel, and a rich framework upon which to build contemporary forms of life-writing and authorial subjectivity. Taking these as a starting point through which to view the 'author question', my thesis reveals how the genre of the biographical novel offers a redefinition of both the author as a multiple, progressive and changing figure, and a highlighting how the reinterpretation of life-writing in fictional form both enhances and supports the future of biography and autobiography as an equally evolutionary form.

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Oliveira, Katia Aparecida da Silva. "A voz do autor no Lazarillo de Tormes." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-24112009-114642/.

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Neste trabalho pretendemos realizar uma leitura do Lazarillo de Tormes que além de considerar o discurso do narrador, Lázaro de Tormes, considere também a voz do autor implícito dentro da obra e a forma como essa voz influencia a construção do sentido dela. Reconhecendo a voz desse autor implícito no prólogo da obra e em meio ao discurso do narrador, é possível identificar a sua perspectiva, que nem sempre coincide com a do narrador. O encontro dessas diferentes perspectivas forma contradições no discurso de Lázaro como narrador, e é na conjunção dessas perspectivas que consideramos formar-se o sentido da obra.<br>The aim of this work is to accomplish a reading of Lazarillo de Tormes considering the discourse of the narrator and also the voice of the author within the story and how it influences the construction of its sense. By recognizing the voice of this implicit author in the prologue of the story among the narrators discourse it is possible to identify the perspective of the author which is not always the same of the narrator. The encounter of these two perspectives forms some contradictions in Lázaros discourse as the narrator and it is through this conjunction that we consider to be forming the sense of the novel.

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Gomes, Antônio Egno do Carmo. "“Há um autor neste romance?” - A voz, a ação e os apelos do autor metaficcional." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/4030.

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Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-01-30T10:59:36Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Tese - Antônio Egno do Carmo Gomes - 2014.pdf: 2169920 bytes, checksum: 61507a60ee0b84092ffb70cc36652af0 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-01-30T13:31:19Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Tese - Antônio Egno do Carmo Gomes - 2014.pdf: 2169920 bytes, checksum: 61507a60ee0b84092ffb70cc36652af0 (MD5)<br>Made available in DSpace on 2015-01-30T13:31:19Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Tese - Antônio Egno do Carmo Gomes - 2014.pdf: 2169920 bytes, checksum: 61507a60ee0b84092ffb70cc36652af0 (MD5) Previous issue date: 2014-07-01<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Following a general trend of the human sciences, the arrival of post-modernity in literary studies has culminated in the so-called “death of the author”. With resonances that can be noted in some theorists as Roland Barthes (2004), Michel Foucault (2006, 1996), Umberto Eco (2005, 2003, 2004, 2001, 1986), Stanley Fish (2003, 1990) and Linda Hutcheon (2000; 1991; 1984), the post-modern distrust in meaning and the conviction that what a literary work means not only does not depend on the author but also finds in him an obstacle to the reader’s creativity are widely disseminated notions that have found their place in the metafiction theory by means of Hutcheon (1991; 1984), and Patrícia Waugh (1984). However, in this thesis, based on the assumptions of the hermeneutic realism theory, an interpretive approach according to which the meaning of a text is prior to its reading and is in many respects does not dependent on it, I propose to review the role of the author in metafictional novels, searching for appropriate readings for such novels. My theory is that author and writer are separate entities and that, among the four sources of enunciation of a novel (writer, author, narrator and character), the author is the one responsible for opening the work, activating the reading and actualizing the metafictionality. By means of a dialogue with theorists from several fields of the human sciences, I seek to defend the author from his opponents and show that, in the relationships he establishes with the character in novels of protagonist writer (as in A Rainha dos cárceres da Grécia, Bufo & Spallanzani and O Chalaça), the metafictional author addresses us, making communicative calls to us, and calling our attention to the fictionality of the text. So, what I do in this thesis is to show that since the attacks to the notions of person, intention and interpretive authoritarianism may even relate to the writer , but never to the author, he cannot and should not be killed. The author, I seek to prove, is a constitutive element of fictional language and is also the other with whom we communicate in reading metafictional novels. The result is that our interaction with such aesthetic person is essential in order that, through the distinction of the voices of the writer, narrator and character, we may be able to read these novels without making problematic interpretations.<br>Seguindo uma tendência geral das ciências humanas, a chegada da pós-modernidade nos estudos literários culminou na chamada “morte do autor”. Com ressonâncias que podem ser percebidas em teóricos como Roland Barthes (2004), Michel Foucault (2006; 1996), Umberto Eco (2005; 2004; 2003; 2001; 1986), Stanley Fish (2003; 1990) e Linda Hutcheon (2000; 1991; 1984), a descrença pós-moderna no significado e a convicção de que o que uma obra literária significa não só independe do autor como até encontra neste um obstáculo à criatividade por parte do leitor encontram-se amplamente divulgadas, tendo aportado na teoria da metaficção via Hutcheon (1991; 1984) e Patrícia Waugh (1984). No entanto, partindo do realismo hermenêutico, linha interpretativa segundo a qual o sentido de um texto é anterior à leitura e, sob muitos aspectos, independente dela, neste trabalho me proponho a rever o papel do autor em romances metaficcionais, em busca de leituras adequadas para tais romances. Minha teoria é a de que autor e escritor são pessoas distintas e que, dentre as quatro fontes enunciativas de um romance (escritor, autor, narrador e personagem), o autor é aquela responsável por abrir a obra, ativar a leitura e efetivar a metaficcionalidade. Dialogando com teóricos de vários campos das ciências humanas, procuro defender o autor de seus adversários e evidenciar que, nas relações que estabelece com a personagem em romances de protagonista escritor (como A Rainha dos cárceres da Grécia, Bufo & Spallanzani e O Chalaça) o autor metaficcional se dirige a nós, fazendo-nos apelos comunicativos e chamando nossa atenção para a ficcionalidade do texto. Assim, o que faço nesta tese é mostrar que, uma vez que os ataques às noções de pessoa, intenção e autoritarismo interpretativo podem até dizer respeito ao escritor, mas jamais ao autor, este não pode nem deveria ser morto. O autor, busco provar, é um elemento constitutivo da linguagem ficcional e é também o outro com o qual nos comunicamos na leitura de romances metaficcionais. O resultado é que nossa interação com tal pessoa estética é fundamental para que, distinguindo as vozes do escritor, do narrador e da personagem, sejamos capazes de ler tais romances sem fazer interpretações problemáticas.

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White, Mandala Camille. "From the Sublime to the Rebellious: Representations of Nature in the Urban Novels of a Contemporary New Zealand Author." Thesis, University of Canterbury. English, 2007. http://hdl.handle.net/10092/957.

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Although nature is a dominant presence both in historical New Zealand literature and in New Zealand's current international image, literary critics observe a tendency on the part of young writers to neglect nature in favour of more human, urban and cultural themes. I write against this perception, basing my argument on the hypothesis that such urban-based literature may in fact be centrally concerned with the natural world and with human-nature relations. In locating nature within the urban fictional environment, I demonstrate a model of analysis that extends literary critical approaches to nature both within New Zealand literature and within the field of ecocriticism, both of which are largely consumed with analysing representations of sublime, non-urban nature. I test this urban ecocritical method of reading in my analysis of Catherine Chidgey's three novels, In a Fishbone Church, Golden Deeds and The Transformation, all of which adhere to the human-centred trend typical of contemporary New Zealand novels. I reveal within Chidgey's fiction a gradual progression away from archetypal representations of the sublime toward a more complex, fractured and rebellious variety of nature that co-exists alongside humans within urban space. Thus, while the characters in her first novel predominantly interact with nature as a sublime, non-urban entity, those in her second and third novels face the daily possibility of encountering "the wild" within domesticated settings that are apparently severed from any connection with the natural world. This kind of urbanised feral nature poses a significant threat to Chidgey's characters, overtly in the form of the powerful natural elements, and covertly through the myriad varieties of transformed nature with which they surround themselves. I read this portrayal of nature as a commentary on contemporary modernity's relationship with the natural environment, and I suggest that this kind of agentive, autonomous nature demands a new theory of environmentalism which will consider nature as an actor alongside humans.

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Johnston, Paul. "A crime novel (title redacted): from theory to publication." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4186.

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The first part of the thesis comprises Chapters 1 to 40 of the novel, written under a pseudonym, followed by a synopsis of the remaining chapters, 41 to 155. The potential jacket copy will refer to the protagonists, a male and a female detective. The second part of the thesis is a critical study of the novel. Literary theory and critical methods are used to investigate the writing process and to explicate the text’s layers of meaning, not all of which were clear to the author at the time of writing. Chapter 1 considers literary and creative writing theory, paying particular attention to conceptualisations of author and reader. In Chapter 2, the chosen pseudonym is explained and compared with those of other authors; the novel’s title is also examined. Chapter 3 covers the issue of genre, looking at theories and discussing both crime novel and Gothic fiction. In Chapter 4, critical approaches to character are applied. Chapter 5 does the same with plot. Chapters 6 and 7 take account of the manifestations of power. Chapter 6 covers the body and gender, while Chapter 7 deals with race and class. As a conclusion, Chapter 8 describes how the first draft was transformed to one acceptable for publication.

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Rodríguez, Fernando. "“Como es uso y costumbre”: el retrato autorial en Mateo Alemán y Cervantes." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/102760.

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En el prólogo de las Novelas ejemplares (1613), Miguel de Cervantes señalaba que hubiera preferido colocar su retrato en la primera página de su libro antes que escribir dicho prólogo, ya que esta práctica editorial era “uso y costumbre” en su época. Este artículo analiza el diálogo intertextual entre la práctica de la écfrasis o “retrato hablado” que ejecuta Cervantes en el prólogo mencionado y el retrato grabado que coloca Mateo Alemán en cada una de las dos partes del Guzmán de Alfarache (1599 y 1604). Se busca de esa forma iluminar la relación establecida entre un aspecto de la manufactura del libro y el texto mismo, así como su carácter de estrategia discursiva para ambos narradores auriseculares.---In the prologue of his Novelas ejemplares (1613), Miguel de Cervantes says that he would have preferred to place his portrait on the opening page of the book, rather than writing its prologue, since the former editorial practice was “uso y costumbre” in his age. This article analyses the intertextual dialogue between the “spoken portrait” written by Cervantes in his prologue and the engraved portrait of Alemán in both parts of Guzmán de Alfarache (1599 and 1604). I intend to study the relationship between the process of book manufacturing and the text itself, as well as the discursive devices underlying this operation.

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Peeters, Elodie. "La réception française et espagnole de la tétralogie havanaise de Leonardo Padura Fuentes." Thesis, Paris 10, 2020. http://faraway.parisnanterre.fr/login?url=http://bdr.parisnanterre.fr/theses/intranet/2020/2020PA100003/2020PA100003.pdf.

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Aujourd’hui, la théorie de la réception ne se résume plus simplement à trois éléments : l’auteur, le lecteur et le texte, mais à de multiples paramètres qui faussent la réception. Nous allons démontrer que Leonardo Padura est le représentant de cette nouvelle réception du XXIe siècle. Une réception liée à un partage de données, d’avis et à une surexposition de l’écrivain devenu « star ». Cette sacralisation de Leonardo Padura est due à la volonté de le façonner comme le Cubain par excellence, un écrivain honnête, travailleur et dénonciateur du régime comme le sont tous les écrivains de romans noirs. Cette vitrification rapide et précoce émise lors de la sortie des romans a influencé la réception des œuvres postérieures de Padura et contamine, encore aujourd’hui, les lecteurs de la tétralogie.C’est en nous appuyant sur le cycle des Quatre saisons de Leonardo Padura Fuentes, composé de quatre tomes : Pasado Perfecto, Vientos de cuaresma, Máscaras et Paisaje de otoño, que nous pourrons développer notre propos. Ces quatre tomes forment un tout, ils décrivent les quatre saisons d’une année, l’année 1989. Nous avons choisi ce corpus car il était censé être un ensemble homogène, une suite logique entre les romans. Notre intention est de prouver que la réception de la tétralogie de Leonardo Padura a été faussée depuis sa publication il y a plus de vingt-cinq ans, tout d’abord à cause de la publication des œuvres dans le désordre et ensuite par les articles des journalistes, des universitaires et des lecteurs lambda.L’exemple individuel de Padura constitue une nouvelle forme de réception et représente cette nouvelle génération d’auteurs. Nous verrons que celle-ci aura assurément un impact sur l’Histoire littéraire<br>Today, the theory of reception is no longer only three elements: the author, the reader and the text, but multiple parameters that distort reception. We will demonstrate that Leonardo Padura is the representative of this new reception of the 21st century. A reception related to a sharing of data, opinions and overexposure of the writer, one of Cuba’s most well-known author. This sacralization of Leonardo Padura is due to the desire to shape him as the ultimate Cuban: an honest writer, hardworking and denouncer of the regime as are all writers of detective novels. This rapid and early vitrification of the novels has influenced the reception of the later works of Padura and still contaminates the readers of the tetralogy.It is by relying on Leonardo Padura Fuentes' Four Seasons cycle, composed of four volumes: Pasado Perfecto, Vientos de cuaresma, Máscaras and Paisaje de otoño, that we will be able to expand on. These four volumes form a whole, they describe the four seasons of a year, the year 1989. We chose this corpus because it was supposed to be a homogeneous whole, a logical continuation between the novels. Our intention is to prove that the reception of Leonardo Padura's tetralogy has been distorted since its publication more than twenty-five years ago, first of all because of the publication of the works in the disorder and then by the articles written by journalists, academics and ordinary readers.The individual example of Padura is a new form of reception and represents this new generation of authors. We will see that it will certainly have an impact on the history of litterature<br>Hoy, la teoría de la recepción ya no se resume a los tres elementos: el autor, el lector y el texto, sino a varios parámetros que falsean la recepción. Vamos a demostrar que Leonardo Padura es el representante de esa nueva recepción del siglo XXI. Una recepción vinculada con un reparto de datos, de opiniones y con una sobreexposición del escritor convertido en una « celebridad ». Esa sacralización de Leonardo Padura es debida a la intención de formarlo como el cubano por excelencia, un escritor honesto, trabajador y denunciante del régimen como lo son todos los escritores de novela negra. Esa precoz inmortalización emitida durante la publicación de las novelas influyó en la recepción de las obras posteriores de Padura; marcando todavía hoy a los lectores de la tetralogía.Nos basamos sobre el ciclo de Las Cuatro estaciones de Leonardo Padura Fuentes, compuesto de cuatro tomos: Pasado Perfecto, Vientos de cuaresma, Máscaras y Paisaje de otoño, para poder desarrollar nuestro tema. Esos cuatro tomos forman una unidad, describen las cuatro estaciones de un año, el año 1989. Elegimos ésta recopilación porque se suponía que componía un conjunto homogéneo y una continuación lógica entre las novelas. Nuestra intención es mostrar que la recepción de la tetralogía de Leonardo Padura fue falseada desde su publicación hace más de veinticinco años. Primero, a causa del desorden de la publicación de las obras, segundo por los artículos de los periodistas, universitarios y de los lectores « comunes ».El ejemplo individual de Padura constituye una nueva forma de recepción y representa a esa nueva generación de escritores. Veremos que esa tendrá ciertamente un impacto sobre la Historia Literaria

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Rodrigues, Lucilo Antonio [UNESP]. "A poesia do romance: Memorial de Aires, um caso exemplar." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/106337.

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Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-02-02Bitstream added on 2014-06-13T20:07:07Z : No. of bitstreams: 1 rodrigues_la_dr_sjrp.pdf: 1265381 bytes, checksum: 95543bd0725d905dc0695843c5030ae8 (MD5)<br>Esta tese tem como objetivo principal o estudo da poesia no Memorial de Aires, de Machado de Assis. Em uma primeira etapa buscou-se refletir a questão da poesia no romance no âmbito geral da prosa romanesca: Mikhail Bakhtin refere-se a essa problemática no ensaio O Discurso no romance. Para ele, a poesia e o romance estariam em campos opostos: enquanto neste se constata uma tendência à fragmentação da linguagem (refletindo, direta ou indiretamente, a estratificação social); naquela, ocorre uma tendência à centralização da linguagem (refletindo os processos sociais mais duráveis). Em razão dessa particularidade a poesia no romance, na grande maioria das vezes, não desempenha um papel de relevo: ou é rechaçada, mediante a ironia, a sátira, a paródia e a análise crítica ou permanece sob a forma de núcleos isolados distribuídos ao longo do texto romanesco. Em alguns casos raros, como no romance Memorial de Aires, a linguagem poética não só é importante enquanto voz isolada, mas também teria uma função determinante na composição geral do estilo deste romance.<br>The present dissertation has, as a main target, the study of poetry in Memorial de Aires, by Machado de Assis. In its first part, we tried to reflect on the poetry in the novel, in the general scope of the novelistic prose: Mikhail Bakhtin refers to this subject in his essay Discourse in novel. As he considers, poetry and novel would be in opposite fields: while in the last one we confirm a tendency to a language breaking up (reflecting, direct or indirectly, the social stratification), in that one, it occurs a tendency to language centralization (reflecting the more durable social processes). Because of this particularity, poetry in novel, in its great majority, doesn t play a relevant role: either it is rejected by irony, satire, parody and critical analysis, or it remains in the form of isolated nucleus, distributed along the novelistic text. In some rare cases, as in the novel Memorial de Aires, the poetic language is not only important as an isolated voice, but also would have a determining function in the general composition style of this novel.

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Books on the topic "Novel. Author"

1

Author Asbury: A novel. TIPS Technical Pub., 2012.

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Colapinto, John. About the author: A novel. HarperCollins, 2001.

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Smith, Les W. Confession in the novel: Bakhtin's author revisited. Fairleigh Dickinson University Press, 1996.

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Giorgio, De Chirico. Hebdomeros: A novel : with drawings by the author. Paj Publications, 1988.

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Novel: A novel with konnekting pomes n essays. Talonbooks, 2011.

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Grzimek, Martin. Shadowlife: A novel. New Directions Pub. Corp., 1991.

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A, Scott John. Blair: A novel. New Directions Books, 1989.

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Vollman, William T. Butterfly stories: A novel. Deutsch, 1993.

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Butterfly stories: A novel. Grove Press, 1993.

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Persons, Truman Streckfus. Answered prayers: The unfinished novel. Hamish Hamilton, 1986.

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Book chapters on the topic "Novel. Author"

1

David, Deirdre. "Making a Living as an Author." In A Companion to the English Novel. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118607251.ch19.

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Armstrong, Jean. "The Author and the Background to the Novel." In To Kill a Mockingbird by Harper Lee. Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08255-1_1.

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Aryan, Arya. "The Author in the Age of Risk Society." In The Post-war Novel and the Death of the Author. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45054-0_4.

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Aryan, Arya. "The Rise of Theory and the Death of the Author." In The Post-war Novel and the Death of the Author. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45054-0_1.

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Aryan, Arya. "Women Writers, from Madness to Agency." In The Post-war Novel and the Death of the Author. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45054-0_2.

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Aryan, Arya. "Postmodernist Fiction, Madness and Agency." In The Post-war Novel and the Death of the Author. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45054-0_3.

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Aryan, Arya. "Conclusion." In The Post-war Novel and the Death of the Author. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45054-0_5.

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Wein, Toni. "From Innkeepers to Puppet Masters: Staging the (Heroic) Author." In British Identities, Heroic Nationalisms, and the Gothic Novel, 1764–1824. Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9781403913685_8.

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Lin, Xueqin, Jia Zhu, Yong Tang, Fen Yang, Bo Peng, and Weiling Li. "A Novel Approach for Author Name Disambiguation Using Ranking Confidence." In Database Systems for Advanced Applications. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55705-2_13.

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Friedman, Emily C. "Afterword: Novel Knowledge, or Cleansing Dirty Data: Toward Open-Source Histories of the Novel." In Data Visualization in Enlightenment Literature and Culture. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-54913-8_10.

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AbstractThis afterword discusses the most important, most under-rewarded, and most unsexy aspect of data visualization: the production and use of reliable underlying data. Starting from the premise that visualizations are only as good as their underlying evidentiary base, Freidman addresses the contributions of digital projects that have laid the foundation for such practices, including massive multi-institution projects like Orlando, mid-sized projects like The Early Novels Database (END), and the author’s own small-scale project, Manuscript Fiction in the Age of Print (MFAP). Following this assessment, the author proposes a set of guidelines for best practices in creating new data so that amendable, transformable visualizations can be produced, built on collective knowledge.

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Conference papers on the topic "Novel. Author"

1

"NILES 2019 Author Index." In 2019 Novel Intelligent and Leading Emerging Sciences Conference (NILES). IEEE, 2019. http://dx.doi.org/10.1109/niles.2019.8909291.

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"Author index." In IWAT 2005. IEEE International Workshop on Antenna Technology: Small Antennas and Novel Metamaterials, 2005. IEEE, 2005. http://dx.doi.org/10.1109/iwat.2005.1461140.

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"2006 IEEE iWAT: Author Index." In IEEE International Workshop on Antenna Technology Small Antennas and Novel Metamaterials, 2006. IEEE, 2006. http://dx.doi.org/10.1109/iwat.2006.1608959.

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"AUTHOR ATTRIBUTION EVALUATION WITH NOVEL TOPIC CROSS-VALIDATION." In International Conference on Knowledge Discovery and Information Retrieval. SciTePress - Science and and Technology Publications, 2010. http://dx.doi.org/10.5220/0003088402060215.

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Nofasari, Erlinda, Dadang Sunendar, Sumiyadi, and Vismaia S. Damaianti. "Didactic Expression in Islamic Novel Written By Indonesian Author." In 3rd International Conference on Language, Literature, Culture, and Education (ICOLLITE 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.058.

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Piot–Perez-Abadin, Paloma, Patricia Martin–Rodilla, and Javier Parapar. "Experimental Analysis of the Relevance of Features and Effects on Gender Classification Models for Social Media Author Profiling." In 16th International Conference on Evaluation of Novel Approaches to Software Engineering. SCITEPRESS - Science and Technology Publications, 2021. http://dx.doi.org/10.5220/0010431901030113.

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Karlova, Olga. "FEATURES OF THE AUTHOR�S WORLDVIEW IN THE NOVEL BY MIKHAIL BULGAKOV �THE MASTER AND MARGARITA�." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s11.24.

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Kastner, Sebastian, Sung-Pil Choi, and Hanmin Jung. "Author Name Disambiguation in Technology Trend Analysis Using SVM and Random Forests and Novel Topic Based Features." In 2013 IEEE International Conference on Green Computing and Communications (GreenCom) and IEEE Internet of Things(iThings) and IEEE Cyber, Physical and Social Computing(CPSCom). IEEE, 2013. http://dx.doi.org/10.1109/greencom-ithings-cpscom.2013.403.

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Ouyang, Linshu, Yongzheng Zhang, Hui Liu, Yige Chen, and Yipeng Wang. "Gated POS-Level Language Model for Authorship Verification." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/557.

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Authorship verification is an important problem that has many applications. The state-of-the-art deep authorship verification methods typically leverage character-level language models to encode author-specific writing styles. However, they often fail to capture syntactic level patterns, leading to sub-optimal accuracy in cross-topic scenarios. Also, due to imperfect cross-author parameter sharing, it's difficult for them to distinguish author-specific writing style from common patterns, leading to data-inefficient learning. This paper introduces a novel POS-level (Part of Speech) gated RNN based language model to effectively learn the author-specific syntactic styles. The author-agnostic syntactic information obtained from the POS tagger pre-trained on large external datasets greatly reduces the number of effective parameters of our model, enabling the model to learn accurate author-specific syntactic styles with limited training data. We also utilize a gated architecture to learn the common syntactic writing styles with a small set of shared parameters and let the author-specific parameters focus on each author's special syntactic styles. Extensive experimental results show that our method achieves significantly better accuracy than state-of-the-art competing methods, especially in cross-topic scenarios (over 5\% in terms of AUC-ROC).

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Kolysheva, Elena. "THE SPASE OF LIGHT AND DARKNESS IN THE CONTEXT OF THE CREATIVE HISTORY OF M.A. BULGAKOV’S NOVEL THE MASTER AND MARGARITA." In Aktuální problémy výuky ruského jazyka XIV. Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-20.

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This article is devoted to the development of the space of light and darkness in M.A. Bulgakov’s novel «The Master and Margarita». The author explores the different stages and artistic devices of Bulgakov’s work on these images in the context of the creative history of the novel. The article, based on an extensive archival research in the Manuscript Collection of Russian State Library, follows the development of the space of light and darkness through a textual analysis of the whole corpus of manuscripts of this novel

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Reports on the topic "Novel. Author"

1

Roberts, Tony, and Kevin Hernandez. Open Data for Agriculture and Nutrition: A Literature Review and Proposed Conceptual Framework. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/ids.2021.018.

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This paper begins by locating the Global Open Data for Agriculture and Nutrition project (GODAN) in the context of wider debates in the open data movement by first reviewing the literature on open data and open data for agriculture and nutrition (ODAN). The review identifies a number of important gaps and limitations in the existing literature. There has been no independent evaluation of who most benefits or who is being left behind regarding ODAN. There has been no independent evaluation of gender or diversity in ODAN or of the development outcomes or impacts of ODAN. The existing research on ODAN is over-reliant on key open data organisations and open data insiders who produce most of the research. This creates bias in the data and analysis. The authors recommend that these gaps are addressed in future research. The paper contributes a novel conceptual ‘SCOTA’ framework for analysing the barriers to and drivers of open data adoption, which could be readily applied in other domains. Using this framework to review the existing literature highlights the fact that ODAN research and practice has been predominantly supply-side focused on the production of open data. The authors argue that if open data is to ‘leave no one behind’, greater attention now needs to be paid to understanding the demand-side of the equation and the role of intermediaries. The paper argues that there is a compelling need to improve the participation of women, people living with disabilities, and other marginalised groups in all aspects of open data for agriculture and nutrition. The authors see a need for further research and action to enhance the capabilities of marginalised people to make effective use of open data. The paper concludes with the recommendation that an independent strategic review of open data in agriculture and nutrition is overdue. Such a review should encompass the structural factors shaping the process of ODAN; include a focus on the intermediary and demand-side processes; and identify who benefits and who is being left behind.

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