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Relevant bibliographies by topics / Picaresque literature

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Academic literature on the topic 'Picaresque literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Picaresque literature"

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Etyang, Philip, Justus Siboe Makokha, and Oluoch Obura. "Picaresque narrative techniques and popular literature in African prose fiction." Journal of Languages, Linguistics and Literary Studies 2, no. 4 (December 31, 2022): 187–98. http://dx.doi.org/10.57040/jllls.v2i4.341.

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The Picaresque tradition is a mode of writing that began in Spain in the 16th century and flourished in the 17th and 18th centuries throughout the rest of Europe. It is a literary tradition that has continued to influence modern fiction writing to date. The current paper examined the picaresque and popular African literature narrative techniques through conducting an in-depth analysis of the following texts; Kill Me Quick, Mission to Kala, The Angels Die, and A Sport of Nature. To effectively address the task, the study examined narratives and narrative techniques in the prose fiction under study. The paper then deployed the Structural Literary Theory in an effort to decode the intertextuality between the texts. The study established that the texts under study are interconnected through the main characters, especially the picaro/picara. An examination of Gustav Freytag’s narrative structure was conducted and similarities and differences in the narrative structures of the texts under study was observed. The Postcolonial Literary Theory was also consulted where specific strands of the theory as propounded by Vorn Gorp, and Frantz Fanon were blended to furnish the study with the necessary theoretical backbone to exhaustively study picaresque narratives in popular literature. In conclusion, the study established that the Picaresque and Popular Literature writing modes are interconnected through the use plot and main characters. The study also established that the non-linear and episodic plot structures are the most commonly used techniques in picaresque and popular writing modes.

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Ricapito, Joseph V., and Ulrich Wicks. "Picaresque Narrative, Picaresque Fictions: A Theory and Research Guide." World Literature Today 63, no. 3 (1989): 544. http://dx.doi.org/10.2307/40145535.

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de Isla, Francisco, Juan Antonio Llorente, Nancy Vogeley, Francisco de Isla, and Juan Antonio Llorente. "Two Arguments for the Spanish Authorship of Gil Blas." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 454–66. http://dx.doi.org/10.1632/pmla.2010.125.2.454.

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Today Picaresque is a Catch-All Term, Which Literary Critics and General Readers Use to Characterize Almost any Story of playfulness and mischief. It has been stretched across so many national boundaries that any notion of its historical or geographic referents is often lost. The central character, an antihero, seems to express the author's devilry and wit rather than any social criticism. This view, growing out of readers' preference for pleasant entertainment and critics' focus on language and form, sees no more than an on-the-road plot, with “adventures” ending whenever the author chooses to stop. However, this sense of the picaresque forgets the complex, frequently damning portrayal of sixteenth- and seventeenth-century Spain that the picaresque's original stories provided, as well as the contestation of the genre in postrevolutionary France, where it describes high crimes and suggests their punishment.

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Brynhildsvoll, Knut. ""Peer Gynt" – en pikaresk tekst?" Studia Scandinavica, no. 2 (22) (December 28, 2018): 78–101. http://dx.doi.org/10.26881/ss.2018.22.05.

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The term picaresque is usually limited to narrative forms of expression, prose fiction and novels. New research has, however, shown that the designation is far more heterogeneous and includes certain kinds of poetry, comedy, and opera libretti. If the picaresque genre is defined in terms of common contents, topics and motifs, it comprises the drama and the theatre as well. It is significant that Lazarillo de Tormes (1554), the first picaresque novel in Spain, already contains dramatic scenes and passages of dialogue. This extended and hybrid genre understanding of picaresque narrative legitimizes this essay’s approach, focusing on individual, thematic and formal elements which link the plot of Peer Gynt to the main features of picaresque literature.

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Muharam, Muhamad Ghifari, Tenny Sudjatnika, and Pepen Priyawan. "PICARESQUE NOVELS IN CANNERY ROW, CANDIDE OR OPTIMISM, AND DON QUIJOTE." Saksama 1, no. 2 (December 8, 2022): 164–76. http://dx.doi.org/10.15575/sksm.v1i2.25098.

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The research compared rascals in three Picaresque novels: Cannery Row, Candide or Optimism, and Don Quijote. It used Picaresque theories from Clarence Hugh Holman (1972), as well as Gustavo Pellon and Julio Rodriguez-Luis (1986), that specified rascal or rogue. This understanding explains how some Picaresque novels feature rascal characters who are silly, stupid, reckless, rude and have other negative traits, but they also have qualities of kindness, a good heart, and attentiveness hidden behind them. Mack and the boys, Candide, and Don Quijote are all depicted as rogues. The Picaresque element is used as a formula in the story to determine and exemplify rascal values. The researcher stated two problems related to Picaresque rascal: what are the similarities between Picaresque rascals in Cannery Row, Candide or Optimism, and Don Quijote? In addition, the purpose of this research is to identify Picaresque rascals in three objects. Furthermore, this research utilizes Ian Dey's (1993) literary criticism method, namely qualitative analysis. It is used to decipher the data of each object one by one and to obtain information about the Picaresque. The researcher then used Susan Bassnett's (1999) comparative method to compare topics. The similarities between the three objects are the results of this research. The similarities are rascals, education, instability of personality, criminality, and themes. Keywords: Comparative Literature 1; Elements 2; Novel 3; Picaresque 4; Rascal 5

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Ding, Yiwen. "La picaresca en la narrativa china e hispanoamericana: estudio comparativo." LETRAS, no. 71 (January 2, 2022): 57–81. http://dx.doi.org/10.15359/rl.1-71.3.

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This work describes traces of the picaresque novel in literature outside Europe by analyzing and comparing two novels from the perspective of the picaresque genre, one from Cuba, El Rey de La Habana, and the other from China, Leaving Home at 18. It is based on the criteria proposed by Fernando Cabo Aseguinolaza and has found that these two novels have characteristics of the picaresque genre despite the fact that in El Rey de La Habana these characteristics are more evident according to the referentialist orientation, while in the other one the picaresque character is more easily verified from the formal perspective.

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Golban, Petru. "Shaping the Verisimilitude: Moral Didacticism and Neoclassical Principles Responsible for the Rise of the English Novel?" BORDER CROSSING 6, no. 2 (August 17, 2016): 195–218. http://dx.doi.org/10.33182/bc.v6i2.491.

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The rise of the novel is a major aspect of the eighteenth century British literature having a remarkable typology: picaresque, adventure, epistolary, sentimental, of manners, moral, comic, anti-novel. The comic (including satirical) attitude, social concern, moral didacticism, and other thematically textualized aspects – emerging from both picaresque tradition and neoclassical principles – and together with picaresque tradition and neoclassical principles – are responsible for the emergence of verisimilitude as the forming element responsible in turn for the rise of the literary system of the novel.

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Johnson, Carter Davis. "Steinbeck Laughing." Steinbeck Review 18, no. 2 (2021): 149–61. http://dx.doi.org/10.5325/steinbeckreview.18.2.0149.

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Abstract Since the publication of Bill Steigerwald's Dogging Steinbeck, some commentators have exclaimed outrage at the discovered fictional embellishments in Travels with Charley. Steigerwald concludes that Steinbeck's trans-American vagabonding was a literary fraud. Others have defended the work's persisting merit, acknowledging the artistic license which Steinbeck invokes. A byproduct of the debate is the new challenge of determining a fitting genre for the text. This essay proposes that Travels is best understood as a picaresque novel. Specifically, Steinbeck creates an American picaresque that embraces the elision of fact and fiction, providing social commentary through the eyes of a wandering adventurer. In order to situate the book within the genre, the essay discusses Travels in relation to Royall Tyler's The Algerine Captive, perhaps the first American picaresque novel. While both texts align with the foundational elements of the genre, they maintain a distinctively American element, an optimistic call for national unity along with a conception of a shared identity. By understanding Travels within the American picaresque tradition, scholars can circumvent the largely inconsequential arguments about degrees of factuality, allowing the rich cultural commentary to occupy the forefront of interpretation.

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Clamurro, William H., and Ulrich Wicks. "Picaresque Narrative, Picaresque Fictions: A Theory and Research Guide." South Central Review 9, no. 1 (1992): 125. http://dx.doi.org/10.2307/3189400.

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Radlwimmer, Romana. "Orangen aus Algerien. Tony Gatlifs filmische Pikaresken." Romanische Forschungen 134, no. 2 (June 15, 2022): 197–213. http://dx.doi.org/10.3196/003581222835378634.

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Les récits cinématographiques du réalisateur, auteur, musicien, compositeur et produc- teur franco-algérien Tony Gatlif fonctionnent selon les lois picaresques qu'il réinvente pour débattre les logiques eurocentriques Les personnages principaux sont des acteurs transculturels dotés de voix fortes qui se passent des normes bourgeoises Ils sont astucieux et malins, vivent des aventures épisodiques à travers lesquelles ils évoluent; ils mendient, mentent, volent et ils célèbrent leur hédonisme de manière corporelle Gatlif construit des sujets fragmentés et semble interrompre la perspective autobiographique du picaresque classique, mais la réintroduit dans les bandes sonores et les chansons avec des narrateurs subalternes L'adaptation littéraire Mondo (1995) oriente le regard vers le Maghreb L'image des oranges flottantes sur la Méditerranée, décorées de caractères arabes, est décisive sur le plan épistémologique Exils (2004) accompagne le couple de voyous Zano et Naïma dans leur migration de la banlieue parisienne vers Alger L'objectif narratif n'est plus la promotion sociale, mais la reconquête de la mémoire culturelle algérienne, que les pro- tagonistes revendiquent à travers les personnes qui émigrent d'Afrique, et finalementen Algérie même Cette contribution propose un regard sur les films de Gatlif par le prisme du picaresque et des Epistémologies du Sud, et démontre ainsi comment les deux lignes de pensée convergent dans son æuvre.

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Dissertations / Theses on the topic "Picaresque literature"

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Feros, Kate. "Counter-discourse in Australian political literature : the picaresque /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17430.pdf.

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Ryan, Cathy L. "Beyond housekeeping: the American picara in twentieth century narrative /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487854314870409.

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Öllerer-Einböck, Birgit. "The English picaresque tradition beginnings to the eighteenth century." Saarbrücken VDM Verlag Dr. Müller, 2005. http://d-nb.info/989022080/04.

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Akalay, Mohamed. "Las maqāmāt y la picaresca al-Hamad̲ānī y al-Ḥarīrī, Lazarillo de Tormes y Guzmán de Alfarache /." Mohammedia, Maroc : Imprimerie de Fédala, 1998. http://books.google.com/books?id=4ZVZAAAAMAAJ.

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Ramirez-Nieves, Emmanuel. "Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqama." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467380.

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Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqāma, investigates the significance of conversion narratives and penitential elements in the Spanish picaresque novels Vida de Guzmán de Alfarache (1599 and 1604) by Mateo Alemán and El guitón Onofre (circa 1606) by Gregorio González as well as Juan Ruiz’s Libro de buen amor (1330 and 1343) and El lazarillo de Tormes (1554), the Arabic maqāmāt of al-Ḥarīrī of Basra (circa 1100), and Ibn al-Ashtarkūwī al-Saraqusṭī (1126-1138), and the Hebrew maqāmāt of Yehudah al-Ḥarizi (circa 1220) and Isaac Ibn Sahula (1281-1284). In exploring the ways in which Christian, Muslim, and Jewish authors from medieval and early modern Iberia represent the repentance of a rogue, my study not only sheds light on the important commonalities that these religious and literary traditions share, but also illuminates the particular questions that these picaresque and proto-picaresque texts raise within their respective religious, political and cultural milieux. The ambiguity that characterizes the conversion narrative of a seemingly irredeemable rogue, I argue, provides these medieval and early modern writers with an ideal framework to address pressing problems such as controversies regarding free will and predestination, the legitimacy of claims to religious and political authority, and the understanding of social and religious marginality.
Comparative Literature

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Brunette-Lopez, Danny. "Laughing at the past: Subversive humor in the Spanish picaresque and its cultural context." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280466.

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In picaresque fiction, subversive humor is related to genre, thematic unity, narrator/protagonists' points of view, and it illustrates fictionalized reality that is linked to contemporaneous culture and society. In this dissertation, I employ theories on humor---superiority, incongruity, release, and entropic---to study humorous episodes in Lazarillo de Tormes (1554), Guzman de Alfarache (1599, 1604) and El buscon (1626). Chapter one provides an overview of theories on humor, beginning with Plato and Aristotle and including modern theorists such as Victor Raskin, Marvin Koller and Patrick O'Neill. The superiority theory begins with Plato and Aristotle and acquires popularity in the seventeenth century with the philosophers Thomas Hobbes and Rene Descartes. The incongruity theory, which treats playful humor, originates in the eighteenth century with philosophers such as Francis Hutcheson, James Beattie and Emmanuel Kant. This theory is also associated with black humor that combines violent extremes of horror and humor and causes people to become both horrified and amused. The release theory, which emanates from Freud's ideas on psychoanalysis relates to an individual's release of forbidden thoughts, inhibitions and anxieties. O'Neill's entropic humor theory, which is related to satire, irony and parody, erodes truths and certainty and exposes the disruption of ordered systems. Henri Bergson's study of laughter functions as a social corrective while Mikhail Bakhtin's view of carnivalesque laughter signifies the symbolic destruction of authority and official culture. Chapter two studies the entropic narrator in Lazarillo de Tormes and the ways in which humor reflects a breakdown of traditional perceptions of reality, the crumbling of ordered systems and the erosion of truth and certainty related to sixteenth-century Spain. Chapter three analyzes four types of humor in Guzman de Alfarache that deal with social and moral dishonesty, horror and humor and literary vengeance. Chapter four treats grotesque black humor in the Buscon that relates to death, gallows humor (galgenhumour), cannibalism and the mutilation of a human corpse (reductio ad absurdum). Subversive humor in picaresque fiction conceptualizes reality that is linked to thematic unity, points of view and the poetics of culture and environment of Spanish society during the sixteenth and seventeenth centuries.

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Abdessalem, Mouna. "Le héros picaresque dans l'oeuvre de Charles Coypeau d'Assoucy." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSES041/document.

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Dassoucy a fait de ses Aventures burlesques un plaidoyer « historique ». Il se présente comme un personnage en quête de son existence, d'une cohérence de valeurs et de sentiments ; cette quête se définit comme une bataille contre les contraintes sociales,juridiques et religieuses, et génère une conception de la vie comme espace de liberté et d'aspiration à l'authenticité.Mon objectif était de rappeler les origines du genre pour mettre en évidence la spécificité du héros picaresque chez Dassoucy, tout à fait différente du picaresque traditionnel. Comme de nombreux écrivains de son époque, Théophile de Viau, Cyrano et Chapelle,Dassoucy nous montre l'envers du Grand~siècle. La pensée libertine n'est pas l'apanage de Dassoucy mais elle est beaucoup plus claire chez lui. Il s1agit de libertinage des moeurs, dont les traits apparaissent dans l'obscénité diogénique de l'auteur, dans ses impostures et surtout dans son discours libertin chargé de propos audacieux - obscènes ou blasphématoires. Toutes les contraintes sont rejetées, toutes les limites sont dépassées. La complexité de la réception du texte dassoucien dont la saisie échappe au commun des lecteurs, surtout celui habitué à la continuité et à la linéarité des textes classiques, fait la modernité de son libertinage. Le lecteur est dans ! 'obligation de s'adapter à cette nouvelle forme d'écriture en rompant avec ses habitudes et en déchiffrant l'écriture burlesque de Dassoucy
Dassoucy turned his Burlesque adventures into a "historical" plea. The main character is in search of the meaning of his own life, a coherence of values and feelings; this quest is defined as a battle against social, legal and religious constraints,and generates a conception of life as an area of freedom and aspiration to authenticity. My objective was to point out the origins of the genre in order to highlight the specificity of the picaresque hero in Dassoucy's works, quite different from traditional picaresque. Like many writers of his time, Theophile de Viau, Cyrano and Chapelle, Dassoucy shows us the dark side of the Great Century. Libertine thought is not the prerogative of Dassoucy, but it is much clearer in his work. It is the libertinism of a way of life, whose features appear in the Diogenic obscenity of the author, in his impostures, and especially in his libertine discourse, loaded wîth audacious, obscene and blasphemous rernarks. Ali constraints are rejected. The complexity of the text constitutes the modernity of such a libertinism. The reader is obliged to break with his Iiterary conventions and habits in order to decipher the burlesque writing of Dassoucy

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Halvonik, Brent N. "The rhetoric of picaresque irony : a study of the Satyricon and Lazarillo de Tormes /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974637.

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Gebauer, Mirjam. "Wendekrisen der Pikaro im deutschen Roman der 1990er Jahre /." Trier : WVT, Wissenschaftlicher Verlag Trier, 2006. http://catalog.hathitrust.org/api/volumes/oclc/70840926.html.

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Dilley, Whitney Crothers. "The Ju-lin wai-shih : an inquiry into the picaresque in Chinese fiction /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6620.

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Books on the topic "Picaresque literature"

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Garrido Ardila, J. A., ed. The Picaresque Novel in Western Literature. Cambridge: Cambridge University Press, 2015. http://dx.doi.org/10.1017/cbo9781139382687.

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Wicks, Ulrich. Picaresque narrative, picaresque fictions: A theory and research guide. New York: Greenwood, 1989.

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1943-, Maiorino Giancarlo, ed. The picaresque: Tradition and displacement. Minneapolis, Minn: University of Minnesota Press, 1996.

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Compton, Timothy G. Mexican picaresque narratives: Periquillo and kin. Lewisburg, Pa: Bucknell University Press, 1997.

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Laurenti, Joseph L. Catálogo bibliográfico de la literatura picaresca: Siglos XVI-XX. 2nd ed. Kassel [Germany]: Edition Reichenberger, 2000.

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Frugoni, Francesco Fulvio. Il tribunal della critica. Parma: Fondazione Pietro Bembo, 2001.

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Terán, Néstor Taboada. Capricho español: Crónica de un descubrimiento. Cochabamba, Bolivia: Editorial Océano, 1992.

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González, Mario M. A saga do anti-herói: Estudo sobre o romance picaresco espanhol e algumas de suas correspondências na literatura brasileira. São Paulo: Embajada de España, Consejería de Educación, 1994.

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Carmen, Benito-Vessels, Zappala Michael O. 1948-, and University of Maryland at College Park. Center for Renaissance and Baroque Studies., eds. The Picaresque: A symposium on the rogue's tale. Newark: University of Delaware Press, 1994.

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Hartveit, Lars. Workings of the picaresque in the British novel. Norway: Solum, 1988.

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Book chapters on the topic "Picaresque literature"

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Guyon, Loïc Pierre. "Un aventurier picaresque au XIXe siècle Eugène-François Vidocq." In Abenteurer als Helden der Literatur, 257–68. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02877-8_19.

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de Abreu, Maria Fernanda. "The picaresque in Iberia and America (nineteenth to twentieth century)." In Comparative History of Literatures in European Languages, 184–99. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/chlel.xxix.17dea.

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McDonagh, Josephine. "The Political Picaresque." In Literature in a Time of Migration, 185–218. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895752.003.0006.

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At the end of the 1840s, authored by Chartist Thomas Martin Wheeler, a new form of fiction—the ‘political picaresque’—deliberately eschewed the conventions of the bourgeois novel, especially the marriage plot, and its linking of marriage and inheritance with the appropriation of land. Wheeler’s formal innovations responded to the conditions of a time in which emigration, land reform, globalization, and the rise of nationalisms across Europe stirred people’s feelings in contrary ways. For Chartists, land ownership was tied to a history of encroachment which had impoverished working people since medieval times. In the 1840s, these long-standing concerns were exacerbated by colonial emigration schemes that targeted working-class people for removal abroad. As it aimed to rehouse thousands of working-class people in new colonies in Britain rather than overseas, the Chartist Land Plan was a radical response to these conditions. Beset with problems, the Land Plan collapsed at the same moment at which the Chartist movement failed to achieve its political aims. In this context, Wheeler uses the novel as a fictional form in which to reimagine a democratic future. He narrativizes the transitory relationships between people and places that exist in situations of profound precarity, and creates a distinctive kinetic and spatial ecology within his text, central to which is a distinctive use of the term ‘occupation’ to encapsulate the inhabitation, rather than appropriation, of land. Although Wheeler’s new genre was short-lived, it represents a significant attempt to recast the novel as a mode in which to imagine alternative futures.

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Seymour, Laura. "Walking Without God – (Mis) Learning Through the Gait in Mateo Alemán’s Guzmán de Alfarache (1599 and 1604) and James Mabbe’s The Rogue (1622)." In Refusing to Behave in Early Modern Literature, 36–57. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491808.003.0003.

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Discusses the picaresque gait in the 2-volume novel Guzmán de Alfarache (1599-1604)by Mateo Alemán and its 1622 translation by James Mabbe called The Rogue. Analyses the ways in which walking has moral valence in this novel. Argues that the novel’s embodied imagery of picaresque walking has a more vivid and lasting impact on readers than its moralising words.

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Khoreva, Larisa G. "Picaresque Traditions in Nikolai Gogol’s Works." In The Non-Euclidean Geometry of Yuri Mann: In Memoriam, 198–207. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. http://dx.doi.org/10.22455/978-5-9208-0754-0-198-207.

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This article makes use of componential and comparative methods to trace the influence of the Spanish picaresque novel on classical Russian literature. It draws on material from the works of Mateo Aleman, Francisco de Quevedo and Nikolai Gogol. Picaro as a modal personality in the Weberian sense of the word appears in different works of Russian literature, including “The Captain’s Daughter” by A. Pushkin, who largely repeated the structure of the Spanish picaresque novel and its main plot lines in an attempt to create the first historical novel in Russian literature. Gogol made use of Picaro’s mask as a mirror reflecting the vices of contemporary Russia. The heroes of Gogol’s works undergo a school of life that becomes a vivid example of anti-education. The latter engenders an antihero who exists in full agreement with the behavioural patterns of contemporary society. All of this shows that the memory of the Spanish picaresque genre clearly manifested itself in selected works of Russian literature.

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"2. Picaresque and Picturesque: Omoo, Typee, Mardi." In The Confidence Game in American Literature, 42–72. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400871643-004.

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"3. Toward a Definition of the Picaresque." In Literature as System: Essays Toward the Theory of Literary History, 71–106. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400869275-005.

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Rodríguez Álamo, Francisco de Borja. "La ironía y la parodia en las novelas cervantinas como respuesta al género picaresco." In Admiración del mundo Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-579-7/016.

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One of the main characteristics of Cervantes’s novel is irony, which appears perhaps in all his texts. Irony and parody are not exclusive to the Cervantine novel, even to the picaresque novel, although they make here one of their first great appearances in the genre of the novel. Which is crucial for the latter’s development and subsequent consolidation. Irony is a search for a new way of understanding literature. In the present work, an analysis of one of the positions that Cervantes adopts before the competition and stimulation that the morphological proposals of picaresque, from Lazarillo to Guzmán, through his novels, from the praise to freedom, is intended of the picaresque life of the illustrious mop; the moment in which Rincon and Cortado laugh at the devotion of the brotherhoods of Monipodio thinking that they would be saved from their crimes, or from the linguistic mistakes of the brothers; against the digressions of the Guzman in the mouth of Cipión, or the mere conversion of the rogues into dog-men, without forgetting the words of Ginés de Pasamonte about autobiography.

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"The Mobile Orphan: Charitable Bodies and the Gentleman’s Picaresque." In The Orphan in Eighteenth-Century Law and Literature, 237–68. Routledge, 2016. http://dx.doi.org/10.4324/9781315554877-13.

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Friedman, Edward H. "8. Picaresque Partitions: Spanish Antiheroes and the Material World." In Objects of Culture in the Literature of Imperial Spain. Toronto: University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442664272-010.

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Conference papers on the topic "Picaresque literature"

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Popescu, Dana Nicoleta. "Picaresque Governesses in Emilia Lungu-Puhallo’s and Charlotte Brontë’s Works." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.04.

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Emilia Lungu-Puhallo is mainly known as the founder of the first Romanian school for girls in the Banat while the region belonged to the AustroHungarian Empire. As a prose writer, she was interested in creating dignified characters, with strong feelings. The governess, often a protagonist in Emilia Lungu-Puhallo’s prose, appears for the first time as a main character in Romanian literature. Interesting affinities can be discovered between Emilia Lungu-Puhallo’s novel „Elmira” and Charlotte Brontë’s „Jane Eyre” regarding their view on educating themselves and giving other young women a chance to attend school. Although their strong moral Christian beliefs are at the core of their novels, both protagonists experience picaresque adventures while trying to find their own place in the world.

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