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Relevant bibliographies by topics / Picaresque literature Literature

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Academic literature on the topic 'Picaresque literature Literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Picaresque literature Literature"

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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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Bursina, Maria. "A picaresque MOTIVE IN THE “ANGRY YOuNG MeN’S” LITERATURE." Bulletin of the Moscow State Regional University (Russian philology), no. 5 (2017): 96–103. http://dx.doi.org/10.18384/2310-7278-2017-5-96-103.

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Grazi, Alessandro. "Postmodern tricksters: a comparative approach to contemporary picaresque literature." Incontri. Rivista europea di studi italiani 33, no. 1 (2018): 151. http://dx.doi.org/10.18352/incontri.10248.

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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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Golban, Petru. "Shaping the Verisimilitude: Moral Didacticism and Neoclassical Principles Responsible for the Rise of the English Novel?" BORDER CROSSING 6, no. 2 (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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Téllez, Jorge. "Valuing Literature: The Picaresque and the Writing Life in Mexico." Latin American Research Review 55, no. 1 (2020): 110–21. http://dx.doi.org/10.25222/larr.358.

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Schroth, Terri, and Bryant Smith. "Muddled Origins in Picaresque Literature: The Foreshadowing of Chaotic Lives." Interlitteraria 19, no. 2 (2014): 293. http://dx.doi.org/10.12697/il.2014.19.2.4.

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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 (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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Davis, Nina Cox. "ThePícaroas Jester in the Spanish Picaresque." Romance Quarterly 36, no. 1 (1989): 49–61. http://dx.doi.org/10.1080/08831157.1989.9932605.

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Dunn, Peter N. "The Reader in the Picaresque Novel." Symposium: A Quarterly Journal in Modern Literatures 40, no. 3 (1986): 238–40. http://dx.doi.org/10.1080/00397709.1986.10733603.

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Dissertations / Theses on the topic "Picaresque literature 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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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.<br>Comparative Literature

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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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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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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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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<br>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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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 Literature"

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Garrido Ardila, J. A., ed. The Picaresque Novel in Western Literature. 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. Greenwood, 1989.

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Picaresque narrative, picaresque fictions: A theory and research guide. Greenwood Press, 1989.

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Hermetische Pikareske: Beiträge zu einer Poetik des Schelmenromans. P. Lang, 1992.

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

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Catálogo bibliográfico de la literatura picaresca: Siglos XVI-XX, suplemento. Reichenberger, 1997.

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

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Fools errant: A fantasy picaresque. Maxwell Macmillan Canada, 1994.

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

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

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Book chapters on the topic "Picaresque literature Literature"

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Guyon, Loïc Pierre. "Un aventurier picaresque au XIXe siècle Eugène-François Vidocq." In Abenteurer als Helden der Literatur. 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. 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. 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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"2. Picaresque and Picturesque: Omoo, Typee, Mardi." In The Confidence Game in American Literature. 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. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400869275-005.

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"The Mobile Orphan: Charitable Bodies and the Gentleman’s Picaresque." In The Orphan in Eighteenth-Century Law and Literature. 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. University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442664272-010.

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"5. Genre and Counter genre: The Discovery of the Picaresque." In Literature as System: Essays Toward the Theory of Literary History. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400869275-007.

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Kelso, Sylvia. "The Road and the River." In Biology and Manners. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621730.003.0007.

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This chapter provides a close reading of Lois McMaster Bujold’s later fantasy series The Sharing Knife to explore how the project reworks traditional narrative motifs and crosses genres to blur or mutate expectations and storylines. The chapter argues that the series is neither science fiction nor fantasy, but a hybrid based in fantasy whose setting fits early industrial society and the contours of the post-apocalypse. It draws on motifs of Western women’s writing, with a main female character, Fawn, in flight, but with settings (the road and the river) more commonly associated with the picaresque and, in particular, American road trip literature. The non-realist elements and the secondary world situate the novels as speculative fantasy fiction, only to diverge immediately and repeatedly from the modern fantasy norm.

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