Journal articles: 'Picaresque literature Literature'

1

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Clegg, Cyndia Susan. "Pacific Ancient and Modern Language Association." PMLA/Publications of the Modern Language Association of America 114, no. 4 (1999): 911. http://dx.doi.org/10.1632/s0030812900154057.

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The association's ninety-seventh convention will he held 5–7 November 1999 at Portland State University in Portland, Oregon, under the sponsorship of the dean of Letters and Sciences and the Departments of English and Languages and Literatures. Inger Olsen is serving as local chair. The program will represent the association members' diverse interests in all matters of language and literature in classical, Western, and non-Western languages. The thirty-one general sessions will include papers on classical, Romance, Germanic, Scandinavian, English, American, and Asian literatures, as well as on linguistics, rhetoric, gay and lesbian literature, film, matrilineal culture, autobiography, poetry and poetics, and critical theory. Among the thirty special sessions are sessions on picaresque literature, Shakespeare and popular literature, Native American literature, Russian literature, Slavic literature, Toni Morrison in the 1990s, Caribbean literature, and cybertextbooks in foreign language education. Several special sessions have been organized by Portland State University and PAMLA affiliate organizations Women in French, MELUS, and the Milton Society of America. Registration at the conference will be $35 and $25. All paper sessions are scheduled for classrooms at Portland State University and will begin Friday at 1:00 p.m. and end Sunday at 1:00 p.m.

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12

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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13

Hague, Angela. "Picaresque Structure and the Angry Young Novel." Twentieth Century Literature 32, no. 2 (1986): 209. http://dx.doi.org/10.2307/441383.

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14

Lickhardt, Maren. "Comedy and Biography in the Reckless Student (Anonymous, 1681) (Schwankhaftes und Biographisches im Ruchlosen Studenten (anonym, 1681))." Daphnis 45, no. 1-2 (2017): 277–303. http://dx.doi.org/10.1163/18796583-04502013.

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This essay discusses the transformation and breakdown of the picaresque in the late 17th century, with specific reference to narrative strategies used in Der ruchlose Student (1681), an anonymous and fragmentary German translation of a Dutch text – picaresque in the broader sense. These strategies, it is argued, reveal both an internalisation of the first-person narrator and early manifestations of a causally motivated (biographical) syntagma. By way of example, it is demonstrated how the typical affectively flat, villainous narrator of earlier picaresque novels, as well as the episodic structure of these texts, are transformed in Der ruchlose Student such as to enable the emergence of a more modern individual within the framework of a more consistent story line. As such, this essay contributes indirectly to scholarly discussions relating to the embourgeoisement of the picaro figure. Der folgende Text stellt einen Beitrag zu Um- und Abbauten des Pikaresken gegen Ende des 17. Jahrhunderts dar. Er widmet sich den narrativen Strategien in dem anonym verfassten Romanfragment Der ruchlose Student (1681), der deutschen Übersetzung eines niederländischen Schelmenromans im weiteren Sinne, die eine Verinnerlichung des pikaresken Ich-Erzählers sowie erste Ausprägungen eines kausal motivierten (biographischen) Syntagmas erkennen lassen. Exemplarisch wird also herausgearbeitet, wie sich der typische pikareske statische Erzähler älterer Schelmenromane sowie deren episodische Handlungsführung in Ansätzen transformieren und ein moderneres Individuum in einem konsistenteren Handlungsgefüge aufscheint. Indirekt schließt der Beitrag damit an die Debatte um die Verbürgerlichung des Pikaros an.

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15

Gussago, Luigi. "The Contribution of Comparative Literature to the Humanities: Open Endings in the Picaresque." International Journal of Literary Humanities 13, no. 4 (2015): 25–37. http://dx.doi.org/10.18848/2327-7912/cgp/v13i04/43940.

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16

Zaffarami Berlenghini, Rita. "Stendhal picaresque? Tours et détours d’écriture." Studi Francesi, no. 150 (L | III) (December 31, 2006): 478–95. http://dx.doi.org/10.4000/studifrancesi.27031.

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17

Parrack, John C., and Giancarlo Maiorino. "The Picaresque: Tradition and Displacement." Hispanic Review 66, no. 1 (1998): 91. http://dx.doi.org/10.2307/474782.

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18

Finney, Brian. "Migrancy and the Picaresque in Timothy Mo'sRenegade or Halo2." Critique: Studies in Contemporary Fiction 49, no. 1 (2007): 61–76. http://dx.doi.org/10.3200/crit.49.1.61-76.

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19

Jouanno, Corinne. "Ésope au pays des Précieuses : avatars d'un héros picaresque." Dix-septième siècle 245, no. 4 (2009): 749. http://dx.doi.org/10.3917/dss.094.0749.

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20

Snyder, Robert Lance. "Romancing The Adventure: Geoffrey Household'sAgainst The WindAs Picaresque Autobiography." Prose Studies 35, no. 3 (2013): 239–49. http://dx.doi.org/10.1080/01440357.2013.878995.

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21

Laskin, Emily. "Geography, Genre, and Narrative in Kipling's Kim." Novel 54, no. 1 (2021): 43–64. http://dx.doi.org/10.1215/00295132-8868779.

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Abstract This article examines Kipling's 1901 novel Kim in light of the period's contemporary geopolitical events, arguing that the novel imagines both the end of the British Empire and a utopian state in which empire is static and eternal. The essay uncovers a parallel between the geographic regions on India's periphery, toward which the novel's action drives but which it never ultimately reaches, and two “developmental genres,” the picaresque and the bildungsroman, which the novel holds in tension. It argues further that whereas earlier studies of Kim and the bildungsroman have explained Kim's thwarted temporality as a novel about a period newly unmoored from the stabilizing concept of the nation-state, they do not account for the politicized space of Kipling's South Asia. This article shows that just as temporal development was becoming more open-ended and abstract, spatial development in the non-European world was becoming increasingly circumscribed. Kim therefore requires not just a youthful hero and a deferred Bildung but also an unreachable region—Central Asia, to India's north—and a thwarted picaresque narrative in order to represent the newly burgeoning globalized order.

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22

Júnior, Paulo De Tarso Cabrini. "O pícaro beato e o beato pícaro." Revista do Centro de Estudos Portugueses 24, no. 33 (2004): 97. http://dx.doi.org/10.17851/2359-0076.24.33.97-105.

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<p>Estudo sobre as novelas picarescas portuguesas dos séculos XVI, XVII e XVIII e a influência do Tribunal da Inquisição em sua feitura.</p> <p>A study on portuguese picaresque literature, during the XVI, XVII e XVIIIth centuries, and the influence of Inquisition on its making.</p>

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23

Rabaté, Philippe. "Michel Cavillac, « Atalayisme » et picaresque." Mélanges de la Casa de Velázquez, no. 39-1 (April 15, 2009): 255–57. http://dx.doi.org/10.4000/mcv.359.

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24

Truman, Ronald. "A. A. Parker and the Spanish Picaresque Novel." Bulletin of Spanish Studies 85, no. 6 (2008): 107–17. http://dx.doi.org/10.1080/14753820802542341.

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25

Johnson, Carroll B., and Edward H. Friedman. "The Antiheroine's Voice: Narrative Discourse and Transformations of the Picaresque." Comparative Literature 42, no. 3 (1990): 268. http://dx.doi.org/10.2307/1770493.

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26

Finnegan, Nuala, and Timothy G. Compton. "Mexican Picaresque Narratives: 'Periquillo' and Kin." Modern Language Review 95, no. 3 (2000): 873. http://dx.doi.org/10.2307/3735579.

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27

Ricapito, Joseph V., and James T. Monroe. "The Art of Badī' az-Zamān al-Hamadhānī as Picaresque Narrative." World Literature Today 60, no. 1 (1986): 185. http://dx.doi.org/10.2307/40141438.

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28

Apostoli, Persa. "The European itinerary of the picaresque novel and its traces in 19th century Greek literature." Neohelicon 31, no. 2 (2004): 53–61. http://dx.doi.org/10.1007/s11059-004-0533-y.

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29

Parrack, John C., and Peter N. Dunn. "Spanish Picaresque Fiction: A New Literary History." Hispanic Review 65, no. 2 (1997): 242. http://dx.doi.org/10.2307/474415.

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30

Longnurst, C. A., and Peter N. Dunn. "Spanish Picaresque Fiction: A New Literary History." Modern Language Review 90, no. 1 (1995): 221. http://dx.doi.org/10.2307/3733344.

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31

Garrido Ardila, Juan Antonio. "The picaresque and the rise of the English novel: Bunyan’s Mr Badman." Revue de littérature comparée 363, no. 3 (2017): 259. http://dx.doi.org/10.3917/rlc.363.0259.

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32

Ricapito, Joseph V. "Helen H. Reed.The Reader in the Picaresque Novel.London: Tamesis Books, 1985. 120pp." Romance Quarterly 35, no. 1 (1988): 113–15. http://dx.doi.org/10.1080/08831157.1988.9932590.

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33

Cobo-Piñero, M. Rocío. "NoViolet Bulawayo’s We Need New Names (2013): Mobilities and the Afropolitan picaresque." Journal of Postcolonial Writing 55, no. 4 (2019): 472–85. http://dx.doi.org/10.1080/17449855.2018.1540161.

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34

Arciello, Daniele. "Un ejemplo de reelaboración de un cuento de animales en dos novelas picarescas (Alonso, mozo de muchos amos y Lazarillo de Manzanares)." Edad de Oro 39 (November 4, 2020): 237–51. http://dx.doi.org/10.15366/edadoro2020.39.013.

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The key characteristic of Seventeenth century literature was the binding connection between oral tradition and written production. The two elements gave birth to what is currently considered as one of the most significant cultural prosperity age for Spain. Taking into account these considerations, the present article proposes to analyse the re-elaboration of a folkloric animal tale in two works attributed to the picaresque genre. After a review of the central aspects of protagonists’ personality in the novels in question, it will be highlighted each author’s personal contributions, as a result of the remodelling of the tale, subjugated to their ethic-literary intentions.

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35

Blackwell, Frieda H., and Peter N. Dunn. "Spanish Picaresque Fiction: A New Literary History." South Central Review 13, no. 4 (1996): 82. http://dx.doi.org/10.2307/3189821.

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36

Almond, Ian. "Rogues of Modernity: Picaresque Variations in the Postcolonial Genre of the Enlightenment Missionary." Orbis Litterarum 61, no. 2 (2006): 96–113. http://dx.doi.org/10.1111/j.1600-0730.2006.00882.x.

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37

Dunn, Peter N., Carmen Benito-Vessels, and Michael Zappala. "The Picaresque: A Symposium on the Rogue's Tale." Hispanic Review 63, no. 4 (1995): 603. http://dx.doi.org/10.2307/474750.

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38

Oakley, R. J., Carmen Benito-Vessels, and Michael Zappala. "The Picaresque: A Symposium on the Rogue's Tale." Modern Language Review 91, no. 3 (1996): 774. http://dx.doi.org/10.2307/3734170.

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39

Sears, Theresa Ann. "Sight unseen: blindness, form and reform in the Spanish picaresque novel." Bulletin of Spanish Studies 80, no. 5 (2003): 531–43. http://dx.doi.org/10.1080/1475382032000140514.

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40

Bertin-Élisabeth, Cécile. "Métamorphoses ichtyologiques et asines dans la littérature picaresque." Bulletin hispanique, no. 117-2 (December 15, 2015): 531–48. http://dx.doi.org/10.4000/bulletinhispanique.4025.

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41

London, John, and B. W. Ife. "Reading and Fiction in Golden-Age Spain: A Platonist Critique and Some Picaresque Replies." Comparative Literature 39, no. 4 (1987): 375. http://dx.doi.org/10.2307/1771102.

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42

WILLIS, A. L. "Revisiting the Circuitous Odyssey of the Baroque Picaresque Novel: Reinaldo Arenas's El mundo alucinante." Comparative Literature 57, no. 1 (2005): 61–83. http://dx.doi.org/10.1215/-57-1-61.

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43

Hamilton, Michelle. "Rogues and Genres: Generic Transformation in the Spanish Picaresque and Arabic Maqama." Bulletin of Spanish Studies 84, no. 1 (2007): 122–24. http://dx.doi.org/10.1080/14753820601140776.

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44

Bellemare, Alex. "Paris polymorphe: égarements et détours dans Polyandre de Charles Sorel." Nottingham French Studies 59, no. 1 (2020): 67–79. http://dx.doi.org/10.3366/nfs.2020.0272.

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Polyandre (1648), Charles Sorel's unfinished novel, deconstructs the picaresque schema which traditionally operates in seventeenth century comic novels. Sorel, in the preface which accompanies the last avatar of his comic trilogy, develops an aesthetic of diversity based on naturalness. An urban pícaro, Polyandre, a middle-aged man back in Paris after a provincial interlude, abandons the formative aspect of the ‘Grand Tour’ in favour of the art of perambulation. A bourgeois novel, depicting the life of the most varied and mediocre figures, Polyandre is also an impressive account of the topography of Paris and social archetypes circulating inside this burlesque geography. In fact, Polyandre's wanderings act as an aggregator of typified characters: the picaresque character, conventionally defined by his social mobility and his moral permeability, becomes, by comic transposition, a vagrant and a judge. But these burlesque shifts are also a metaphorical expression of the very function of comic novels, which is to be a social laboratory.

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45

Williamson, Edwin. "Challenging the hierarchies: the interplay of romance and the picaresque inLa ilustre fregona." Bulletin of Spanish Studies 81, no. 4-5 (2004): 655–74. http://dx.doi.org/10.1080/1475382042000254445.

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46

Wenzel, M. "Gordimer’s rendition of the picaresque in A Sport of Nature." Literator 14, no. 1 (1993): 47–64. http://dx.doi.org/10.4102/lit.v14i1.689.

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The aim of this article is twofold: firstly, to explore the picaresque elements present in Nadine Gordimer’s A Sport of Nature and secondly, to relate them to her more pronounced stance on feminism which has evolved since the 1980s. I suggest that an appropriate reading strategy would not only foreground these issues but also highlight A Sport of Nature as one of her most underrated novels. Following the example of the Latin American authors Isabel Allende and Elena Poniatowska, Cordimer has appropriated the picaresque tradition as an ideal vehicle to depict the elements of social critique and feminist assertion which characterize A Sport of Nature. The ironic retrospective stance on society, conventionally represented by a picaro as a social outcast, is reinforced by the introduction of a picara, thereby underlining the double marginalization of women as subjects and sexual objects. I propose that a feminist-oriented reading of the text which recognizes this subversive quality, would lend a different dimension to its interpretation. The character of Hillela serves as an implicit example of female ingenuity which attains political equality through devious means despite, and as a result of, the constraints of a hypocritical society and an entrenched patriarchal system. Seen from this perspective, the seemingly disparate elements of the novel coalesce to present a damning picture of contemporary society.

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47

Lewis, Thomas E., and Edward H. Friedman. "The Antiheroine's Voice: Narrative Discourse and Transformations of the Picaresque." Hispanic Review 57, no. 3 (1989): 378. http://dx.doi.org/10.2307/473606.

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48

Chambers, Claire. "Representations of the Oil Encounter in Amitav Ghosh’s The Circle of Reason." Journal of Commonwealth Literature 41, no. 1 (2006): 33–50. http://dx.doi.org/10.1177/0021989406062828.

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This article analyses the handling of generic form in the middle section of Amitav Ghosh’s The Circle of Reason (1986), a section which has hitherto received little critical attention and which some readers find puzzling. In particular, it examines two literary modes used by Ghosh in representing a fictional Middle Eastern state: the picaresque and social realism. This well-demarcated textual focus forms the foundation for larger points about Ghosh’s writing, his critique of contemporary capitalist values and Western imperialism. Additionally, the article adumbrates ways in which Ghosh’s critique of the Oil Encounter can be connected to recent political developments, such as the so-called “war on terror”. It is also a significant contribution to writing on oil. Colonial sugar, spice, and even cod have all received due attention, while oil, the author suggests, remains woefully under-discussed, given its determining role in contemporary economies.

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49

Ilunina, Anna A. "Intertextual dialogue with Victorian literature in the novels by Sarah Ann Waters as a means of implementing feminist issues." Vestnik of Kostroma State University 27, no. 1 (2021): 141–46. http://dx.doi.org/10.34216/1998-0817-2021-27-1-141-146.

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The article presents an analysis of the implementation of the category of intertextuality in the novel «Affinity» (1999) by the British writer Sarah Ann Waters. The aim of the work was to trace how the intertextual dialogue with the Victorian literature contributes to the formation of the feminist issues of the work. It is revealed that the main pretexts when creating a novel for Waters were «Little Dorrit» by Charles John Huffam Dickens, «Aurora Leigh» by Elizabeth Barrett Browning, «The Turn of the Screw» by Henry James, and novels by William Wilkie Collins. «Affinity» has elements of Gothic narrative, a detective, a sensational novel, the Newgate novel, picaresque novel, contributing to the formation of women's issues. The dialogue with Victorianism allows Waters to raise issues of gender inequality in the past and present, the exploitation of women, and the rights of individuals to realise their sexual identity. For Waters, turning to Victorianism is a way to draw attention to issues that, according to the writer, are still topical in British culture, such as sexuality, class and gender.

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50

Squibbs, Richard. "The Picaresque Novel in Western Literature: From the Sixteenth Century to the Neopicaresque ed. by J. A. Garrido Ardila." Studies in the Novel 47, no. 4 (2015): 568–69. http://dx.doi.org/10.1353/sdn.2015.0050.

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Journal articles on the topic 'Picaresque literature Literature'

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