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Journal articles on the topic 'Picaresque literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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3

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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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

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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6

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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7

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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8

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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9

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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10

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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11

Holbrook, Myrial Adel. "“The Most Unique and Spicy Volume in Existence”: A Picaresque Reappraisal of Mark Twain’s Innocents Abroad." Comparative Literature Studies 59, no. 2 (May 1, 2022): 402–18. http://dx.doi.org/10.5325/complitstudies.59.2.0402.

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ABSTRACT Mark Twain’s first book, The Innocents Abroad (1869), despite being the most widely sold of his works in his lifetime, often baffles more recent readers. Innocents tends to be seen as interruptive, unclassifiable, and valuable mostly as an antecedent to his later novels. Prominent Twain scholars Robert Gray Bruce and Hamlin Hill once belittled Innocents as a “patchwork scissors-and-paste job,” and Bruce Michelson remarks that the “narrative stance” of Innocents is a persistent “mystery and a cause of argument” to contemporary audiences. The author proposes that to appreciate Twain’s travelogue, we must situate it not in a picturesque or burlesque context (both traditional for most travelogues of the nineteenth century), but instead venture further back in the Western canon—to the classic Spanish picaresque. Drawing on the scholarship of Ulrich Wicks and Alexander Blackburn, she embarks on a comparative study of Lazarillo de Tormes (1554), the original picaresque text, and Innocents, making a particular focus on the respective narrators and their use of the aside. She argues that Innocents is modally and symbolically (as opposed to generically) picaresque. Such a reappraisal of Twain’s first monograph opens vistas onto the trickling inheritance of the picaresque mode in curious and unexpected literary places.

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12

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

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13

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

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14

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

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15

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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16

Torres, Edgar Cota. "Un pícaro moderno y fronterizo en La Travesía de Enrique de Sonia Nazario." Diálogos Latinoamericanos 15, no. 23 (December 23, 2014): 20. http://dx.doi.org/10.7146/dl.v15i23.113119.

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Spanish picaresque literature has an extensive literary tradition dating back to the SpanishGolden Age. While its development is associated primarily with Spain, its influence wasfelt in many Latin American countries, including in many texts in the past as well as in ourdays. The purpose of this essay is to show how Enrique´s Journey by Sonia Nazario retainsmany similar characteristics of the Spanish picaresque novel, while also distancing itselffrom this style through the use of testimonial discourse. The writer has used manytechniques from new journalism in order to paint a realistic picture of the social realityrelated to the mass immigration of Central Americans to the United States.

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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

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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19

Lickhardt, Maren. "Comedy and Biography in the Reckless Student (Anonymous, 1681) (Schwankhaftes und Biographisches im Ruchlosen Studenten (anonym, 1681))." Daphnis 45, no. 1-2 (April 20, 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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20

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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21

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

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22

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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23

Nguyen Phuong, Khanh, and Thu Phan Le Ngoc. "THE CHARACTERISTICS OF PICARESQUE FICTION IN THE NOVEL THE ADVENTURE OF AUGIE MARCH (SAUL BELLOW)." UED Journal of Social Sciences, Humanities and Education 11, no. 2 (December 31, 2021): 103–14. http://dx.doi.org/10.47393/jshe.v11i2.1007.

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Picaresque novel is one of the most pre-existing genres of novels in European literature as a provocation against the typical Chivalric romance. The Adventure of Augie March by Saul Bellow is a good example of the return of this genre in the twentieth century. The novel tells the story of the varied and often aimless pursuits of a young man, Augie, growing up in the decades before and during the Great Depression, the great economic cataclysm of the 1930s. Using poetic and sociological research methods, this article focuses on clarifying the characteristics of the picaresque novel in The Adventure of Augie March. This style writing manifested in the plot of the journey, depicting a chaotic world where the main character Augie March - a typical pícaro character in modern life - become a solitary individual, an anti-hero man always seeking out the reason for his existence. The first-person autobiographical narrative and the satire are also classic principles of picaresque genre that can be found in this novel. It can be sail, The Adventure of Augie March is a rebirth of the picaresque novel genre in Saul Bellow's own way to convey contemporary problems. Thereby the readers realize the modern anti-hero is not similar to the heroic figure of the romance, for his world is chaos and he struggles to merely survive, In a world that ignores the rules of chivalry, the only workable rule is every man for himself.

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24

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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25

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

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26

Rabaté, Philippe. "Les seuils multiples du roman picaresque." Bulletin hispanique, no. 124-1 (June 30, 2022): 43–66. http://dx.doi.org/10.4000/bulletinhispanique.14890.

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27

Júnior, Paulo De Tarso Cabrini. "O pícaro beato e o beato pícaro." Revista do Centro de Estudos Portugueses 24, no. 33 (December 31, 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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28

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

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29

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

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30

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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31

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

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32

Laskin, Emily. "Geography, Genre, and Narrative in Kipling's Kim." Novel 54, no. 1 (May 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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33

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

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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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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

Gussago, Luigi. "A perfect match? A semiotic analysis of the wife figure in four early picaresque novels." Journal of Literary Semantics 52, no. 1 (March 29, 2023): 79–97. http://dx.doi.org/10.1515/jls-2023-2006.

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Abstract Picaresque fiction, or the so-called tale of roguery, focuses mainly on the adventures of a male protagonist. Although women characters rarely take the lead, they mark significant transitions in the narrative syntax. Mothers, wives, and lovers reject stereotypical role models and are invested with the potential of initiating the picaro to his life stages. This study will concentrate on the wife as a catalyst of semiotic value beyond her appointed role, exploring a corpus of four works published between 1554 and 1626: Lazarillo de Tormes, The Unfortunate Traveller, Guzmán de Alfarache, and El Buscón. In these narratives, wives oppose their fate of pure Objects in a conjugal contract, and become Subjects, Antagonists or Destinators, assertive “actants” (Greimas) in the semiotic grammar of narrative. My purpose is to re-evaluate, in deep-structure narrative terms, the significance of women characters in the largely male-centred, misogynist picaresque.

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37

Johnson, Paul Michael. "Knowing Fictions: Picaresque Reading in the Early Modern Hispanic World." Modern Language Quarterly 83, no. 2 (June 1, 2022): 235–38. http://dx.doi.org/10.1215/00267929-9644760.

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38

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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39

Cravero, Mattia. "“A very long, unpredictable, and illogical route.” The Cosmogonical Mash-Up of Primo Levi’s The Truce." Selected Proceedings of the Classics Graduate Student Symposia at the University of Florida 2 (March 25, 2023): 116–40. http://dx.doi.org/10.32473/pcgss.2.132932.

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This article highlights and analyzes the cosmogonical motifs in Primo Levi’s The Truce. Based on six different motifs, it underlines the role of creation myths in Levi’s attempt to polymerize his cultures. Levi sets a temporal concept “figure” and, by fusing different mythologies, epitomizes the epochal shift between pre- and post-Auschwitz, between Poland and Belarus. The intertextual dialogues between Biblical and classical literature create a significant and highly symbolic backdrop for Levi’s picaresque adventures during his return to Turin, signifying his first attempt to combine reality with literature, myth, and fiction.

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

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41

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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42

Clegg, Cyndia Susan. "Pacific Ancient and Modern Language Association." PMLA/Publications of the Modern Language Association of America 114, no. 4 (September 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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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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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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Bellemare, Alex. "Paris polymorphe: égarements et détours dans Polyandre de Charles Sorel." Nottingham French Studies 59, no. 1 (March 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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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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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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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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Ricapito, Joseph V. "Helen H. Reed.The Reader in the Picaresque Novel.London: Tamesis Books, 1985. 120pp." Romance Quarterly 35, no. 1 (February 1988): 113–15. http://dx.doi.org/10.1080/08831157.1988.9932590.

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Cobo-Piñero, M. Rocío. "NoViolet Bulawayo’s We Need New Names (2013): Mobilities and the Afropolitan picaresque." Journal of Postcolonial Writing 55, no. 4 (February 15, 2019): 472–85. http://dx.doi.org/10.1080/17449855.2018.1540161.

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