Academic literature on the topic 'Picaresque novel'
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Journal articles on the topic "Picaresque novel"
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Edgecombe, R. S. "Dugmore Boetie's picaresque novel." World Literature Written in English 29, no. 2 (September 1989): 129–39. http://dx.doi.org/10.1080/17449858908589107.
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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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Shahmuradyan, Anahit. "The Picaresque in the 18th century English Novel." Armenian Folia Anglistika 4, no. 1-2 (5) (October 15, 2008): 108–11. http://dx.doi.org/10.46991/afa/2008.4.1-2.108.
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The Picaresque novel was one of the first steps of the establishment of the Spanish realist novel in early Renaissance period. The Picaresque theme found its direct reflection in the 18th century English novel. Both Daniel Defoe in his Moll Flanders, Captain Singleton and other works, Jonathan Swift in his Gulliver’s Travels and Henry Fielding in his The history of Tom John, a Foundling wish to reveal the true picture of the values and morals of the time, the real strives and face of man, the social motives which often create inextricable situations for people and promote picaresque actions making them become a thief and picaroon.
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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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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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Fiore, Robert L., and Helen Reed. "The Reader in the Picaresque Novel." Hispania 69, no. 4 (December 1986): 863. http://dx.doi.org/10.2307/342611.
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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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Sinegubova, Kapitalina V., and Anastasia A. Aksenova. "Buffoonery in the Speech of the Character and the Issue of Historical Form in the Novel The Winter of Our Discontent by J. Steinbeck." RUDN Journal of Studies in Literature and Journalism 26, no. 1 (December 15, 2021): 60–70. http://dx.doi.org/10.22363/2312-9220-2021-26-1-60-70.
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The intention is to explain some aspects of hybridization of language consciousness in this literary work. The aim of the study is to clarify the issue of a word in the novel, which was updated by M.M. Bakhtin. The general thesis is that the tendency to hybridization explains the juxtaposition of serious and funny within the characters utterance: the border between prosaic reality and the characters own world is found precisely when he turns to jokes. The speech of the character indicates a tendency to aestheticize the household environment. This trend leads to a high-intensity hybridization of everyday words and Holy Scripture . The novel The Winter of Our Discontent is more than a didactic literary work and reveals some features of the picaresque novel, but the necessary feature of the picaresque novel is the first-person narrative. Instead of this form of narration the character and the narrators points of view are brought closer together in the novel by J. Steinbeck. The literary work with the features of the picaresque novel remains multidimensional and does not reduce only to one of the existing novel forms, and typologically is rather anti-picaresque. The characters buffoonery gives him the right to detachment, due to which the skewed nature of other characters in the novel is overcome. The language hybridization in this work plays a key role in understanding of the novel.
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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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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.
Dissertations / Theses on the topic "Picaresque novel"
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Uhrig, Reinhard Mathias. "First-person narration in the early modern novel with special reference to Sorel's Francion, Grimmelshausen's Courasche, and Defoe's Moll Flanders." Thesis, University College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325410.
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Rogers, Kent Murray. "A rhetorical study of Edward Abbey's picaresque novel The fool's progress." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2079.
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This thesis addresses this question of why Abbey employed such rhetoric and what resulting effects he hoped to achieve. Examining Abbey's rhetoric in terms of classical Western rhetorical traditions, the genre of the picaresque, and his own ideological stance can aid in understanding what his intentions are in this controversial work.
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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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Vicente, Baldrich Mireia. "Cuatro pícaras seiscentistas." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/401331.
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Nuestro trabajo parte del resumen de los acercamientos críticos más solventes acerca del concepto «novela picaresca», desarrollados en el capítulo primero de esta tesis. A partir de aquí se han resumido los rasgos distintivos y consensuados del género picaresco, que han servido de marco-bastidor en el que proyectar las novelas objeto de estudio. A continuación, se presentan los acercamientos críticos más solventes sobre las novelas referidas, que han contribuido a identificar los elementos constitutivos de estas narraciones y las innovaciones que aportan al género picaresco: el carácter misógino, las innovaciones temáticas y estructurales y/o el personaje de la pícara, etc. Seguidamente, he procedido al análisis individualizado de las novelas propuestas.
El examen de La pícara Justina ocupa el siguiente capítulo 2. En él hemos aportado datos significativos acerca de la nueva propuesta sobre la autoría de la obra, que recaería en el dominico, Baltasar Navarrete. En este capítulo se diserta sobre el fuerte componente festivo y el discurso bufonesco de la obra y la consecuente sátira contra los fines y estructura del Guzmán. A continuación, se hace relación de los personajes satirizados, sin olvidar la burla y chacota que sufren algunos monumentos leoneses. Seguidamente, he estudiado los componentes picarescos y la adaptación que estos han sufrido en la pluma del autor chocarrero. Cerramos el capítulo con el retrato físico-moral de Justina.
El capítulo 3 centra su estudio en la novela del autor madrileño, Salas Barbadillo, La hija de Celestina. Se inicia con un repaso de su vida y producción literaria. Seguidamente, repasamos los textos de sabor picaresco, que Salas Barbadillo escribió en aproximadamente una década, de 1616 a 1621. Luego analizo su obra cumbre, ya referida, aparecida en 1612, con un primer examen a las valoraciones críticas, para centrarme después en el carácter híbrido de la novelita, que integra un triple discurso, hábilmente engarzado. Continuamos con el estudio de la segunda versión aparecida en 1614: La ingeniosa Elena. Se cierra el capítulo con tres apartados más; uno dedicado a la visión moral del autor y su influjo en la caracterización y final de Elena, otro al retrato de la protagonista, y un tercero, donde se hace relación de las huellas que otros textos dejaron en La hija de Celestina.
El capítulo 4, el más extenso, está conformado por el estudio de las dos pícaras de Castillo Solórzano. Se inicia con un resumen de la vida y obra del autor. Seguidamente, nos centramos en el análisis de otros relatos de sabor picaresco, que han contribuido con datos para una mayor comprensión de las novelas seleccionadas A continuación, he estudiado en profundidad La niña de los embustes, Teresa de Manzanares. He abordado aspectos como la estructura miscelánea, el tratamiento de la burla y otros temas principales, la ideología que subyace en la novelita y el personaje de Teresa. Se cierra el capítulo con el estudio de la última novela propuesta, La Garduña de Sevilla, última incursión de Castillo Solórzano en el mundo picaresco. He considerado necesario analizar la estructura híbrida, que incluye tres relatos independientes, las burlas y estafas de estilo picaril y el refinamiento de su protagonista. Se concluye el capítulo 4 con el apartado del diálogo intertextual, donde aparecen obras de referencia y que pudieron sugerir al autor vallisoletano algunos temas y argumentos.
Cerramos el estudio con las «Conclusiones», a las que se ha llegado tras el análisis detallado de las obras propuestas. Por último, aportamos una «Bibliografía» con un listado previo de abreviaturas. Los estudios consultados son publicaciones clásicas y modernas (incluso de última hornada, aparecidos en 2016).The present doctoral thesis has analysed at lenght four novels from the 17Th century whose main character is a «pícara»: La pícara Justina de López de Úbeda y/o Baltasar Navarrete, published in 1605; La hija de Celestina de Salas Barbadillo (1612); La niña de los embustes, Teresa de Manzanares (1632) and La Garduña de Sevilla y anzuelo de las bolsas (1642), both by Castillo Solórzano. Our work has as its starting point a summary of the most respected critical approaches to the concept of the «picaresque novel». Next we will present the most respected critical approaches to the novels referred to above, which have contributed to identifying the elements which make up these narrations and the innovations which they contribute to the picaresque genre. The analysis of La pícara Justina takes up the chapter 2. There we contribute significant data concerning the new theory about the authorship of the work, pointing to the dominican monk, Baltasar Navarrete. We will discussing the strong festive component and the buffoon-like language of the work and its resulting satire of the ends and structure of the Guzmán. We will enumerate the real life characters satirized, and ridicule suffered by some monuments of León. We close the chapter with the study the picaresque components and a physical and moral portrait of Justina. Chapter 3 focuses on the novel by Salas Barbadillo, La hija de Celestina. We will study the hybrid nature of the novelette witch brings together a skillfully interwoven three stranded discourse. Also we will examine the moral vision of the author, the portrait of the protagonist and we will mention traces which other texts have left in the novel. Chapter 4 is made up of the study of the two «pícaras» created by Castillo Solórzano: Teresa de Manzanares y La Garduña de Sevilla. We will deal with aspects such as the miscellaneous structure which incorporates diverse narrative units, the treatment of scorn and other main themes, the underlying ideology of the novels and the character of Teresa y Rufina. We will close the study with «Conclusions» and «Bibliography».
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Belton, Andrew R. Wolfe Jessica. "To hell with Christ!, the Gospel, according to Lazarillo parodia sacra & picaresque signifying on the novel as genre /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2367.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English & Comparative Literature." Discipline: English and Comparative Literature; Department/School: English and Comparative Literature.
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Spier, Peter. "The Spanish picaresque novel in French translation (1560-1715) : a study of its reception and treatment in France prior to 'Gil Blas'." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314418.
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Schmidt, Eder. "O pícaro como sintoma do imobilismo social: a narrativa espanhola e os contos populares franceses." Universidade Federal de Juiz de Fora (UFJF), 1999. https://repositorio.ufjf.br/jspui/handle/ufjf/3034.
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O presente estudo busca empreender uma observação comparativa de duas formas distintas de expressão, o romance picaresco espanhol e os contos populares franceses, em uma mesma época, os séculos XVI e XVII, identificando o comum a ambos, tanto na origem quanto no produto final de suas criações, e referindo-os aos pressupostos socioculturais de seu momento. Sem pretender uma redução do conto camponês ao modelo da narrativa picaresca ou caracteriza-lo como tal, ao longo do estudo são respeitados os elementos diferenciadores entre um e outro, uma vez que ali se colocam duas formas narrativas peculiares, cada uma delas aqui observada enquanto representação e intermediação das relações de poder. É colocado em destaque o personagem central da novela picaresca naquela Espanha; observa-se sua trajetória, seu ambiente, seus motivos e sua ética singular, para depois reencontrá-lo na França, emergindo nas formações de outra cultura, embora submetido a semelhantes pressões sócio-políticas. O pícaro torna-se mais compreensível em suas metas e em seus expedientes quando observamos a Espanha desde a plenitude da casa dos Áustrias até sua falência que levou à ruína boa parte da nobreza e impediu de maneira drástica os caminhos de ascensão social, consolidando uma cruel estratificação em sua sociedade. Examinando a história francesa em uma época bastante próxima àquela, encontramos a mesma condição de glória e queda do poder do estado, e de seus nobres gerando igual bloqueio das possibilidades ascensionais, impondo, como naquela Espanha, uma profunda diferenciação entre as diversas classes sociais. As narrativas escolhidas foram Lázaro de Tormes, El Buscón, Le garçon qui vole les trésors de l’Ogre e Le chat botté, onde a atitude picaresca se mostra em sua plenitude.
The present study aims to conduct a comparative observation of two distinct forms of expression, the Spanish picaresque novel and the French folk tales, in the same time, the 16th and 17th centuries, identifying the common to both, both in origin and in the final product of their creations, and referring them to the contemporary socio-cultural presuppositions. Without claim a reduction of the peasant tale to picaresque narrative model, or characterized it as such, throughout the study are respected differentiating elements between them, since there arise two peculiar narrative forms, each of them seen as a representation and intermediation of power relations. It highlighted the central character of the picaresque novel in Spain; it is observed his trajectory, his environment, their motivations and his singular ethics, and then meet him again in France, emerging in another culture, although undergoing similar socio-political pressures. The picaro becomes more understandable in their goals and their wits if we look at Spain from the fullness of the House of Austrias period, until its bankruptcy that led to ruin much of the nobility and dramatically blocked the paths of social mobility, consolidating a cruel stratification their society. By examining French history in a time fairly close to that, we found the same condition of glory and decline of State power and their nobles, which generated equal blocking in ascension possibilities, imposing such as in that Spain, a profound differentiation between the various social classes. The chosen narratives were Lázaro de Tormes, El Buscón, Le garçon qui vole les trésors de l'Ogre and Le Chat botté, where the picaresque attitude is shown in its fullness.
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Oliveira, Katia Aparecida da Silva. "A voz do autor no Lazarillo de Tormes." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-24112009-114642/.
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Neste trabalho pretendemos realizar uma leitura do Lazarillo de Tormes que além de considerar o discurso do narrador, Lázaro de Tormes, considere também a voz do autor implícito dentro da obra e a forma como essa voz influencia a construção do sentido dela. Reconhecendo a voz desse autor implícito no prólogo da obra e em meio ao discurso do narrador, é possível identificar a sua perspectiva, que nem sempre coincide com a do narrador. O encontro dessas diferentes perspectivas forma contradições no discurso de Lázaro como narrador, e é na conjunção dessas perspectivas que consideramos formar-se o sentido da obra.The aim of this work is to accomplish a reading of Lazarillo de Tormes considering the discourse of the narrator and also the voice of the author within the story and how it influences the construction of its sense. By recognizing the voice of this implicit author in the prologue of the story among the narrators discourse it is possible to identify the perspective of the author which is not always the same of the narrator. The encounter of these two perspectives forms some contradictions in Lázaros discourse as the narrator and it is through this conjunction that we consider to be forming the sense of the novel.
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Aguayo, Cisternas Gonzalo Ricardo. "La materia novelesca de las Relaciones de la vida del escudero Marcos de Obregón de Vicente Espinel." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/129279.
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Esta investigación, cuyo propósito es identificar y describir los elementos novelescos que conforman "Marcos de Obregón", consta de cinco capítulos, que detallan los procedimientos utilizados por el autor en la elaboración del texto, cuya materia prima es su propia autobiografía.
Espinel construye al protagonista de su novela a su imagen y semejanza. Varios de sus episodios vitales coinciden con los del protagonista, un escudero que en el final de sus días cuenta su historia vital. Otra fuente de inspiración la constituyen sus lecturas literarias, filosóficas y religiosas, ricas en ideas acopladas a los episodios del relato. Pero también estas les serán útiles para dotar al texto de moralidad y doctrina religiosa contrarreformista. Así, el texto cumpliría con los principios horacianos del "docere" y "delectare".
El primer capítulo consta de una reseña biográfica de Espinel, relevante por los episodios comunes que comparten autor y personaje. También se aluden a ciertos acontecimientos históricos que contextualizan la obra en el tiempo y espacio para otorgarle verosimilitud a la fábula, según la preceptiva neoaristotélica que el autor sigue.
El segundo capítulo se concentra en la estructura de la obra. El enorme influjo que la picaresca tuvo sobre ella se evidencia tanto en la arquitectura textual como en la estructura narrativa. Espinel sigue el modelo del "Guzmán de Alfarache" para organizar su historia, distribuida en tres grandes segmentos llamados relaciones. Estas se dividen en capítulos denominados descansos, donde se introduce, cuenta y luego moraliza un determinado acontecimiento. La narración retrospectiva y autodiegética será otro aporte del género. Espinel sigue también al "Buscón" de Quevedo y a los relatos de Cervantes, por quien siente profunda admiración, pero también se apoya en los escritos misceláneos de Mexía o Torquemada, como lo demuestra el análisis textual.
El tercer capítulo describe la influencia del género bizantino. Estos relatos fueron alabados por la preceptiva porque los protagonistas de las historias clásicas, Las etiópicas de Heliodoro o Leucipa de Tacio, representaban modelos virtuosos. El resurgimiento del género en el Siglo de Oro había comenzado con el Clareo de Núñez de Reinoso y la Selva de Contreras, y continuó con el Peregrino de Lope y el Persiles de Cervantes, a quienes Espinel siguió atentamente. Los rasgos bizantinos se hacen más notorios en el relato americano de la tercera relación, aunque son también perceptibles en el resto del texto. Fundamental resulta para ello la adaptación de la técnica narrativa del género "in media res".
El cuarto capítulo detalla el debate de la crítica acerca de la pertenencia de la novela a la picaresca. En lo sustancial, se coincide en que el protagonista no es un pícaro, pero la presencia del género es visible en la estructura y el cuadro social de la obra. Marcos de Obregón dialoga con diversos textos clásicos o de la época. Esto evidencia el procedimiento hipertextual en la creación de la novela, aunque la picaresca sea el género más destacable. El escudero solo en ocasiones actúa como pícaro para burlar a quienes sí lo son o para escapar de situaciones problemáticas.
El último capítulo centra el análisis en las figuras del escudero y el soldado. El autor decidió hacer reconocible su figura a través de un personaje, perteneciente al mismo estrato social, con un oficio común al suyo. Ambos sirvieron a nobles o distinguidos caballeros. Finalmente, Espinel estuvo atento a las narraciones de soldados como la autobiografía de Alonso Enríquez o Jerónimo Pasamonte, quienes prestaron sus servicios militares a la Corona, y adoptó de ellas la figura del soldado y el relato retrospectivo de sus aventuras.This research tries to identify and to describe the main the novelistic components of the novel. This text is basically composed of writer’s real life events. The hero is made of characteristics similar to Vicente Espinel. This thesis has five chapters. The first of them is a short review about the families and personals background of Espinel’s, and several historic events which had happened during the writer’s life in the Gold Century. The second chapter addresses about the narrative and textual structure of the novel. The main influence in the text is the picaresque genre through the Guzmán de Alfarache novel. But other kind of texts were also alluded in Marcos de Obregón, for example the miscellaneous tales of Mexía or Torquemada, that helped to the Ronda’s writer achieves the docere and delectare, the two rules of the Latin poet Horace. The third one is about the relation between the byzantine genre and Espinel’s novel. The principal actors of Greek classics like Las etiópicas by Heliodoro and Leucipa by Tacio were high moral referents. Espinel had read other works like Clareo by Núñez de Reinoso, Selva by Contreras, Peregrino by Lope and Persiles by Cervantes, the latter being strongly admired by Espinel. Besides, the writer adopted the narrative technical of this genre: in media res. The forth chapter talks about the critical works which discuss the relationship between the text and the picaresque genre, as Marcos de Obregón is not a so called ‘pícaro’, but the novel has the picaresque structure. But the text is not based exclusively one genre. The novel is created together other genres, although the picaresque is the most prominent component. Finally, the last chapter analyzes the squire and the soldier figures. Espinel chooses a character, who had done the same job as him. The writer served as a squire for aristocratic and powerful people. And the author could read the autobiographical soldiers tales of Alonso Enríquez or Jerónimo de Pasamonte. He was able to adopt the soldier figure and the retrospective and autobiographical narrative diagram.
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Mayer, Karina Gusen. "Uma tradução comentada da obra The unfortunate traveller: or, the life of Jack Wilton, de Thomas Nashe." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-11112015-141714/.
Full textAbstract:
Esta dissertação apresenta uma tradução comentada de parte do livro The Unfortunate Traveller: or, The Life of Jack Wilton, escrito por Thomas Nashe em 1594 e discute os desafios de traduzir pela primeira vez para o português esse romance picaresco escrito durante o período elisabetano. As alterações estruturais, lexicais e semânticas ocorridas na língua inglesa durante esses anos e as diferenças culturais entre a Inglaterra do século XVI e o Brasil da atualidade são algumas das dificuldades enfrentadas no processo tradutório dessa obra. O primeiro capítulo apresentará uma leitura crítica da obra, do autor e uma contextualização do romance picaresco. No segundo capítulo haverá uma explanação das duas teorias de tradução usadas nesta dissertação: as tendências deformadoras propostas por Antoine Berman (1985), que propõem identificar as variações encontradas nas traduções em relação ao texto original; e o modelo descritivo das Modalidades de Tradução elaboradas pelo Prof. Dr. Francis H. Aubert (1998, 2006), derivado do modelo pedagógico dos procedimentos técnicos da tradução (Vinay & Darbelnet, 1958, 1977). No terceiro capítulo usaremos essas duas teorias como ferramentas para análise das escolhas tradutórias adotadas e suas implicações na escrita do texto na língua de chegada. O quarto capítulo trará a tradução de 50% do livro ao lado do texto original em inglês com notas e comentários no rodapé.This work presents an annotated translation of a part of the book The Unfortunate Traveller: or, The Life of Jack Wilton, written by Thomas Nashe in 1594 and discusses the challenges of translating for the first time into Portuguese this picaresque novel written during the Elizabethan period. Structural, lexical and semantic changes in the English language over the years and the cultural differences between the sixteenth-century England and contemporary Brazil are some of the difficulties in the translation process of this work. The first chapter will present a critical reading of the work and the author. In the second chapter there will be an explanation of the two translation theories used in this dissertation: the comparative method of deforming tendencies proposed by Antoine Berman (1985), which proposes to identify the variations found in translations from the original text. And the second, the The translation modalities descriptive model developed by Francis H. Aubert (1998, 2006), derived from the pedagogical model of the technical procedures of translation (Vinay & Darbelnet, 1958, 1977). In the third chapter these two theories will be used as tools to analyze the translation choices and its implications in writing the text in the target language. The fourth chapter will bring the translation of 50% of the book side by side with the original text in English with notes and comments in footnotes.
Books on the topic "Picaresque novel"
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Elze, Jens. Postcolonial Modernism and the Picaresque Novel. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51938-8.
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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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Mokashi-Punekar, Shankar. Nana's confession: A philosophic picaresque novel. Calcutta, India: Writers Workshop, 1992.
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Hartveit, Lars. Workings of the picaresque in the British novel. Norway: Solum, 1988.
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Lentz, David B. Bourbon Street: The Dreams of Aeneas in Dixie: A Novel and Pixilated, Picaresque Epic. Philadelphia, PA: Xlibris Corporation, 2002.
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Kuffner, Emily. Fictions of Containment in the Spanish Female Picaresque. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462986800.
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This study examines the interdependence of gender, sexuality and space in the early modern period, which saw the inception of architecture as a discipline and gave rise to the first custodial institutions for women, including convents for reformed prostitutes. Meanwhile, conduct manuals established prescriptive mandates for female use of space, concentrating especially on the liminal spaces of the home. This work traces literary prostitution in the Spanish Mediterranean through the sixteenth and seventeenth centuries, from the rise of courtesan culture in several key areas through the shift from tolerance of prostitution toward repression. Kuffner’s analysis pairs canonical and noncanonical works of fiction with didactic writing, architectural treatises, and legal mandates, tying the literary practice of prostitution to increasing control over female sexuality during the Counter Reformation. By tracing erotic negotiations in the female picaresque novel from its origins through later manifestations, she demonstrates that even as societal attitudes towards prostitution shifted dramatically, a countervailing tendency to view prostitution as an essential part of the social fabric undergirds many representations of literary prostitutes. Kuffner’s analysis reveals that the semblance of domestic enclosure figures as a primary erotic strategy in female picaresque fiction, allowing readers to assess the variety of strategies used by authors to comment on the relationship between unruly female sexuality and social order.
Book chapters on the topic "Picaresque novel"
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Elze, Jens. "Introduction." In Postcolonial Modernism and the Picaresque Novel, 1–32. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51938-8_1.
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Elze, Jens. "Biography." In Postcolonial Modernism and the Picaresque Novel, 33–72. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51938-8_2.
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Elze, Jens. "Style." In Postcolonial Modernism and the Picaresque Novel, 73–104. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51938-8_3.
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Elze, Jens. "Identity." In Postcolonial Modernism and the Picaresque Novel, 105–43. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51938-8_4.
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Elze, Jens. "Narration." In Postcolonial Modernism and the Picaresque Novel, 145–76. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51938-8_5.
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Elze, Jens. "Abjection." In Postcolonial Modernism and the Picaresque Novel, 177–211. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51938-8_6.
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Elze, Jens. "Conclusion." In Postcolonial Modernism and the Picaresque Novel, 213–20. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51938-8_7.
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"The Picaresque Novel." In Goethe and the Myth of the Bildungsroman, 24–52. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108774468.002.
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Maia, Rita Bueno. "The Picaresque Novel as Eclectic Translation: Composing Heteroglossia." In Iberian and Translation Studies, 137–52. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800856905.003.0007.
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This chapter examines the history of translation in/of the picaresque novel in relation to the concepts of heteroglossia (Bakhtin, 1935) and intertextuality (Kristeva, 1984), studying the systematic strategy of borrowing intertexts that may be said to have played an important role in the development of the picaresque novel in Spanish, French, and Portuguese as a heteroglossic genre. The first part discusses the theoretical framework and designates as intertexts the translated fragments inserted as episodes or intercalary short stories into Spanish, French, and Portuguese picaresque novels. The chapter contends that the identification of such (translated) intertexts allows picaresque novels from the seventeenth to nineteenth centuries to be described as eclectic translations (Ringmar, 2007). The second section dialogues with previous critical works on Guzmán de Alfarache (1599 and 1604) and Gil Blas de Santillane (1715–35) that have demonstrated the presence of a strong component of translation in the making of the picaresque novel, first in Spanish (Berruezo, 2011) and later in French (Cavillac, 1984). The last section uncovers alien discourses within four picaresque novels published in Portuguese in mid-nineteenth-century Paris.
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Sieber, Harry. "The picaresque novel in Europe: a literary itinerary of the pícaro." In The Picaresque, 37–62. Routledge, 2017. http://dx.doi.org/10.4324/9781315299631-3.
Full textConference papers on the topic "Picaresque novel"
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Brañanova González, Pablo. "Del Lazarillo a la tercera parte de Guzmán de Alfarache de Félix Machado de Silva y Castro: desarrollo y final del género picaresco." In Simposio internacional El Lazarillo y sus continuadores: Facultad de Ciencias de la Educación, 10 y 11 de octubre de 2019, Universidade da Coruña: [Actas]. Servicio de Publicaciones. Universidade da Coruña, 2021. http://dx.doi.org/10.17979/spudc.9788497497657.81.
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Since the anonymous author of Lazarillo laid the foundations of a long tradition and the mischievous Guzmán de Alfarache gave it its greatest moments of splendour, between the 16th and 17th centuries, the genre we know as picaresque, with its conditions and specificities, begins a long process of wear and tear in which, step by step, novel by novel, will accuse more of the lack of elements that had defined it from the germ: The social criticism and the stark realism that characterised the first works were gradually replaced by an increasingly ostensible instructive intention that implacably showed how the new Tridentine morality was also dissolved in our prose. With the very special exception of Estebanillo González - the last great upturn in tone and style not at all in tune with his contemporary works - we could draw a chronological line from 1554 (the year of the first preserved edition of Lazarillo) to 1650 (the year of composition of this third part) to mark the birth and death of all our picaresque prose. It is the continuation of Machado de Silva, the latest model of a tradition that, conserving only part of its resources and form, manages to separate itself completely from its own picaresque intention in order, on the contrary, to offer Guzmán the path of purge and sanctity that Mateo Alemán and the rules of the genre would have always denied him.