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Journal articles on the topic 'Picaresque novel'

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Published: 4 June 2021
Last updated: 25 April 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

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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13

Rodríguez Mansilla, Fernando. "El grabado de La pícara Justina como parodia de la Filosofía cortesana moralizada." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 183. http://dx.doi.org/10.7203/imago.11.15731.

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ABSTRACT: The engraving in the cover of La pícara Justina has been traditionally interpreted as a synthesis of the picaresque genre. This article explores the aforementioned engraving, commonly known as La nave de la vida picaresca, not as a reflection of the picaresque literary conventions, but through the perspective of the parody, which is an essential element of López de Úbeda’s work. The engraving would be dialoguing, comically, with the board game of the Filosofía cortesana moralizada (1587) by Alonso de Barros. This analysis of parodic elements present in Justina’s engraving allows to reflect about the genesis of the novel, as well as its relationship with courtly manuals and contemporary authors, like Cervantes and Mateo Alemán. KEYWORDS: Pícara Justina; Filosofía cortesana moralizada; Board game; Picaresque novel; Parody. RESUMEN: Tradicionalmente, el frontispicio de la primera edición de La pícara Justina (1605) ha sido interpretado como una síntesis del género picaresco. Este trabajo explora el grabado, conocido como La nave de la vida picaresca, no como reflejo de las convenciones de la novela picaresca, sino desde la perspectiva de la parodia, rasgo esencial de la obra, pero que no se ha considerado lo suficiente. El frontispicio dialogaría, cómicamente, con el tablero de la Filosofía cortesana moralizada (1587) de Alonso de Barros. Este análisis de elementos posiblemente parodiados permite reflexionar sobre la génesis de la novela y su relación con los manuales cortesanos y narradores como Cervantes y Mateo Alemán.
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14

Kruger, N., and H. Van Coller. "Aantekeninge oor Die ryk van die rawe deur Jaco Fouché." Literator 24, no. 2 (August 1, 2003): 83–104. http://dx.doi.org/10.4102/lit.v24i2.292.

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Notes on Jaco Fouché’s novel Die ryk van die rawe Jaco Fouché’s debut novel Die ryk van die rawe (The domain of the ravens) has been widely acclaimed by critics. Their focus mainly fell on the intertextual relations of the novel with other literary texts, especially novels by Etienne Leroux. This article analyses Fouché’s novel against the backdrop of the (satirical) picaresque tradition and the detective genre. The article focuses on two aspects: Fouché’s indebtedness to (post)modern art forms, particularly comics, graphics, television and cinema; and the interpretation of neo-existentialist philosophy.
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15

Kjærgård, Jonas Ross. "EU og arbejdspladsromanen." Passage - Tidsskrift for litteratur og kritik 35, no. 84 (December 31, 2020): 105–18. http://dx.doi.org/10.7146/pas.v35i84.124940.

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The article presents a comparative analysis of two contemporary EU novels, Robert Menasse’s Die Hauptstadt (2017) and Michel Houellebecq’s Sérotonine (2019). Based on the observation that both novels investigate the bureaucracy of the EU and the changing framework conditions of European farmers, this article argues that Menasse and Houellebecq present a peculiar EU power distribution that can be summed up in the formula sovereignty without a sovereign. In investigating the dynamics of this distribution, the novels are shown to combine elements from various novelistic genres, including the proletarian novel, the picaresque and the multiperspectival novel.
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16

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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17

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

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18

Komandera, Aleksandra. "Vagabondage dans Le Mont Damion d’André Dhôtel." Quêtes littéraires, no. 4 (December 30, 2014): 111–19. http://dx.doi.org/10.31743/ql.4578.

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The paper discusses the theme of wandering in the novel by French author André Dhôtel. The protagonist of Le Mont Damion, Fabien Gort, is not a typical vagrant, as he is a member of an intellectual and quite rich family. However, because of his strong absent-mindedness and strangeness, Fabien is unable to find a place in social structures. People’s hostility leads him to many wanderings and unexpected encounters which influence his existence. The novel seems to be also a generic wandering, as it possesses some features of picaresque novel, adventure novel, initiation story and fairytale fantasy.
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19

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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20

Cruz, Anne J. "Figuring Gender in the Picaresque Novel: From Lazarillo to Zayas." Romance Notes 50, no. 1 (2010): 7–20. http://dx.doi.org/10.1353/rmc.2010.0019.

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21

Wenzel, M. "Gordimer’s rendition of the picaresque in A Sport of Nature." Literator 14, no. 1 (May 3, 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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22

Bagdasarova, Anna A., and Alexandr I. Slyshenko. "GENRES’ BALANCING IN E. MENDOZA’S NOVEL “THE AMAZING JOURNEY OF POMPONIUS FLAT”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 2 (June 1, 2021): 141–50. http://dx.doi.org/10.18522/2415-8852-2021-2-141-150.

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The article explores the genre specificity of the postmodern novel, “The Amazing Journey of Pomponius Flat” by the contemporary Spanish writer Eduardo Mendoza. The novel is based on the principles of a ludic literature tradition, one of the manifestations of which is a sophisticated interplay of various ‘high’ and ‘low’ genres in neo-baroque fashion. The novel develops an ironic detective story, but also represents different genre markers of the travel novel, the picaresque and historical novels, whose traditions and cliches are introduced in an ironic way. The journey of the heronarrator, which is mentioned at the beginning and at the end of the novel, in fact, has no significance for the plot. The image of the protagonist combines two archetypical figures, keys to Spanish literature – the trickster and Don Quixote. In accordance with the tradition of a historical novel, E. Mendoza’s work creates the illusion of historical reconstruction, but there is no true historicism in the novel, since reliable facts are interspersed with speculations and fantastic elements that question the reliability of the whole story.
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23

Rouhi, Leyla, and Anne J. Cruz. "Discourses of Poverty: Social Reform and the Picaresque Novel in Early Modern Spain." Modern Language Review 95, no. 4 (October 2000): 1102. http://dx.doi.org/10.2307/3736669.

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24

Friedman, Edward H., and Anne J. Cruz. "Discourses of Poverty: Social Reform and the Picaresque Novel in Early Modern Spain." Hispania 83, no. 3 (September 2000): 454. http://dx.doi.org/10.2307/346010.

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25

MacKay, Ruth, and Anne J. Cruz. "Discourses of Poverty: Social Reform and the Picaresque Novel in Early Modern Spain." Sixteenth Century Journal 32, no. 2 (2001): 612. http://dx.doi.org/10.2307/2671844.

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26

Elokhin, Kirill. "Badges and Other Signs in the Spanish Picaresque Novel of the Golden Age." ISTORIYA 11, no. 11 (97) (2020): 0. http://dx.doi.org/10.18254/s207987840012747-0.

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27

Kuhlisch, Tina. "Discourses of Poverty: Social Reform and the Picaresque Novel in Early Modern Spain." Romanic Review 92, no. 3 (May 1, 2001): 355–61. http://dx.doi.org/10.1215/26885220-92.3.355.

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28

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 (March 31, 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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29

Locatelli, Angela. "Spatial Mobility as Social Mobility in the Early Seventeenth Century: Henry Peacham Jr.’s Picaresque Novel “A Merry Discourse of Meum and Tuum”." Armenian Folia Anglistika 15, no. 1 (19) (April 15, 2019): 166–81. http://dx.doi.org/10.46991/afa/2019.15.1.166.

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The theme of migration and travel occupies a prominent position in the literature of the Sixteenth and Seventeenth Centuries. Travelogues, travel notes, poems, and disparate accounts of the booming explorations towards the New World(s) abundantly embody the spirit of adventure of the age. The energetic spirit promoting the appropriation of new and distant lands did not, however, belong exclusively to the class of sailors, pirates, merchants. It seems, on the contrary, to define a widespread political and cultural attitude on the part of different social groups, at all levels of society. A significant sign of this phenomenon is the rise of the picaresque novel whose sagacious protagonists travel primarily for material gain and partly for entertainment. Their spatial movement is clearly the means of a new upward social mobility. This movement is obviously very different from the present day migrations prompted by wars and political persecution, but, mutatis mutandis, it is somehow similar to contemporary migrations in search of economic improvement and amelioration of one’s social status. I will discuss the many implications of this kind of narratives in the XVII Century by examining Henry Peacham Jr.’s A Merry Discourse of Meum and Tuum, a 1639 short novel (for which no modern edition was available until I produced one in 1997, after a period of research at the Folger Shakespeare Library in Washington D.C.) (Locatelli 1998). The protagonists of Peacham’s picaresque novel, the twins Meum and Tuum, move across England from the Fenlands to Cambridge and from there to London, thus providing a rich and amusing picture of the geographical, social and cultural situation of England in Early-modern times. Through their keen observant gaze the reader is taken to farms and universities, taverns and churches, and thus meets a rich variety of social types, and is given a unique perspective on the mores and shifting values of Jacobean England. The utilitarian purpose of the movement of picaresque heroes is certainly distant from the devotion prompting Mediaeval pilgrims; moreover, their social ambition is usually combined with their ability to provide witty and satirical comments on their surroundings. The story of their adventures is thus much more than just a lively “Michelin Guide” of England avant la lettere, it is a vivid illustration of social situations and a convincing anticipation of the emergent entrepreneurial mentality of the XVIII century.
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WILLIS, A. L. "Revisiting the Circuitous Odyssey of the Baroque Picaresque Novel: Reinaldo Arenas's El mundo alucinante." Comparative Literature 57, no. 1 (January 1, 2005): 61–83. http://dx.doi.org/10.1215/-57-1-61.

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31

Dubrow, Jennifer. "Serial fictions: Urdu print culture and the novel in colonial South Asia." Indian Economic & Social History Review 54, no. 4 (October 2017): 403–22. http://dx.doi.org/10.1177/0019464617728224.

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Serialisation allowed for remarkable experimentation with the new genre of the novel in colonial South Asia. The open nature of serialisation in South Asia, in which novels were not planned in advance but rather could develop and change while in progress, meant that serialised versions of novels were often more experimental than their later book editions. In this article, I use the pioneering Urdu novel Fasāna-e Āzād (1878–83) as a case study to examine serialisation’s effects on the emerging novel genre in the late nineteenth-century South Asia. By comparing the serial version and later book editions, I show that Fasāna-e Āzād underwent a fundamental transformation from serial to book, changing from a set of satirical sketches critical of Westernisation, to a pro-colonial novel. The protagonist Azad’s shift from a picaresque anti-hero to a proto-nationalist hero reflected the changing nature of respectability, what in Urdu was called sharafat, in the late nineteenth-century South Asia. Finally, I suggest that Fasāna-e Āzād’s evolution from serial to book anticipated the turn in South Asian literature from satire towards nationalist and prescriptive discourse, reflecting the broad movement from ideological and narratological openness to closedness in the twentieth century.
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32

강필운. "Study of a Relationship between Picaros and Their Parents & Relatives in the Picaresque Novel." Korean Journal of Hispanic Studies 9, no. 1 (May 2016): 25–55. http://dx.doi.org/10.18217/kjhs.9.1.201605.25.

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33

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

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34

Kliems, Alfrun. "Literary Reflections on Postimperial Violence in East-Central Europe after 1918: Wittlin – Hašek – Vančura." Przegląd Humanistyczny 63, no. 1 (464) (September 17, 2019): 65–79. http://dx.doi.org/10.5604/01.3001.0013.4976.

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This paper discusses questions like the irony of history, the lack of illusions, and the prophecy of violence in three classic World War I novels by Jaroslav Hašek, Vladislav Vančura and Józef Wittlin, written in the decades after 1918. The novels have at least three aspects in common: first, the poetics of each is marked in a compressed way by the style of narrating the assassination in Sarajevo in 1918; second, three picaresque figures – Švejk, Řeka and Niewiadomski, respectively – standing in the centre of each novel; and, third, in addition to the war itself, each novel looks proleptically at its consequences, even if the narrated time does not extend to the end of the war. The paper tries to reflect on the novels as the literature of post-imperialist violence. Rhetorical figures of barbarization and self-barbarization, inversion of subject and object, fragmentation of space are particularly significant in the books, demonstrating the aesthetic processing of the reversal from euphoria, over the end of the war, to frustration, over the continuing violence. More specifically, these figures correspond with a remarkable degree with the unfulfilled peace after 1918.
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Drynda, Joanna. "Ein Spiel mit Stereotypen? Zu Matthias Nawrats Roman ‘Die vielen Tode unseres Opas Jurek’ (2015)." Studia Germanica Posnaniensia, no. 37 (April 5, 2017): 79–89. http://dx.doi.org/10.14746/sgp.2016.37.08.

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Matthias Nawrat, born in 1979 in Opole, has been living in Germany since 1989. In his latest novel Die vielen Tode unseres Opas Jurek (2015) the author returns to the country of his birth in order to recount one century of the Polish as well as of the Polish-German history. The ghastly-comical family-story uses mobile parts of stage scenery from a picaresque novel – in the centre stands a man (grandfather Jurek) who, in spite of all the atrocities of the 20th century, won’t let others prevent him from leading a joyful life. While staging the story of a struggling artist, he refers back to stereotypes, obviously with the intention of strenghtening the existing models. This contribution poses a question if the game has been successful.
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Mekenkamp, Marloes. "Narrative Strategies of Criminal Legitimacy." Mexican Studies/Estudios Mexicanos 38, no. 1 (2022): 35–59. http://dx.doi.org/10.1525/msem.2022.38.1.35.

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This article looks at how criminal agents aim to gain legitimacy within the context of the War on Drugs in Mexico. More precisely, it explores the narrative of legitimization presented in Me dicen “el más loco”, an autobiography of Nazario Moreno González, the leader of the criminal organization La Familia Michoacana. A cultural-studies approach is used to argue that the book combines a Christian version of the social-bandit myth with the narrative strategies of the picaresque novel to legitimize the activities of the group. This article aims to contribute to the larger debate on the powerful imaginary dimension of organized crime in Mexico.
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Stone, Robert S. "Pito Pérez: Mexican Middleman." Mexican Studies/Estudios Mexicanos 21, no. 2 (2005): 369–402. http://dx.doi.org/10.1525/msem.2005.21.2.369.

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This article situates the popular picaresque novel La vida inútil de Pito Pérez (1938) in its context of literary and social history. As a comic text, the novel engages readers of all kinds in an attempt to foment change, despite the shortcomings of the protagonist and the revolution through which he lives. The work ensures the survival of the pícaro in Mexico as a sardonic hero who, nonetheless, will not wholly abandon revolutionary ideals and, indeed, wishes to pass these on to the growing middle class that spawned both Pito Pérez and his more fortunate author, J. Rubén Romero. Este artículo sitúa la conocida novela picaresca La vida inútil de Pito Pérez (1938) en su contexto de historia literaria y social. Como texto cómico, la novela atrae a toda clase de lectores en su intento de fomentar el cambio, a pesar de las fallas del protagonista y del contexto revolucionario en el que vive. La obra asegura la supervivencia del pícaro mexicano como un héroe sarcástico que, no obstante, no abandonará los ideales revolucionarios y, de hecho, desea transmitirlos a la creciente clase media que dio luz a ambos Pito Pérez y su autor más afortunado, J. Rubén Romero.
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JONES, STEPHANIE. "A novel genre: polylingualism and magical realism in Amitav Ghosh's The circle of reason." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 431–41. http://dx.doi.org/10.1017/s0041977x03000302.

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This paper traces how Amitav Ghosh's novel The circle of reason (1986) inscribes what might be termed a ‘magical real’ sensibility of quotidian extreme, wild coincidence and tangential, picaresque epic against bounded ideas of language, history and genre. The perception of a linear shift from the British Empire into a postcolonial world of discrete nations is challenged by Ghosh's portrayal of a teeming world of transverse histories. This diffusion of ‘big history’ into the long movements and strange moments of diaspora is most crucially drawn out through Ghosh's heightened, sometimes perplexed and at other times enchanted, exploration of what might be described—using the work of Gilles Deleuze and Felix Guattari—as the ‘polylingualism’ of language. Ghosh portrays a world in which the smaller terms of community belie the ideologies of nation impressed by the ‘traditional’ realist novel form—and the apparently organic, rooted terms of ‘community’ are themselves collapsed into a recognition that all people can be traced back to histories of displacement and migration.
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Pardo, Pedro Javier. "Spanish Speculations on the Rise of the English Novel: The Romantic, the Picaresque and the Quixotic." Comparative Critical Studies 12, no. 1 (February 2015): 49–69. http://dx.doi.org/10.3366/ccs.2015.0154.

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Jeffers, Jennifer M. "“No Way Out” of Ireland: Frances Molloy’s No Mate for the Magpie and the Picaresque Novel." New Hibernia Review 21, no. 3 (2017): 66–82. http://dx.doi.org/10.1353/nhr.2017.0034.

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Broncano Rodríguez, Manuel. "Cormac McCarthy's Grotesque Allegory in "Blood Meridian"." Journal of English Studies 5 (May 29, 2008): 31. http://dx.doi.org/10.18172/jes.119.

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Cormac McCarthy’s Blood Meridian (1985) is one of the major literary works of the twentieth-century. It is an opaque text whose interpretation poses great challenges to the critic. McCarthy deploys a complex narrative strategy which revisits the literary tradition, both American and European, in a collage of genres and modes, from the Puritan sermon to the picaresque, in which the grotesque plays a central role. One of the most controversial aspects of the novel is its religious scope, and criticism seems to be divided between those who find in the novel a theological dimension and those who reject such approach, on the grounds that the nihilist discourse is incompatible with any religious message. This essay argues that McCarthy has consciously constructed, or rather deconstructed, an allegorical narrative whose ultimate aim is to subvert the allegory, with its pattern of temptation-resistance and eventual salvation, into a story of irremediable failure.
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Sharma, Dr Shreeja Tripathi. "Tom Jones : A Subaltern Critique." SMART MOVES JOURNAL IJELLH 9, no. 1 (January 28, 2021): 219–26. http://dx.doi.org/10.24113/ijellh.v9i3.10965.

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Henry Feilding’s Tom Jones offers a picture of English society during the imperial times through a thought-provoking scrutiny of the marginalised voices and indirectly subverts the imperial authority of oppression. Fielding’s defining work which notably laid the foundation of the English novel has often been implored for nuances of morality and sin. This research paper explores the novel as a prelude to the postmodern subaltern voice against the dominion of the social and economically elite through the emancipatory empowerment of the roguish foundling hero of the picaresque tradition: Tom Jones. The paper seeks to establish the relevance of Tom Jones for the readers of the so- called Third World, as it offers a glimpse into the subaltern aspects of identity of the coloniser. In this context, this paper evaluates the narrative of Fielding’s Tom Jones with reference to two key concerns: exposition of the oppressive power structure and revelation of marginalised oppressed.
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Bejarano Pellicer, Clara. "Música y juventud en la primera mitad del siglo XVII español a través de la novela picaresca = Music and youth in the first half of the 17th Spanish century through picaresque novel." Estudios Humanísticos. Filología, no. 38 (December 20, 2016): 145. http://dx.doi.org/10.18002/ehf.v0i38.1416.

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<p>Este trabajo se pregunta qué funciones desempeñaba la música entre los jóvenes de la primera mitad del siglo XVII en España, haciendo hincapié en sus aplicaciones en el contexto de las relaciones entre los sexos. La novela picaresca española puede apuntar indicaciones sobre cuál era la relación entre la música y la juventud en ese período, y en qué medida esta relación se debe a las características psicológicas de la edad o al contexto social en que tiene lugar.</p><p>This paper wants to know which roles music played for youth in the first half of XVIIth century Spain,<br />focusing on its application in the context of relationship between men and women. Spanish picaresque<br />can point ways of which was the relationship between music and youth in that period, and how much<br />this relationship is caused by psycological characteristics of youth or the social context.</p>
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Ricapito, Joseph V. "Discourses of Poverty. Social Reform and the Picaresque Novel in Early Modern Spain, and: Play and the Picaresque. Lazarillo de Tormes, Libro de Manuel, and Match Ball (review)." Comparatist 26, no. 1 (2002): 166–68. http://dx.doi.org/10.1353/com.2002.0023.

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Garrido Ardila, Juan Antonio. "Las rutas del «Quijote» por la novela inglesa del siglo XVIII." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 17. http://dx.doi.org/10.17811/cesxviii.26.2016.17-31.

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RESUMENEste artículo sopesa las principales derrotas en las investigaciones en torno a la presencia, recepción e influjo del Quijote en la novela inglesa del siglo XVIII. Se parte aquí de la distinción establecida entre novelas inglesas dieciochescas de temática quijotesca (las denominadas Quixotic fictions) y aquellas cuyas características formales se inspiran en el Quijote (las Cervantean novels). Respecto de las primeras se subraya la escasez deestudios y las muchas posibilidades que estas brindan al estudioso que quiera indagar en el tratamiento satírico de la compleja sociedad que las inspiró. De las Cervantean novels se destaca su engarce con la literatura de los dos siglos precedentes. La influencia cervantina en autores del Dieciocho como Fielding, Smollett y Sterne, en contraposición a la influencia picaresca en el Diecisiete, se explica aquí por razón de la necesidad, enla primera mitad del XVIII, de dotar la narrativa inglesa de las características formales de la novela moderna, lo cual hallaron en el Quijote.PALABRAS CLAVECervantes en Inglaterra, Quijote, novela inglesa del siglo XVIII, ficción cervantina, ficción quijotesca. TITLE«Don Quixote’s» sallies in eighteenth-century english fictionABSTRACTThis article is a critique of the mainstream strands in the research into Don Quixote’s reception in England and its influence on eighteenth-century English fiction. It offers a survey of the fictional narratives with a quixotic theme (the so-called Quixotic fictions) and those which deploy formal features taken from Don Quixote(known as Cervantean novels). The discussion of Quixotic fictions notes they have attracted little critical attention, and suggests the need for future studies of their intriguing satirical scope. This article also pinpoints the need to study Cervantean fictions of the eighteenth century in relation to seventeenth-century English fiction. This article notes that whilst Spanish picaresque novels were the main foreign influence on English fiction of the seventeenth century, the great writers of the eighteenth century, namely Fielding, Smollett and Sterne, preferred Don Quixote since Cervantes’ novel provided them with the formal features of the modern novel, at a time when these authors sought to establish canon of modern fiction in the English language.KEY WORDSCervantes in England, Don Quixote, eighteenth-century English novel, Cervantean fiction, Quixotic fiction.
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KIM SEONYI. "The Revival of Lazarillo de Tormes, a Modern Edition Picaresque Novel: Focused on Eduardo Mendoza’s Anonymous Detective Series." Korean Journal of Hispanic Studies 11, no. 2 (November 2018): 21–49. http://dx.doi.org/10.18217/kjhs.11.2.201811.21.

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Mansilla, Fernando Rodríguez. "Microhistory and the Picaresque Novel A First Exploration into Commensurable Perspectives ed. by Binne De Haan, Konstantin Mierau." Hispanófila 176, no. 1 (2016): 210–12. http://dx.doi.org/10.1353/hsf.2016.0014.

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Francis, Matthew. "Towards Goosepunk: A Contemporary Poetic Treatment of Francis Godwin's 'The Man in the Moone'." Interfaces: A Journal of Medieval European Literatures, no. 8 (December 31, 2021): 98–112. http://dx.doi.org/10.54103/interfaces-08-06.

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This article proposes a retro-futurist mode of science fiction based on seventeenth-century technology and culture. After a brief account of retro-futurist subgenres, named for the technology they are based on with the suffix -punk, I introduce my own poetic reworking of Francis Godwin's 1638 novel The Man in the Moone, one of a group of texts inspired by early modern New Astronomy. The novel's hero flies to the moon in a craft of his own invention drawn by a flock of migrating birds (swans in the original). Godwin's narrative is enjoyable for modern readers for its combination of vivid imagination, accurate speculation and, with hindsight, intriguing counter-factuality. My treatment aims to emphasise these aspects, eliminating other parts of the text such as the picaresque adventures that open the novel. Treated in this way, the story offers similar pleasures to more established modes such as steampunk. Godwin and his contemporaries were heavily dependent on animals for their power: to reflect this, the article proposes the term 'goosepunk' for its early modern retro-futurist subgenre.
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Collins, Richard. "Honoring the Form: Zen Moves in Charles Johnson’s Oxherding Tale." Religion and the Arts 14, no. 1-2 (2010): 59–76. http://dx.doi.org/10.1163/107992610x12592913031829.

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AbstractIn Being and Race Charles Johnson compares a writer working with traditional forms to a martial artist who “honors the form” of his predecessors. In his 1982 novel Oxherding Tale Johnson honors the form of a number of traditional fictional genres, including the slave narrative, the picaresque novel, the philosophical novel of ideas, and Zen texts such as koans, sutras, and the twelfth-century graphic narrative, the “Oxherding Pictures.” Calling his novel a “slave narrative that serves as the vehicle for exploring Eastern philosophy,” Johnson alludes to Hindu, Taoist and Buddhist texts, as well as to Western literary and philosophical works, to dissolve the dualistic thinking at the heart of what he calls “the samsara of racial politics.” To be free of the illusory nature of “ontological dualism,” however, one must journey through stages of increasing awareness, admirably depicted in the ten illustrations of the “Oxherding Pictures.” From seeking a self (ox) that one thinks one has lost, to glimpsing the self that is first elusive and finally illusory, the seeker comes to realize that all identities are constructed and therefore temporary, including such notions as “race” and “self.” Like some biracial Everyman, Johnson’s narrator may not complete the journey by the end of the novel but he discovers much about the insubstantiality and inter-connectedness of himself in the world along the way.
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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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