scholarly journals The Development of the Polish Novel: Functions and Structure

Slavic Review ◽  
1970 ◽  
Vol 29 (4) ◽  
pp. 651-662 ◽  
Author(s):  
Zdzislaw Najder
Keyword(s):  
Nineteenth Century ◽  
Literary Genre ◽  
Gold Mine ◽  
The Novel ◽  
Historical Romances ◽  
Literary Forms ◽  
The Way

The novel is the only major literary genre whose origins and development we have been able to watch in detail. It also seems to be the only genre whose development depended more on the customers than on the makers. Richardson, who wrote Pamela because he noticed how popular a continuous story in the form of letters could be; Fielding, who exploited Richardson's success in his parodistic Joseph Andrews; Scott, who produced innumerable historical romances, gamely trying to match demand with supply; Dickens, who accidentally struck a gold mine with the first chapters of The Pickwick Papers; Dostoevsky, who made extensive use of the conventions of popular, sensational novels—all are typical of the way the novel evolved. In other literary forms the discrepancy between merits and rewards, creativeness and popular expectations, and originality and response has been so frequent as to become proverbial. But this is not true of the nineteenth-century novel, where it is unusual to find a writer like Stendhal, who gained his reputation only after his death.

The Castle of Otranto

2014 ◽  
Author(s):  
Horace Walpole
Keyword(s):  
Middle Ages ◽  
Literary Genre ◽  
The Novel ◽  
Gothic Fiction ◽  
English Novel ◽  
Game Changer ◽  
The Way ◽  
The Grotesque

‘Look, my lord! See heaven itself declares against your impious intentions’ The Castle of Otranto (1764) is the first supernatural English novel and one of the most influential works of Gothic fiction. It inaugurated a literary genre that will be forever associated with the effects that Walpole pioneered. Professing to be a translation of a mysterious Italian tale from the darkest Middle Ages, the novel tells of Manfred, prince of Otranto, whose fear of an ancient prophecy sets him on a course of destruction. After the grotesque death of his only son, Conrad, on his wedding day, Manfred determines to marry the bride–to–be. The virgin Isabella flees through a castle riddled with secret passages. Chilling coincidences, ghostly visitations, arcane revelations, and violent combat combine in a heady mix that terrified the novel's first readers. In this new edition Nick Groom examines the reasons for its extraordinary impact and the Gothic culture from which it sprang. The Castle of Otranto was a game-changer, and Walpole the writer who paved the way for modern horror exponents.

scholarly journals London Eyes: William Dean Howells and the Shift to Instant Photography

2010 ◽  
Vol 65 (3) ◽  
pp. 374-394 ◽  
Author(s):  
Owen Clayton
Keyword(s):  
Nineteenth Century ◽  
William Dean Howells ◽  
The Novel ◽  
Radical Empiricism ◽  
Philosophical Foundations ◽  
The World ◽  
Literary Movements ◽  
The Way

Owen Clayton, "London Eyes: William Dean Howells and the Shift to Instant Photography"(pp. 374––394) Toward the end of the nineteenth century, one of William Dean Howells's many avid readers, finally meeting him in the flesh, expressed surprise that the famed writer was not dead. Although he had not actually departed from the world, it was true that by this time the venerable "Dean"was at a low ebb. While younger authors were taking the novel in directions about which he was, at the least, ambivalent, Howells was aware that his own best work was behind him. Yet, throughout his career, he maintained a desire to test different literary approaches. In England in 1904, Howells tested a conceit that would allow him to keep pace with the literary movements of the day. This consisted of an extended photographic metaphor: an association of himself with the Kodak camera. He used this figuration to move beyond the philosophical foundations of his previous work. Criticism has largely overlooked this endeavor, which Howells buried away in the somewhat obscure travelogue London Films (1905). This essay shows how London Films used its photographic metaphor to question positivistic observational assumptions, the way in which this was a response to William James's Essays in Radical Empiricism (1912), and, finally, why Howells ultimately went back on his attempt to create a Kodak school in fiction.

scholarly journals Nu vil jeg fortælle Jer mere – Fortællingen om Uglenspeil fra folkebog til roman

2016 ◽  
Vol 13 ◽  
pp. 54-82 ◽  
Author(s):  
Simona Zetterberg Gjerlevsen
Keyword(s):  
Comparative Analysis ◽  
18Th Century ◽  
Literary Genre ◽  
The Novel ◽  
English Novel ◽  
Literary Forms ◽  
Narrative Techniques ◽  
The Relationship

Now I will tell you more – The story of Uglenspeil from the Volksbuch to the Novel.“Nu vil jeg fortælle Jer mere – Fortællingen om Uglenspeil fra folkebog til roman” [Now I will tell you more – The story of Uglenspeil from the Volksbuch to the Novel] addresses one of the most frequently debated matters in the historiography of the novel, namely the question of continuity and rupture: did the novel grow out of earlier forms, or rise as a profoundly new genre? Whereas the question of legacy informs the historiography on the English novel, there are surprisingly few investigations of the 18th century Danish novel and its relation to previous literary forms. This article investigates the relationship between the novel and the most widely read literary genre before the novel in Denmark, namely the volksbuch. It does so through a comparative analysis of Carl August Thielo's novel Den Unge Uglenspeil, eller det slet opdragne Menneske [The Young Uglenspeil, or the Person who was brought up badly] (1759) and the Volksbuch Tiile Ugelspegel (1669) (in Jacobsen, Olrik and Paulli 1930). These works are particularly informative for understanding the relationship between the two genres as Thielo’s novel is built on – and at the same time comments on – the earlier genre. The article argues that the differences between the texts concerning fictionality, narrative techniques, structure, and their levels of reflections are so fundamental that the novel cannot be regarded a genre that simply grew out of the former. Especially with regard to fictionality, it becomes clear that the volksbuch and the novel are two very different genres. Whereas the novel comes to admit its own fictional status, the volksbücher were perceived of and intended to be taken as true stories. For those reasons, the article concludes that compared to previously most popular prose genre in Denmark, the Danish novel is to be considered a profoundly new genre.

scholarly journals Agora é que são elas: um romance em xeque / Agora é que são elas: a novel in check

2021 ◽  
Vol 30 (3) ◽  
pp. 110
Author(s):  
Jorge Fernando Barbosa do Amaral
Keyword(s):  
Nineteenth Century ◽  
First World War ◽  
Julio Cortazar ◽  
The Novel ◽  
World War ◽  
Literary Forms ◽  
Starting Point ◽  
The First World War ◽  
First World ◽  
Julio Cortázar

Resumo: O artigo analisa o romance Agora é que são elas, de Paulo Leminski, tendo como ponto de partida a ideia do próprio autor de que seria impossível escrever um romance nos moldes tradicionais em pleno século XX. Para Leminski, os grandes romancistas do século passado, como Joyce e Kafka, nasceram no século XIX e se formaram antes da Primeira Guerra Mundial, por isso sua produção estaria de acordo com os princípios criativos oitocentistas. Assim, o artigo investiga o Agora é que são elas, enquadrando-o tanto na “Teoria do túnel”, de Julio Cortazar, que diz que alguns escritores destroem as formas literárias tradicionais para construir a própria linguagem, quanto nas reflexões sobre a “Linguagem Invertebrada”, de Reinaldo Laddaga, que usa a imagem dos ossos como metáfora da rigidez criativa.Palavras-chave: Paulo Leminski; Agora é que são elas; Teoria do Túnel; Linguagem Invertebrada.Abstract: The paper analyzes the novel Agora é que são elas, by Paulo Leminski, taking as its starting point the idea that the author would be impossible to write a novel in the traditional ways in the twentieth century. To Leminski, the great novelists of the last century, as Joyce and Kafka, born in the nineteenth century and were formed before the First World War, so their production would agree with the nineteenth-century creative principles. Thus, the paper investigates the Agora é que são elas, framing it in both the “Tunnel Theory” by Julio Cortazar, who says that some writers destroy traditional literary forms to build its own language, as the reflections on the “Invertebrate Language”, by Reinaldo Laddaga, which uses the image of the bones as a metaphor for creative stiffness.Keywords: Paulo Leminski; Agora é que são elas; Tunnel Theory; Invertebrate Language.

Romancing the Interstitial

2017 ◽  
Vol 72 (3) ◽  
pp. 311-337
Author(s):  
Sheila Liming
Keyword(s):  
Nineteenth Century ◽  
Sexual Identity ◽  
Sexual Difference ◽  
Political Agenda ◽  
The Novel ◽  
The Social ◽  
The Aesthetic ◽  
The Way

Sheila Liming, “Romancing the Interstitial: Howe, Balzac, and Nineteenth-Century Legacies of Sexual Indeterminacy” (pp. 311–337) This essay links Julia Ward Howe’s infamous “lost” text, The Hermphrodite (first published in 2004), with Honoré de Balzac’s Sarrasine (1830), arguing that Howe rewrites Balzac’s figure of the “tragic hermaphrodite” with the intention of protesting nineteenth-century American assumptions regarding innate sexual difference. The Hermaphrodite tells the story of Laurence, a deeply contemplative, intelligent person whose sexual identity is disputed, but Howe never employs the term “hermaphrodite” outright. This situation encourages readers to judge Laurence’s hermaphroditism by his behavior and actions in the novel, not his biology, and this is furthermore consistent with the way the term “hermaphrodite” was used and understood by mid-nineteenth-century Americans. As such, this essay examines the claims that Howe makes about the social machinery of gender in The Hermaphrodite, arguing that while Laurence has much in common with Balzac’s Sarrasine, Howe uses her protagonist as a means of revising outdated arguments about biological “truth.” Howe’s Laurence revisits and updates nineteenth-century considerations of the aesthetic androgyne in the service of a modern, political agenda concerning sexual demarcation and difference.

The Novel and the Stage

2018 ◽  
Author(s):  
Gillian Russell
Keyword(s):  
Nineteenth Century ◽  
Literary History ◽  
Social Contexts ◽  
Literary Studies ◽  
Literary Genre ◽  
The Novel ◽  
Global Culture ◽  
Literary Genres ◽  
The Status ◽  
The Relationship

This chapter studies the relationship between the novel and the stage. Novels and plays were the products of the same cultural, political, and social contexts: they were performed, circulated as texts, and interpreted in relation to and often in dialogue and competition with each other. However, the extent to which the development of the novel in this period interacts with that of the stage has received comparatively little attention in literary history. This partly reflects the differentiation of literary genres that took place in the nineteenth century and its subsequent academic institutionalization which has resulted in the novel and the drama constituting distinct fields within literary studies. This development was reinforced by the ‘rise’ of the novel to the status of a legitimate literary genre, one indeed regarded as central to modern global culture, and, conversely, the ‘decline’ of the prestige of theatre and drama, particularly that of the period 1750–1950.

Good Form

2019 ◽  
Author(s):  
Jesse Rosenthal
Keyword(s):  
Nineteenth Century ◽  
Literary History ◽  
Narrative Theory ◽  
Moral Experience ◽  
Narrative Form ◽  
The Novel ◽  
Moral Principles ◽  
Moral Dimensions ◽  
Formal Properties ◽  
The Way

What do we mean when we say that a novel's conclusion “feels right”? How did feeling, form, and the sense of right and wrong get mixed up, during the nineteenth century, in the experience of reading a novel? This book argues that Victorian readers associated the feeling of narrative form—of being pulled forward to a satisfying conclusion—with inner moral experience. Reclaiming the work of a generation of Victorian “intuitionist” philosophers who insisted that true morality consisted in being able to feel or intuit the morally good, this book shows that when Victorians discussed the moral dimensions of reading novels, they were also subtly discussing the genre's formal properties. For most, Victorian moralizing is one of the period's least attractive and interesting qualities. But this book argues that the moral interpretation of novel experience was essential in the development of the novel form—and that this moral approach is still a fundamental, if unrecognized, part of how we understand novels. Bringing together ideas from philosophy, literary history, and narrative theory, the book shows that we cannot understand the formal principles of the novel that we have inherited from the nineteenth century without also understanding the moral principles that have come with them. The book helps us to understand the way Victorians read, but it also helps us to understand the way we read now.

The Novel and the Maqāma

2017 ◽  
Author(s):  
Jaakko Hämeen-Anttila
Keyword(s):  
Nineteenth Century ◽  
Relative Length ◽  
Arabic Literature ◽  
Literary Genre ◽  
The Novel ◽  
Modern Arabic

This chapter examines the influence of the maqāma, a short, often comic tale written in rhymed prose, on the modern Arabic novel. The maqāma and the novel share a number of features, including openly fictitious protagonists, the use of a plot, and relative length. This chapter begins with an overview of the maqāma as a literary genre, then discusses the work of Aḥmad Fāris al-Shidyāq and his links to the maqāma tradition, along with Badī‘ al-Zamān al-Hamadhānī’s influence on Muḥammad al-Muwayliḥ ī. It also explores the influence of maqāmas on modern Arabic literature from the nineteenth century and beyond. Finally, it assesses the role of the maqāma in the development of the modern Arabic novel.

scholarly journals Multatuli in Zombieland

Werkwinkel ◽  
2017 ◽  
Vol 12 (2) ◽  
pp. 103-118
Author(s):  
Philip Vermoortel
Keyword(s):  
Nineteenth Century ◽  
Secondary School ◽  
Literary Tradition ◽  
The Novel ◽  
Colonial History ◽  
Original Language ◽  
Critical Understanding ◽  
Dutch Colonial ◽  
The Way

Abstract In 1860, the Dutch author Multatuli (pen name of Eduard Douwes Dekker) published Max Havelaar, which was to become the most famous nineteenth-century Dutch novel. In 2016, the book was rewritten by Martijn Adelmund as a book in which also zombies play a role. By doing so, Adelmund follows a fifteen-year-old American literary tradition to rewrite literary masterpieces as zombie books. Since Max Havelaar neither contains many characters nor descriptions of Indonesian nature and has a rather simple plot, Adelmund decided to mix the book with another nineteenth-century Dutch literary masterpiece: Louis Couperus’ De stille kracht. The purpose is to make secondary school pupils read the original Max Havelaar again and encourage them to compare the two versions in order to develop a critical understanding of Dutch colonial history and its present-day consequences. The review focuses on the way Adelmund combined the two classic books, reshaped the plot and added parts of his own. Attention is paid to the way in which the original language was modernized and to the question whether this book really can or will help young students to read the original. However noble Adelmund’s objectives may be, it is very improbable that he will manage to realize them since the quality of the novel he created leaves a lot to be desired.

Reading Habits in Jane Austen’s Northanger Abbey

2021 ◽  
Vol 66 (2) ◽  
pp. 175-190
Author(s):  
Ana Voicu
Keyword(s):  
Character Development ◽  
Book Reading ◽  
Literary Genre ◽  
Narrative Development ◽  
The Novel ◽  
Reading Habits ◽  
Gothic Fiction ◽  
Northanger Abbey ◽  
Novel Theory ◽  
The Way

"Reading Habits in Jane Austen’s Northanger Abbey. This article focuses on the way Catherine Morland, Northanger Abbey’s heroine, is influenced and even guided by the literature she either chooses or is given to read. Her reading habits, as well as her changing typologies as a reader, influence both the development of her character and the narrative. This study also debunks the idea that Northanger Abbey is a parody of Gothic fiction, contextualizing book reading in an age when the novel was yet to be considered a respectable literary genre. Keywords: wise reader, the avid reader, the hypocritical reader, character development, narrative development, Gothic fiction, novel theory"

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