Cervantes and Genre

2021 ◽  
pp. 314-332
Author(s):  
Brian Brewer
Keyword(s):  
Literary Theory ◽  
Don Quixote ◽  
The State ◽  
Actual Practice ◽  
Literary Fiction ◽  
Literary Genre ◽  
Popular Theatre

In Don Quixote I.47 and 48, Cervantes sets out his most sustained exposition of literary theory. This chapter points out that the dialogue staged in these chapters between the canon from Toledo and the priest from Don Quixote’s village contains in embryonic form the primary tensions that infuse Cervantes’s attitude toward literary genre as revealed in his fiction. The critical exchange is divided into two parts: the canon’s critique of the romances of chivalry that have caused Don Quixote’s insanity, and the priest’s appraisal of the state of contemporary popular theatre. In both cases, which are complementary, the characters’ criticisms are harsh without being completely uncompromising. Also, in both cases, the artistic precepts expounded accurately describe Cervantes’s actual practice of composing literary fiction, with the non-trivial caveat that they also contain important limitations.

scholarly journals “Royal Show” in Qohelet 2:1–11. A māšal – a Mind Exercise

2021 ◽  
Vol 14 (4) ◽  
Author(s):  
Dariusz Iwański
Keyword(s):  
Literary Fiction ◽  
Literary Genre ◽  
The Core

Much has been written on the so-called royal fiction in Qoheleth. Generally speaking, scholars agree that it is a literary fiction. However, there is no unanimity as far as the interpretation of its role in the Book is concerned. Some would claim that it expresses a hidden critique of monarchy, while others would argue that it is veiled praise of royal institutions. It is striking, though, that commentators rarely recognize the literary genre of the part concerned. The article offers a different approach to the interpretative challenge it presents. It mainly focuses on the core pericope of the royal part – Qoh 2:1–11 – determining its genre as a māšal. It is a “royal show” craftily fashioned by a brilliant teacher Qoheleth. It is meant to be a mind exercise helping the wisdom searcher to reflect upon his own mindset, goals, and expectations.

scholarly journals Da Diáspora à Palestina: novas concepções sobre a localização dos evangelhos sinóticos

2015 ◽  
Vol 8 (11) ◽  
pp. 73
Author(s):  
Marcelo Da Silva Carneiro
Keyword(s):  
Roman Empire ◽  
Literary Theory ◽  
Oral Tradition ◽  
Early Christianity ◽  
Contextual Analysis ◽  
Synoptic Gospels ◽  
Literary Genre ◽  
Christian Community ◽  
Cultural Proximity ◽  
Principal Points

Resumo: Este artigo pretende mostrar as mudanças teóricas sobre a localização dos evangelhos sinóticos. O objetivo é demonstrar como a localização dos evangelhos sinóticos foi por muito tempo fundamentada na Tradição, e não em análise contextual. Desde os Pais da Igreja os evangelhos sinóticos foram situados em diferentes pontos do império romano, em geral fora da região siro-palestinense. Novas tendências, no entanto, tem demonstrado que Marcos, Mateus e Lucas pertencem a um gênero literário vinculado ao mundo judaico da Palestina, e seus evangelhos refletem essa proximidade cultural. A partir disso é possível chegar a duas conclusões principais: por um lado, os evangelhos sinóticos surgiram para responder a demandas de comunidades judaico-cristãs que estavam em situação de crise e usaram a memória sobre Jesus para dar fundamento às suas respostas. Por outro lado, as novas tendências indicam a proximidade entre o cristianismo primitivo e o judaísmo, como expressão da pluralidade deste. Palavras-chave: Cristianismo Primitivo. Teoria Literária. Evangelhos Sinóticos. Tradição Oral. Abstract: This paper wants show the theoretical changes about the Synoptic Gospels locus. The object is show that the Synoptic Gospels locus are based just in Tradition, and not in contextual analysis. Since the Later Fathers, the Synoptic Gospels were located in different Roman Empire places, generally off Syros-Palestinian area. New tendencies, however, show that Mark, Matthew and Luke belongs a literary genre bound to the Palestinian Judaic world, and their Gospels reflect this cultural proximity. From this, it is possible conclude two principal points: one, the Synoptic Gospels emerged to respond to Judaic-Christian community demands, in crisis and used the memories about Jesus for give ground to their answers. Two, the new tendencies link the proximity between the Primitive Christianity and Judaism, as their plurality expression. Keywords: Early Christianity. Literary Theory. Synoptic Gospels. Oral Tradition.

scholarly journals Tipología De La Novela Histórica Contemporánea

2017 ◽  
Vol 5 (1) ◽  
pp. 437
Author(s):  
Hala Abdelsalam Awaad
Keyword(s):  
Special Reference ◽  
Literary Theory ◽  
Historical Development ◽  
Literary Genre ◽  
Literary Genres ◽  
The Road ◽  
Contemporary Novels ◽  
Novela Historica ◽  
Different Cultures

The present study investigates the variability of the historical literary genre with special reference to two contemporary novels: Vázquez Montalbán´s Galíndez, and Eduar El-Jarrat´s The Road of the Vulture. At face value, both works can be considered poles apart: both works are written in two different languages, Spanish and Arabic, belong to two different cultures, and each has undergone a social-historical development inspired by literary theory and a new critical vision. Therefore, both authors are unified by their innovated literary vision: they have created two novels which transcend the frontiers of literary genres following definite principles, and ¨personal¨ aesthetics

scholarly journals ¿Es la ópera un género literario?

2011 ◽  
pp. 609
Author(s):  
Juan Carlos Pueo
Keyword(s):  
Literary Theory ◽  
Literary Work ◽  
Genre Theory ◽  
Specific Form ◽  
Literary Genre ◽  
Literary Genres ◽  
Semiotic Systems ◽  
Physical Presence ◽  
Language And Music

La ópera se considera comúnmente un género musical, pero su estatuto literario parece ser más bien dudoso. La intención de este artículo es poner en claro esta cuestión, tomando como referencia la teoría de los géneros literarios, la teoría teatral y la semiótica musical. La teoría literaria debe tener en cuenta la especificidad de ciertos géneros literarios cuya recepción ha sido destinada a ser acompañada por la música. Los géneros teatrales se definen por la presencia física de uno o más actores que representan sus personajes ante un público, de forma que dichos géneros pueden clasificarse por emplear o no el lenguaje y/o la música: esto significa que la ópera ocupa un lugar en la clasificación de los géneros literarios por su conjunción de lenguaje y música. Esta conjunción no es mera yuxtaposición, ha de ser pensada como simbiosis entre dos sistemas semióticos que colaboran para producir una forma específica de obra literario-musical que ha de considerarse un género literario y teatral con características especiales. Opera is generally considered a musical genre, but its literary statute seems to be rather uncertain. The aim of this article is to clarify this subject, taking as reference literary genre theory, theatrical theory and musical semiotics. Literary theory must take into consideration the specificity of certain literary genres whose reception is intended to be accompanied by music. Theatrical genres defines themselves by the physical presence of one o more actors that impersonate some characters for an audience, so this genres can be classified by the use or the disuse of language and/or music: this means that opera occupies a place in the classification of literary genres because of its conjunction of language and music. This conjunction is not mere yuxtaposition, it has to be thought as a symbiosis between two semiotic systems that collaborate to produce an specific form of musical-literary work that must be considered a literary and theatrical genre with special characteristics.

Mikrostāsta jēdziens mūsdienu literatūrā

2020 ◽  
pp. 299-310
Author(s):  
Agata Babina
Keyword(s):  
Spanish Literature ◽  
Literary Form ◽  
Literary Fiction ◽  
Literary Genre ◽  
Literary Critic ◽  
Anglo Saxon ◽  
Flash Fiction ◽  
Contemporary Spanish Literature ◽  
The University ◽  
Insight Into

The glorious, overwrought, and ambitious modernism of the early 20th century has gradually been replaced by minimalism in art, architecture and other cultural expressions. In such a changing environment, minimalism trends also appear in the literature. Turning to the analysis of literary fiction over the last hundred years, critics of Romanic and Anglo-Saxon literature have come to the conclusion of the emergence of a new literary genre. In Anglo-Saxon literature, among many other names of this genre, the most recognizable name is flash fiction, while in Spanish, the term microrrelato has been established in the last decade. However, in Latvian literature, the characteristics of the genre correspond to minimas written by Aivars Eipurs. The paper aims to provide insight into the development and textual characteristics of flash fiction and to seek its equivalents in the literature of different Western nations. The study looks at the concept of flash fiction and its synonyms in English, Spanish, French, Russian, and Polish languages, includes definitions of flash fiction as an independent literary genre of a variety of authors and sets out the key features and examples. In addition to the concept of flash fiction, it includes concepts of intertextuality and ellipsis, which, along with humor and metafiction, are essential linguistic elements of flash fiction. Flash fiction merges different genres and their patterns into a new literary form consisting of certain linguistic, syntactical, and pragmatic texting techniques. In building the theoretical base of the study, the emphasis was placed on the critics of contemporary Spanish literature less known in Latvia, such as professor Irene Andrés-Suárez (b. 1948) of the University of Neuchatel (Switzerland), Argentinian writer and literary critic David Lagmanovich (1927–2010) and Mexican literary critic Lauro Zavala (b. 1954). Examples of the genre are mostly referred to by Hispanic authors.

Rethinking organization theory: The fold, the rhizome and the seam between organization and the literary

Organization ◽  
2016 ◽  
Vol 24 (6) ◽  
pp. 800-818 ◽  
Author(s):  
David Pick
Keyword(s):  
Literary Theory ◽  
Organization Theory ◽  
Literary Fiction ◽  
The Novel ◽  
New Thinking ◽  
Cloud Atlas ◽  
The Relationship ◽  
Current Paradigm ◽  
Ideological Assumptions

The aim of this article is to apply literary theory and a work of literary fiction ( Cloud Atlas by David Mitchell) to the task of offering points of departure for new thinking about organization theory. To this end, I locate this article at the seam between organization and the literary, where I employ two concepts proposed by Deleuze (the fold and the rhizome), apply the semiotic square and discuss the relationship between form and content. An examination of Cloud Atlas is positioned in the middle of the article to reflect the idea that the literary is at the heart of organization and vice versa. In keeping with the literary spirit of Cloud Atlas, this article mirrors the following narrative pattern of the novel: A | B | C | D | C | B | A. By working the seam, I find a way of developing alternative metaphors, challenging prevailing ideological assumptions and problematizing current paradigm assumptions.

Divorce in Classical Athenian Society: Law, Practice and Power

2008 ◽  
Vol 7 ◽  
Author(s):  
Carlos F Norena
Keyword(s):  
Balance Of Power ◽  
The State ◽  
Actual Practice ◽  
Primary Sources ◽  
Forensic Speeches ◽  
Husband And Wife

The practice of divorce in classical Athens sheds light on relationships which are fundamental to our understanding of Athenian society: between husband and wife, between separate households, and between household and state. The power which informs these relationships, as illuminated by divorce, can be measured not only in juridical terms, but in social and economic terms as well. The main primary sources for the study of divorce in classical Athens are the forensic speeches of the Attic orators. These speeches show that whereas it was easy, legally, to obtain a divorce, it was often complicated in actual practice. Divorce, in fact, was often avoided—even when the state intervened to mandate the dissolution of a marriage—and I argue that the practice of divorce, as opposed to the laws governing it, reveals an unexpected balance of power between the constituents to an Athenian marriage.

scholarly journals På Vej Mod Short Storyen

2012 ◽  
Vol 14 (1) ◽  
pp. 147-156
Author(s):  
Aldona Zanko
Keyword(s):  
Short Story ◽  
Literary Theory ◽  
Short Fiction ◽  
Main Idea ◽  
Literary Text ◽  
Julia Kristeva ◽  
Literary Genre ◽  
Literary Identity ◽  
General Importance ◽  
Critical Perception

ABSTRACT The article derives from the intertextual approach to the notion of literary identity, introduced to the modern literary theory in the 1960’s by Julia Kristeva (born 1941). The main idea behind this approach is that no literary text should be perceived as an isolated unity, but always in relation to other texts, which it refers to. The author applies the intertextual perspective to examine the signs of external literary influences in Lise Andersens minimalist prose collection ”En særlig sommer og andre billeder”, published in 2008. The analysis aims to highlight influences from the American short story genre, which appears as an important source of inspiration not only for Andersen herself, but in fact for most of the Danish writers of minimalist fiction. The analysis provides examples of, how inspiration from the American short story manifests itself in form, narration and structure of the selected stories in the collection. Last but not least, the author draws attention to the general importance of American influences in Danish contemporary short fiction and their role for the critical perception of this literary genre both in Denmark and abroad.

scholarly journals »Rød og hvid i Billedsalen«. Grundtvigs døds- og mindedigte II

1981 ◽  
Vol 33 (1) ◽  
pp. 47-83
Author(s):  
Flemming Lundgreen-Nielsen
Keyword(s):  
The State ◽  
Literary Genre ◽  
Deceased Person ◽  
The Real ◽  
Greek Myths ◽  
To Come ◽  
Spiritual History

"Red and White in the Picture Gallery” Grundtvig’s memorial poems (II)By Flemming Lundgreen-NielsenIn the second and last part o f the essay three memorial poems from the 1840’s are considered in order o f their publication. “Henrich Steffens” (1845) is Grundtvig’s final appraisal o f his cousin for his role as herald o f Danish romanticism. At the end Grundtvig even suggests Steffens’ grave be moved from Berlin to Sorø Academy, the site o f Grundtvig’s proposed folk highschool, since Steffens may be declared the real father o f the popular enlightenment to come. Grundtvig probably got the idea from the tomb for Thorvaldsen in the court-yard o f the sculptor’s museum in Copenhagen. “Albert Thorvaldsen” (1844, printed 1848) was thus written partly to argue against the official funeral speeches at the state funeral in 1844. Grundtvig categorizes Thorvaldsen as a “ Lysalf” (fairy o f the light), i.e. a pagan with reverence for spirit, but not a Christian believer. “Povel Dons” (1843, printed 1867) describes the sad career o f a broken man whose ambitions far surpassed his talents. With a daring quote from Christ Grundtvig resurrects him to an after-life as faithful helper o f the Danish romantics. It is demonstrated that the close parallels between the Greek myths o f Icaros and Phaeton and Nordic mythology and Lutheran Easter metaphors have produced one o f Grundtvig’s most condensed and successful lyrical texts.In conclusion it is emphasized that Grundtvig’s hallmark as a memorial poet neither concerns details from the private existence nor an appreciation of the works o f the deceased person, but that Grundtvig boldly interprets his or her function in universal and national spiritual history. In his best memorial poems Grundtvig hardly offers Christian consolation, he rather adheres to a semi-pagan reincarnation o f the spirit-formula, as seen in Jens Baggesen’s epic “Thora from Havsgaard” and in Grundtvig’s own interpretations o f the myth about Balder’s Death and Funeral. To Grundtvig the memorial poem is mainly a secular literary genre.

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