scholarly journals Tipología De La Novela Histórica Contemporánea

2017 ◽  
Vol 5 (1) ◽  
pp. 437
Author(s):  
Hala Abdelsalam Awaad

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

Author(s):  
Juan Carlos Pueo

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.


This volume provides the first comprehensive overview of the extant Greek and Latin letter collections of late antiquity (ca. 300-600 C.E.). Bringing together an international team of historians, classicists, and scholars of religion, it illustrates how letter collections advertised an image of the letter writer and introduces the social and textual histories of each collection. Nearly every chapter focuses on the letter collection of a different late ancient author—from the famous (or even infamous) to the obscure—and investigates its particular issues of content, arrangement, and publication context. On the whole, the volume reveals how late antique letter collections operated as a discrete literary genre with its own conventions, transmission processes, and self-presentational agendas while offering new approaches to interpret both larger letter collections and the individual letters contained within them. Each chapter contributes to a broad argument that scholars should read letter collections as they do representatives of other late antique literary genres, as single texts made up of individual components, with larger thematic and literary characteristics that are as important as those of their component parts.


T oung Pao ◽  
2010 ◽  
Vol 96 (1) ◽  
pp. 165-201
Author(s):  
Regina Llamas

AbstractThis essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthetic and creative circumstances, and that it embodied the value of "naturalness" which he considered a universal standard for good literature. By producing a scholarly critical history of the origins and nature of Chinese drama, Wang placed drama on a par with other literary genres of past dynasties, thus giving it a renewed status and creating at the same time a new discipline of research. Drama had now become an established literary genre.


2018 ◽  
Vol 9 (4) ◽  
pp. 98
Author(s):  
Ebrahim Estarami

Using the novella as the European literary genre has divided the Iranian literary scholars due mostly to its unknown features. Lack of research in this area has caused many writers either to abandon this literary term or to opt for alternatives such as “novelette”,” long story”, “long short story” or “short story”. This article aims to introduce the theory and characteristics of the novella as a unique literary genre, based on German literature. Despite the Italian root of the novella, it reflects its Germanic roots as it was flourished in the 18th and 19th centuries Germany. In addition, the paper explores the concept of “long story” in Iranian literature as the synonym of the term novella. The Blind Owl clearly exhibits these characteristics of the genre, especially the dramatic structure and representing a new aspect of human trait. The analysis of The Blind Owl leads to a deeper understanding of one of the most important and well-formed European literary genres and a new look at Sadegh Hedayat’s ideology as a professional author in addition to familiarizing scholars with this genre.


Obiter ◽  
2014 ◽  
Author(s):  
Rufaro Audrey Mavunga

The Minimum Age Convention no. 138 of 1973 in Article 7 provides that children between the ages of 13 and 15 years may be permitted to undertake a permissible form of child work, namely: light work. Such work should not prejudice the education, health or the general wellbeing of the child. Article 7 does not, however, define or clarify what actually qualifies as light work. The light work provision also seems incompatible with the realities of many developing countries and the values prioritized in different cultures as it seems to place an unnecessarily strict prohibition of work by children below the age of 13 years. Although there seems to be confusion regarding this concept the light work provision is best understood in its historical context. The light work provision first appeared in the Minimum Age (Agricultural) Convention no. 10 of 1921 and was further developed in the Minimum Age (Industry) Convention no. 33 of 1932. Convention no. 138 thereafter revised such conventions with a less detailed description of the concept causing confusion and uncertainty about permissible forms of child work.


Author(s):  
A. R. Woodside ◽  
W. D. H. Woodward

AbstractThis paper considers the assessment of highway surfacing aggregate wear using the Aggregate Abrasion Value and micro-Deval test methods. Their historical development is discussed. The influence of test sample preparation and number of chippings assessed is compared. Data for both methods are presented for a range of rock types. Dry, wet and soaked versions of the micro-Deval test are compared. The use of a density correction to modify the micro-Deval test value is proposed. The ability of the Aggregate Abrasion Value and micro-Deval test methods to assess heterogeneous aggregates is assessed.


Author(s):  
Eckart Otto

This chapter deals with the legal functions of law of different literary genres in the Hebrew Bible and their legal historical development within their societal “settings in life. It concentrates on laws of bodily injuries and homicide in a comparative approach with ancient Near Eastern law and asks for the influence of religion on the legal history of the biblical law of offenses against human beings and for trends of correlating law and narrative in the Pentateuch. Special attention is given to the origins of talionic retaliation in cuneiform law and to the efforts in biblical law already in the Covenant Code to check and repeal the talio.


Author(s):  
Iris Gemeinböck

Currently there are very few specialised corpora of literary texts that are tailored to the needs of literary critics who are interested in corpus stylistic analyses of prose fiction. Many existing corpora including literary texts were compiled for linguistic research interests and are often unsuitable for corpus stylistic purposes. The paper addresses three of the main problems: the absence of labelling of the texts for literary genre, the use of extracts, and the prevalence of linguistic periodisation schemes. C18P is a corpus of prose fiction designed specifically to address these issues. It traces the early development of the novel from 1700 up until the Victorian era. It can, for instance, be used for an analysis of the characteristic linguistic features of individual literary genres and forms. The following paper introduces the design of the corpus as well as some of its potential uses.


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