El arte de la novela de Cervantes a Zayas

The claim of a Cervantes’ effect in Zayas’s narrative might be regarded as contradictory, especially considering the formal differences in their novelistic structure. At first, one might argue that the absence of a frame in Exemplary Novels places the novel in the opposite category to Honesto y entretenido sarao’s Boccaccian use of a frame tale. However, after a more detailed analysis, I will argue that these works are two sides of the same coin in their way of dealing with narrative problems. In Zayas, the interrelation between the frame story and inserted novels reveals a novelty. Zayas aligns with Cervantes in the rejection of the conventional use of narrative formula, although Zayas opts for the extreme opposite to the omission of the framework. Considering the Cervantine lesson about the internal ties of the novels, Zayas creates a structure where unity is established by the frame story.

Autentificando el discurso de la verdad en El casamiento engañoso y El coloquio de los perros

In Casamiento-Coloquio, the opposition between the narrator’s discourse and the discourse of the characters plays with a minimal initial presence and a total final absence of the authorised narrator’s discourse, and with the progressive emergence of characters eager to narrate their own lives, and impose their voice over the frame story – whose power is none other than to regulate and qualify their interventions, – thus leaving them with complete freedom. By situating the enigma of the intrigue of both stories, the miracle of two talking dogs, in a fictional possible not authenticated by the authorised narrator but, paradoxically, by a shady character like the witch Cañizares, Cervantes executes the most complex and astonishing technical pirouette possible. For by means of establishing the absence of an authority in the ordering of the story (an authority from which the ever-reassuring promise of a single version emanates), he makes possible the diverse perspectives offered by the characters with their stories and, with that, he sets off the impossibility of deciding on the truth of the related events.

Traumatic Experiences and their Representation in Narratives: A Study

With the rise of psychiatric literature and medical humanities, trauma studies have gained significant focus in recent years. The studies that were done by Kidd (2005), Perring (2013), Olive (2014), Seran (2015), Tembo (2017), Hussain et al. (2018), Finck (2006), Durrant (2012), Long (2012), De Mey (2012), Curtis (2015), Karpasitis (2010), Ward (2008) and Dauksaite (2013), particularly, deal with diverse traumatic experiences. At the same time, they also throw light on the issues of the representation of trauma in narratives. They have examined narrative strategies, like the use of transgenerational empathy, intermediality of text and image, syntax disruption, ellipses, text/image layout, repetitions, symbols, photograph insertion, and assimilation, intertexts, framing of panels, inter-textuality, repetition, fragmentation, and flashback, that can be employed to deal with the challenges for the representation of traumatic experiences in narratives. This paper argues that the narrative features and techniques embedded in the narratives can be utilized for the representation and understanding of diverse traumatic experiences. The narrative components like plot (event), character and theme can be analyzed to discuss the psychological trauma of different characters. Researches can also rely on narrative techniques like flashbacks, flashforward, frame story, events in parallel, narrative shift, multi-perspectivity, repetitive designation, epiphany, amplification, imagery, tone, use of repetitive sentence structure, hamartia, peripetia, and comparison to examine how these techniques help represent the psychological trauma of the characters in the narratives.

The History of the Seven Wise Mistrisses of Rome (1663) as Children’s Literature: Textual History, Gender and Folktale Motifs

This article analyses The History of the Seven Wise Mistrisses of Rome, attributed to Thomas Howard, and traditionally underrated by literary critics and historians as a mere imitation of the Seven Sages, despite its enormous success. The early parts examine the literary and editorial relationship with its source text, and Howard’s prefatory “Epistle.” The latter parts concentrate on the frame story and the fifteen exemplary tales. Special attention is drawn to the gender/feminist issues in the original extension of the frame story, and to the folktale motifs displayed in this compilation, stylistically and thematically conceived to help children improve their reading competence.

Scheherazade in Istanbul: A study of the popular Turkish TV series Binbir Gece

One Thousand and One Nights is a composite, transnational work, consisting of popular stories originally transmitted orally within its embedded cultures and developed over several centuries. Ever since its translation into European languages in the nineteenth century, or perhaps even before, it has been adapted and appropriated into different forms and mediums and thus has reached different corners of the world. This project was inspired by the level of popularity of One Thousand and One Nights, often known as The Arabian Nights, in the world today. Although only a relatively small number of people might have read all the tales, we can safely assume that most people do have an idea of what the Nights are, whilst some could even name one or two films, series or cartoons that they think are based on the Nights. Indeed, only a very limited number of stories included in editions of the Nights have been adapted into films or TV series. There are two main characteristics of the Nights that help identify adaptations and adoptions in popular culture: embedded storytelling using a frame tale, and the ‘feminist’, emancipating heroine Scheherazade. The popular Turkish TV series Binbir Gece (One Thousand and One Nights) (2006–09), which this article focuses on, not only makes use of these two popular features; it also offers a fresh and contemporary adaptation of the frame story of Shah Shahriyar and Scheherazade and elements from many other tales from the Nights, such as the emphasis on the importance of education for women, or the evil of cunning women. After analysing the degree of adaptation of the frame story in this series, this article sheds light on its global reach, reception and popularity.

Frame Story Approach in Mixed and Multimethod Study on Non-Heterosexual Families in Poland

In the article, we discuss the usage of multi-methods qualitative approach in family research drawing on the monthly team ethnographic study of 21 non-heterosexual families in Poland. This study was employed as a part of a larger multi and mixed-method project Families of Choice in Poland, where we implemented a frame story approach ( FSA). By using the ethnographic study as an example, we aim to demonstrate how our approach enabled us to capture hidden elements of family practises and to understand challenges which non-heterosexual families face in contemporary Poland. Moreover, we show how our methodological decisions were in line with the local socio-political context where specific research methods may be more effective due to their less disclosing character. Finally, we provide a fieldwork illustration of our arguments which demonstrates how our methodological and analytical choices resulted in producing nuanced perspectives on issues of the hierarchy of motherhood and kin relations.

Ruth Ozeki's Floating World: A Tale for the Time Being's Spiritual Oceanography

This essay explores the intertwined oceanographic and spiritual imaginations structuring Ruth Ozeki's novel A Tale for the Time Being, which she rewrote in the aftermath of the Tohoku earthquake and tsunami. A Tale for the Time Being's new, metafictional frame story dramatizes a citizen-science response to marine debris and theorizes marine science as a mode of witnessing and a mode of reading. Furthermore, by bringing her depictions of marine science into conversation with the Zen Buddhist practice of not-knowing, Ozeki meditates upon the idea that attempts to know or understand necessarily mean coexisting with what cannot be known, discovered, or recovered.

Príncipes virtuosos y mujeres engañosas: de la historia de Siyawash en el Shahnamé de Ferdousí al cuento marco del Sendebar medieval

The present article investigates the literary journey of the myth of Siyavash, one of the most known myths of Iran and Central Asia, starting from Ferdowsi’s Shahnameh, revising the Persian Sendbadnameh and finally reaching the medieval Spanish work Sendebar. This study aims to outline the way the structure related to the named myth is repeated in the mentioned works and, after a journey from Orient to Occident, it is recovered in the frame story of one of the most important story collections of the Hispanic heritage.