Buffoonery in the Speech of the Character and the Issue of Historical Form in the Novel The Winter of Our Discontent by J. Steinbeck

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.

La ironía y la parodia en las novelas cervantinas como respuesta al género picaresco

One of the main characteristics of Cervantes’s novel is irony, which appears perhaps in all his texts. Irony and parody are not exclusive to the Cervantine novel, even to the picaresque novel, although they make here one of their first great appearances in the genre of the novel. Which is crucial for the latter’s development and subsequent consolidation. Irony is a search for a new way of understanding literature. In the present work, an analysis of one of the positions that Cervantes adopts before the competition and stimulation that the morphological proposals of picaresque, from Lazarillo to Guzmán, through his novels, from the praise to freedom, is intended of the picaresque life of the illustrious mop; the moment in which Rincon and Cortado laugh at the devotion of the brotherhoods of Monipodio thinking that they would be saved from their crimes, or from the linguistic mistakes of the brothers; against the digressions of the Guzman in the mouth of Cipión, or the mere conversion of the rogues into dog-men, without forgetting the words of Ginés de Pasamonte about autobiography.

Conjured from Fragments: KMD's Mr. Hood and the Transformative Poetics of the Golden Age Rap Album

Between 1988 and 1991, the rap album took flight. Under the dual impetus of innovations in sampling, and of the album form itself, an explosion of youthful creativity ensured the rap album, mined for more self-consciously artistic potential, emerged as a multi-layered artform that revealed a similarly multi-layered Black genius. For innovators like the Bomb Squad (Public Enemy, Ice Cube, Son of Bazerk), Prince Paul (De La Soul) and others, the rap album was now often “more” than just a rap album. It could at once take on the characteristics of a radio show, a simulated game show, a talking comic book, a picaresque novel, an Afrofuturist vaudeville, or a visit to the movies—and, through any of these, invoke a multitude of stories and critiques from marginalized young Black perspectives.Drawing on a variety of ideas from Black American cultural studies, particularly those focused on creative transformation as a form of transcendence, this article analyzes the multi-layered creativity of one of this period's most unsung, yet ultimately important albums: KMD's showpiece of sampling transformation and satiric narrative wit, Mr. Hood. Best known as the album that initiated the career of the MC/producer later known as MF DOOM (arguably the most revered figure in underground rap post-1999), it also initiated his surreal approach to sampling non-musical material from sources in popular culture and envisagement of rap as a kind of modern-day folklore. Attempting to find a new way of working across the layers of the rap album—the magical interplay of mood, beat, references, verbal samples, storytelling, etc.—the article argues that such sample-based flights of the imagination represent a continuation of the Afro-magical tradition Theophus Smith calls Conjuring Culture.

Haunted by Horrors: Image and Superscription and Spartacus

Mitchell himself confessed that he was vexed to a near-pathological extent by ‘horrors’ – incidences of human cruelty in past and present – which provided the emotional and ethical drive for his writing. This chapter explores the two novels that most acutely highlight this aspect of the author’s mindset. Image and Superscription, his bracing picaresque novel of Rebirth, is presented as an unsuccessful attempt to dramatise and come to terms imaginatively with mankind’s propensity for cruelty. While visceral scenes depicting human brutality in contemporary times are overstated, however, the graphic treatment of historical atrocities points forward to the success of Spartacus. The historical novel dealing with the legendary uprising of the slaves against the Roman Republic is adjudged a triumph in conception and execution. It is appraised as both a realistic account of an inspirational historical event and an emblem of revolutionary ardour. Further, Mitchell’s permeating humanism is productively allied with a deeper lying philosophical scepticism to sustain a sanguine vision of humankind’s destiny.

El grabado de La pícara Justina como parodia de la Filosofía cortesana moralizada

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.