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The realist court: critical considerations on Machado de Assis and the genre of novel
Felipe Bier
In order to develop considerations about the novel as a historical genre, the present work divides its critical efforts in two fronts. Firstly, the relationship between ethics, ideology and literary representation will be approached from considerations made by Georg Lukács. The historical division, marked by the year of 1848, which serves as a base for the Hungarian author’s thought, will be explored to sustain the hypothesis that the notorious crisis of realistic representation has roots in the nexus ideology/literary form. Secondly, we aim to highlight how the literary works of Machado de Assis may offer a particularly fertile terrain to explore such issues: beginning with an analysis focused on Dom Casmurro, we work with the hypothesis that the peculiar way of approaching the theme of calumny in this novel offers the glimpse of another relationship between literary form and ideology.
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Resenha de "Machado de Assis and Narrative Theory: Language, Art and Verisimilitude in the Last Six Novels"
Marcelo Lotufo
Hispanic Research Journal, 2020
resenha do livro
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Getting to the Heart of the Matter: Realism and Modernism in the Novel
Ana Falcato
This article reinterprets the evolution of formal realism in the novel since its inception up to the modernistic turn starting in the last decade of the nineteenth-century. My main argument is that realism in the novel is connected to a central philosophical issue: the issue of representation. The core value of the novel can be defined as a commitment to represent the world as it really is, rather than, as Terry Eagleton puts it, “how some ancient Egyptian priest or medieval knight conceived of it”. Yet the very concept of “representation” became a point of difficulty in literature and in modern philosophy, seeing that one cannot compare linguistic representations with reality itself as a test for accuracy because what we mean by “reality” already involves issues of representation. To better understand this puzzle, I examine two explanatory-models – one focusing on the critical development of literary conventions, the other on psycho-sociological developments – concluding that none of them can, alone, explain the impulse toward realistic representation and the evolution of key formal literary techniques that led to the modernistic turn.
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Chapter I: Realism and the Novel Form
Haider Ali
THERE are still no wholly satisfactory answers to many of the general questions which anyone interested in the early eighteenth-century novelists and their works is likely to ask: Is the novel a new literary form? And if we assume, as is commonly done, that it is, and that it was begun by Defoe, Richardson and Fielding, how does it differ from the prose fiction of the past, from that of Greece, for example, or that of the Middle Ages, or of seventeenth-century France? And is there any reason why these differences appeared when and where they did?
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Disenchanting the World: A Reflection on the Common Ground Between the Novel Form and the Essay
Raffaello Palumbo Mosca
Thinking Narratively
Io nlyo ffer modi res considerandi,n ew possible ways of lookinga tt hings.I invitet he reader to try them on themselves, to see whether they ares uccessful in yieldingf ertile visions;e ach person, then, by virtue of their intimatea nd faithful experience, will verify their truth or their error. (OrtegayGasset) 1E very Novel Is Don Quixote As OrtegayGasset peremptorilyp ut it in his Meditations on Quixote,t he novel and the epic "are exactlyo pposite".¹ Apart from the caseo fDon Quixote, which is the uniquelyo riginary moment of the genre, Ortegaw as referringt o the modern novel, which developedand reached its apex in the nineteenth century.I nMeditations,a sw ell as his later work, Notes on the Novel (1925), Ortega openlyand bitterlypolemicised with Croceand his Aesthetics,excluding from his analysis romance, picaresque, and fantastic novels, which he considered to be closer to the epic and the ancient novel, respectively,b oth in terms of function and characteristics.The genre is thus limited to the realist novel, as Auerbach would later understand it,aserious representation of the everyday. Ortega'se xclusive conception of the genre begins with the estrangement and completeo pposition between the two terms "novel" and "epic".H ed oes so more radically than Hegel in Lectures on Aesthetics,² which postulated aform of relation or continuitybetween the twob yr eferringt othe novel as a "modern bourgeois epic", and also more radicallyt han the "Hegelian" Lukács in Theoryo ft he Novel. Accordingly,whereas the epic narrates an idealised past,the novel describes apresent caught up in reality.This also means that, whereas the epic is essentially action and adventurous improbability,o nt he contrary,t he novel is "atmosphere" and "contemplation",r eaching its extreme in the Proustian Recherche OrtegayGasset 2016,1 10.The translation is ours.D ue to the ongoingh ealth emergency, retrievingt he original texts has sometimes provede xtremelyd ifficult; however,wed id our best to check the original version of the texts quoted. Hegel1 997, 1223. OpenAccess. ©2 022R affaello Palumbo Mosca, published by De Gruyter. This work is licensed under the CreativeC ommons Attribution 4.0 International License.
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Dialectical Criticism in the Provinces of the 'World Republic of Letters': The Primacy of the Object in the Work of Roberto Schwarz
Silvia L López
2011
For the Latin American critic, the constant replay of Eurocentric all-encompassing phenomenological campaigns of re-worlding literature, become in their tedium quite interesting, as they always unfailingly signal the erasure of Marxism as the critical theoretical apparatus that put at the center of knowledge construction a metacritique of epistemology, thereby setting a radically different framework for the analysis of culture and reification in late capitalism. After reviewing some of these attempts at a logic of “third world” literary production, the author presents the work of the Brazilian critic Roberto Schwarz, whose immanent critical theoretical protocols, rigorously take us to the basic principle of modern Marxian/Adornian aesthetics: that of the primacy of the object. This kind of work provides a different answer to the perennial problems of external models of analysis versus text-based interpretations, of levels of particularity in literature versus extrapolating general m...
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New Realism or New Ethics? Paths of Italian Narrative From 1990 To Today,” in Di Martino L., Verdicchio P. (a cura di), “From Neorealismo to Nuovo Realismo: Encounters with the Real in Contemporary Italian Literature and Cinema.”
Raffaello Palumbo Mosca
Cambridge Scholar Publishing
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Fiction’s Paradigmatic Alterity: José Saramago on the Ethics of the Literary
Efrat Bloom
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Contradictory totality in two disputed genres: the fox from above and the fox from below by José María Arguedas
José Rodríguez Eguizabal
2021
This paper aims to address the tensions observed in the novel El zorro de arriba y el zorro de abajo (The Fox from Above and the Fox from Below)by José María Arguedas. The study is interested in the proposal of "testimonial novel -intimate diary" from the metaliterature, and its relation with the "social novel" represented by the conflict of the fishermen in Chimbote in the novel. The category of contradictory totality elaborated by Antonio Cornejo Polar will be useful to inquire about the precision of the novel's genre. It is assumed that it obeys a balanced structuring from genres in conflict, but which can be read as a unit. On the other hand, the contributions of Hans Rudolf Picard and Camarero will be useful to examine the relationship between the Novel-Diary genre and Literature.Este artículo tiene como objetivo abordar las tensiones que se observan en la novela El zorro de arriba y el zorro de abajo de José María Arguedas. En ese sentido, nos interesa ...
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Contradictory Totality in Two Disputed Genres: The Fox from Above and the Fox from Below by José María Arguedas 1
Henry Rivas
This paper aims to address the tensions observed in the novel El zorro de arriba y el zorro de abajo (The Fox from Above and the Fox from Below) by José María Arguedas. The study is interested in the proposal of "testimonial novel-intimate diary" from the metaliterature, and its relation with the "social novel" represented by the conflict of the fishermen in Chimbote in the novel. The category of contradictory totality elaborated by Antonio Cornejo Polar will be useful to inquire about the precision of the novel's genre. It is assumed that it obeys a balanced structuring from genres in conflict, but which can be read as a unit. On the other hand, the contributions of Hans Rudolf Picard and Camarero will be useful to examine the relationship between the Novel-Diary genre and Literature.
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