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Skepticism and the Novelas Ejemplares
Cervantes, Premeditated Philosopher: Skepticism and the Novelas ejemplares Kátia B. Sherman Charlottesville, Virginia Cervantes, Premeditated Philosopher: Skepticism and the Novelas ejemplares Kátia B. Sherman Charlottesville, Virginia B.M., Oberlin College, 1992 M.M., Oberlin College, 1994 M.A., University of Virginia, 2010 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Spanish, Italian, and Portuguese University of Virginia May 2014 TABLE OF CONTENTS Introduction _________________________________________________________________ 1 Chapter One Questions of Knowledge and Identity: The Problem of the Criterion in “La gitanilla” and “La ilustre fregona”__________________________________________________21 Chapter Two Ungodly Miracle or Holy Rape: Irony and the Rule of Faith in “La fuerza de la sangre” _________________________________________________65 Chapter Three Dogs, Witches, and the Imagination: The Maker’s Knowledge Argument in “El coloquio de los perros” ______________________________________________116 Chapter Four Skepticism, Eutrapelia, and the Erring Exemplar: Cues and Questions in the “Prólogo al lector” _____________________________________________________164 Conclusion ________________________________________________________________199 Bibliography_______________________________________________________________203 1 INTRODUCTION This dissertation brings together two of the most heavily commented cultural entities of Early Modern -
Postmodern Narration in Umberto Eco's the Name of The
Shanlax International Journal of English 1 Umberto Eco, Italy‟s most celebrated philosopher, semiotician, literary critic, linguist and novelist, is widely acclaimed for many of his influential scholarly works. His novels The Name of the Rose, Foucault’s Pendulum, Baudolino, An Island of the Day Before, Mysterious Flame of Queen Loana, The Prague Cemetery have gained much adulation from his readers. His recent novel Numero Zero has also earned greater Dr. B. Kathiresan popularity. An exceptional narrative style imposed in these Associate Professor of English novels identifies them predominantly with postmodern Thiruvalluvar University literature. The Name of the Rose is a postmodern novel where Eco recites a fictious tale of Adso of Melk who inturn narrates S.Pushpanjali his past to the readers. Adso‟s story deals with William along Research Scholar, Thiruvalluvar University with his novice Adso, solving the mystery of seven bizarre deaths that occurs in the Benadictine Monastery where they come o n a mission to partake in a theological disputation. The postmodern narration in the novel harnesses temporal distortion and unreliable narration. Temporal distortion refers to a technique that the postmodern authors implement in their novels to convey the story. It includes employing features like fragmentation and non- linear narration. Fragmentation is the disarray of events whereas non-linear narration is the usage of distorted timeline in the portrayal of events. A novel, in general, usually incorporates a structure that assembles the compendium of information belonging to the story in an organized fashion. When this fabrication breaks, there is an interruption in the disposal of the events of the story, affecting the totality of meaning. -
Download the Dialogue of the Dogs, Miguel De Cervantes
The Dialogue Of The Dogs, Miguel de Cervantes Saavedra, Melville House Pub, 2008, 1933633042, 9781933633046, 105 pages. Too short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In The ART OF THE NOVELLA series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.The first talking-dog story in Western literatureвЂ―from the writer generally acknowledged, alongside William Shakespeare, as the founding father of modern literature, no less?Indeed, The Dialogue of the Dogs features, in a condensed, powerful version, all the traits the author of Don Quixote is famous for: It's a picaresque rich in bawdy humor, social satire, and fantasy, and uses tactics that were innovative at the time, such as the philandering husband who, given syphilis by his wife, is hospitalized. Late one feverish night he overhears the hospital's guard dogs telling each other their life's storyвЂ―a wickedly ironic tale within the tale within the tale, wherein the two virtuous canines find themselves victim, time and again, to deceitful, corrupt humanity.Here in a sparkling new translation, the parody of a Greek dialogue is so entertaining it belies the stunningly prescient sophistication of this novellaвЂ―that it is a story about telling stories, and about creating a new way to discuss morality that isn't rooted in empiricism. -
A Study of Margaret Atwood's Surfacing Leena Pundir
Lapis Lazuli -An International Literary Journal (LLILJ) Vol.2/ NO.2/Autumn 2012 From being an Unreliable Narrator to becoming a Reliable one: A Study of Margaret Atwood’s Surfacing Leena Pundir ______________________________________________________________________________ The focus of attention in modern critical theories has radically shifted from the author and the age to which he belonged, to the reader who is now taken to be the co-author. It is now difficult to deny that a work of art aims to produce an effect on the reader in some way. In the conventional novel there was not much of this interaction between the work and the reader. The reader was almost always at the receiving end, sitting in a cozy armchair with the omniscient author telling him everything. But the use of the device the point of view in the novels of writers like Henry James and Joseph Conrad, in which the all-knowing, all-seeing author withdrew, gave the comfortable armchair reader a jolt out of his customary passivity into an active and responsive participation in the action of the novel. A variation on the basic technique of point of view, which has been successfully exploited by many authors, is the use of the unreliable narrator. Lapis Lazuli -An International Literary Journal (LLILJ) ISSN 2249-4529, Vol.2/ NO.2/Autumn 2012 URL of the Issue: http://pintersociety.com/vol-2-issue-2autumn-2012/ URL of the article: http://pintersociety.com/wp-content/uploads/2012/11/leena-pundir-8.pdf © www.pintersociety.com 1 From being an Unreliable Narrator to becoming a Reliable one: A Study of Margaret Atwood’s Surfacing An unreliable narrator is one who cannot be relied upon to provide accurate information, so that the reader is obliged to try to deduce, from the possibly misleading account given by such a narrator, the true facts of the case. -
A Rhetorical Study of Edward Abbey's Picaresque Novel the Fool's Progress
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2001 A rhetorical study of Edward Abbey's picaresque novel The fool's progress Kent Murray Rogers Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Rogers, Kent Murray, "A rhetorical study of Edward Abbey's picaresque novel The fool's progress" (2001). Theses Digitization Project. 2079. https://scholarworks.lib.csusb.edu/etd-project/2079 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A RHETORICAL STUDY OF EDWARD ABBEY'S PICARESQUE NOVEL THE FOOL'S PROGRESS A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Kent Murray Rogers June 2001 A RHETORICAL STUDY OF EDWARD ABBEY'S PICARESQUE NOVEL THE FOOL,'S PROGRESS A Thesis Presented to the Faculty of California State University, San Bernardino by Kent Murray Rogers June 2001 Approved by: Elinore Partridge, Chair, English Peter Schroeder ABSTRACT The rhetoric of Edward Paul Abbey has long created controversy. Many readers have embraced his works while many others have reacted with dislike or even hostility. Some readers have expressed a mixture of reactions, often citing one book, essay or passage in a positive manner while excusing or completely .ignoring another that is deemed offensive. -
“Is This Really Happening?”: Game Mechanics As Unreliable Narrator
“Is This Really Happening?”: Game Mechanics as Unreliable Narrator Curie Roe and Alex Mitchell Department of Communications and New Media National University of Singapore [email protected], [email protected] ABSTRACT The unreliable narrator is a popular narrative technique employed by game designers, as seen in games such as Dear Esther and The Stanley Parable. However, much of the academic discussion of unreliable narration in video games has focused on games with an omniscient, personified narrator. Through close readings of Tales from the Borderlands Episode 1 and Doki Doki Literature Club, we examine how video games without an omniscient, personified narrator create unreliable narration. Our findings suggest that in these games the auditory, visual and interactive (gameplay) narrative modes work together to create unreliability by setting up players to doubt the meaning of their in-game actions. This draws attention to the presence of an implied player to whom the unreliable narration is directed, and heightens awareness of the “Game Narrator” through metalepsis. We propose this Game Narrator as the set of rules that govern how the three narrative modes (auditory, visual and interactive) are dependent on each other, and how they support meaning-making and the formation of the cognitive construct of the storyworld in the player’s mind. KeyworDs unreliable narration, game mechanics, close readings, metalepsis, game narrator INTRODUCTION Games are increasingly accepted as a medium for storytelling, with research no longer focusing on whether games can tell stories, but instead exploring how games tell stories, and how these techniques are similar to or different from traditional forms of narrative such as literature and film. -
Cervantes Y El Teatro Breve Más Allá De La Representación: Un Entremés Intranovelesco En La Ilustre Fregona
Anagnórisis. Revista de investigación teatral, nº. 7, junio de 2013, Págs. 6-17, ISSN: 2013-6986 www.anagnorisis.es Cervantes y el teatro breve más allá de la representación: un entremés intranovelesco en La ilustre fregona Blanca Santos de la Morena Universidad Autónoma de Madrid [email protected] Manuel Piqueras Flores Universidad Autónoma de Madrid [email protected] Palabras clave: Chacona, Miguel de Cervantes, baile entremesado, teatro impreso, comedias en prosa. Resumen: En este trabajo analizamos un baile introducido en la novela ejemplar La ilustre fregona. Proponemos que este baile tiene características formales, temáticas y funcionales propias del entremés. Además, lo relacionamos con el contexto editorial de principios del siglo XVII, cuando se comenzaron a publicar no solo textos de comedias, sino también de entremeses. Cervantes and short theatre beyond the representation: an intra-novelistic entremés in La ilustre fregona Key Words: Chaconne, Miguel de Cervantes, entremés dance, printed theater, prose comedias. Abstract: In this essay we analyze a dance represented in the exemplary novel La ilustre fregona. We propose that this dance has formal, thematic and functional characteristics that are typical of the entremés. Moreover, we relate it to the context of publishing in the early seventeenth century, when texts not only of comedias but also of entremeses were beginning to be printed. 7 «CERVANTES Y EL TEATRO BREVE MÁS ALLÁ DE LA REPRESENTACIÓN: UN ENTREMÉS INTRANOVELESCO EN LA ILUSTRE FREGONA» Es bien sabido que Cervantes mostró una importante preocupación por el mundo del teatro. A juzgar por los datos de los que disponemos, en la primera etapa de su producción literaria (que hay que situar en los años ochenta del siglo XVI) su principal ocupación fue la de dramaturgo. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
Exhibition Booklet, Printing Cervantes
This man you see here, with aquiline face, chestnut hair, smooth, unwrinkled brow, joyful eyes and curved though well-proportioned nose; silvery beard which not twenty years ago was golden, large moustache, small mouth, teeth neither small nor large, since he has only six, and those are in poor condition and worse alignment; of middling height, neither tall nor short, fresh-faced, rather fair than dark; somewhat stooping and none too light on his feet; this, I say, is the likeness of the author of La Galatea and Don Quijote de la Mancha, and of him who wrote the Viaje del Parnaso, after the one by Cesare Caporali di Perusa, and other stray works that may have wandered off without their owner’s name. This man you see here, with aquiline face, chestnut hair, smooth, unwrinkled brow, joyful eyes and curved though well-proportioned nose; silvery beard which not twenty years ago was golden, large moustache, small mouth, teeth neither small nor large, since he has only six, and those are in poor condition and worse alignment; of middling height, neither tall nor short, fresh-faced, rather fair than dark; somewhat stooping and none too light on his feet; this, I say, is the likeness of the author of La Galatea and Don Quijote de la Mancha, and of him who wrote the Viaje del Parnaso, after the one by Cesare Caporali di Perusa, and other stray works that may have wandered off without their owner’s name. This man you see here, with aquiline Printingface, chestnut hair, smooth,A LegacyCervantes: unwrinkled of Words brow, and Imagesjoyful eyes and curved though well-proportioned nose; Acknowledgements & Sponsors: With special thanks to the following contributors: Drs. -
La Mesa De Los Trucos De Cervantes. 400 Años De Las Novelas Ejemplares
JosÉ Manuel Lucía megías aránzazu urbina álvarez MUSEO CASA NATAL DE CERVANTES 2013 ÍNDICE Presentación ................................................................................................6 No solo Quijotes: las Novelas ejemplares y el Museo Casa Natal de Cervantes [por Aránzazu Urbina Álvarez] ..............................................8 La mesa de los trucos de Cervantes: 400 años de las Novelas ejemplares [por José Manuel Lucía Megías] ..................... 14 1613: el año de publicación de las Novelas ejemplares ......................15 «Yo soy el primero que ha novelado en lengua castellana» ..............18 «Este que veis aquí»: sobre el retrato de Cervantes ..........................21 El éxito de las Novelas ejemplares .......................................................24 Las Novelas ejemplares, claves de lectura [por José Manuel Lucía Megías] ................................................................ 30 Novela de la gitanilla .............................................................................31 Novela del amante liberal......................................................................33 Novela de Rinconete y Cortadillo ...........................................................36 Novela de la española inglesa ...............................................................39 Novela del licenciado Vidriera ...............................................................41 Novela de la fuerza de la sangre ...........................................................44 Novela del celoso extremeño -
Critical Inquisitions in Salman Rushdie's the Moor's Last Sigh And
Vol. 3(3), pp. 68-70, March 2015 DOI: 10.14662/IJELC2015.011 International Journal of English Copy© right 2015 Literature and Culture Author(s) retain the copyright of this article ISSN: 2360-7831 http://www.academicresearchjournals.org/IJELC/Index.htm Review Postcolonial Kitsch and writing History: Critical Inquisitions in Salman Rushdie’s The Moor's Last Sigh and The Ground beneath Her Feet Sunil Kumar, PhD Scholar Department of Indian and World Literatures, The English and Foreign Languages University, Hyderabad–500 007, India Accepted 3 February 2015 The paper explores postmodern playfulness and blurring of boundaries vis-a-vis postcolonial re-writing history in Salman Rushdie’s The Moor's Last Sigh and The Ground beneath Her Feet. It shows the impossibility of locating the cultural network and social picture of “Mother India” for a stable nation and unified identity in colonial and postcolonial histories. It explores the residual effect of colonial domination and the transnational setting in the wide frame of Western and postcolonial culture, through abundant references to Greek mythology, European philosophy, contemporary texts, and at the same time mixes them with four decades’ history of the growth of rock music and the stars of rock ’n’ roll producing the effect of “kitsch”. The paper also emphasizes the juxtaposition of personal and national narratives in the novels to expose the traumas underlying postcolonial Indian identities, the lasting influence of British culture, and the inaccessibility of a purely "Indian" past. Finally, it focuses on the significance of the postmodern devices like unreliable narrator, metafiction, pastiche, etc. in construction of the national history of India which is repressed in colonial violence. -
Amore E Follia Nella Narrativa Breve Dal Medioevo a Cervantes a Cura Di Anna Maria Cabrini E Alfonso D'agostino
Amore e folliaBoccaccio: nella narrativa breve dalgli Medioevoantichi e ai moderniCervantes a cura di Anna aMaria cura diCabrini AlfonsoAnna Maria D’Agostino Cabrini e Alfonso D’Agostino Biblioteca di Carte Romanze | 9 © 2019 Ledizioni LediPublishing Via Alamanni, 11 – 20141 Milano – Italy www.ledizioni.it [email protected] Amore e follia nella narrativa breve dal Medioevo a Cervantes a cura di Anna Maria Cabrini e Alfonso D'Agostino Prima edizione: dicembre 2019 ISBN cartaceo 978-88-5526-154-8 In copertina: Bibliothèque nationale de France, ms. Français 112, f. 239r. Informazioni sul catalogo e sulle ristampe dell’editore: www.ledizioni.it Le riproduzioni a uso differente da quello personale potranno avvenire, per un numero di pagine non superiore al 15% del presente volume, solo a seguito di specifica autorizzazione rilasciata da Ledizioni. MALINCONIA E ALIENAZIONE AMOROSA IN QUATTRO NOVELLE ESEMPLARI DI CERVANTES 1. PREMESSA arsilio Ficino, commentando le parole di Diotima secondo cui M «L’Amore è arido, magro e squalido», indaga sui processi fisiolo- gici dell’amor hereos, che deriva dalla «assidua cogitatione della persona amata»: l’attrazione dell’oggetto del desiderio, la cui «imagine […] è nel- la fantasia scolpita», provoca l’incessante moto degli «spiriti» dell’aman- te, fino a contaminare il sangue e ad alterare gli umori, sfociando o nella collera o nella malinconia.1 Queste riflessioni, consolidando la vitalità delle teorie platoniche e ippocratiche, non solo alimentano la trattatisti- ca posteriore,2 ma forniscono anche un insieme di motivi fecondi nei vari generi letterari. Nella narrativa cervantina, gli echi delle speculazio- ni neoplatoniche si infiltrano fra le pieghe dell’intreccio, dando consi- stenza all’analisi delle passioni, sebbene non sempre sfuggano a un velo di sottile ironia, che manifesta la reazione critica dell’autore.