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Prolific author of collections of short stories, microstories and novels, Manuel Moyano has developed over the years a narrative universe characterized by a disenchanted vision of reality and a clear writing in constant balance between a realist representation of facts and the creation of dystopian worlds. This study aims to analyze how Moyano builds worlds parallel to ours starting from the three different literary genres mentioned above: in particular, some passages from the novel El imperio de Yegorov (2014) will be analysed as well as some stories from the collection Los Reinos de Otrora (2019) and some microstories from the Teatro de ceniza collection (2011). Through the creation of these dystopian worlds, Manuel Moyano also elaborates a constant philosophical reflection on time as an unsolvable enigma and as a supporting element of the chronotopes of these different fictitious universes. [ABSTRACT FROM AUTHOR]

This article focuses on the latest collection of short stories by Gaëtan Brulotte entitled La contagion du réel (2014) and seeks to highlight the specificity of Brulotte's realistic aesthetic as well as his contribution to the continuing renewal of this literary genre. The originality of Brulotte's works resides in his "vision de biais" or his slanted, oblique, and parabolic vision, founded on the free manipulation of realism. This vision takes into account the complexity of human beings' rapport with the Real and is depicted in terms of construction and destruction, comic and tragic stories filled with love and violence, inspired by everyday situations and absurd ones which deal with both creation as well as death. The stories in La contagion du réel constitute in this way a brilliant exercise in the "manipulation" of realism. This analysis examines the multitude of approaches, both personal and oblique, used by Brulotte to tackle the question of the Real while taking into consideration the new forms and narrative techniques invented by the author. [ABSTRACT FROM AUTHOR]

Award-winning fiction writer Kirsty Gunn reflects on the current climate of short-story publishing in the United Kingdom, and considers the way the rhetoric of sickness and health has become attached to discussions of the form. [ABSTRACT FROM AUTHOR]

In my paper, I see hybridisation as the mixing of multiple, often disparate elements. This term is used in literary studies mainly in connection with postmodernism and its other features (intertextuality, fragmentation, eclecticism, etc.). In Slovak post-revolutionary prose, the boundaries between arts, media, types or genres are often crossed, and there is an increasing number of works that oscillate between non-fiction and fiction, biography and fiction, journalism (reportage) and fiction, popular and artistic literature, or between the arts (visual, film and literary arts). In my paper, I will discuss prose published in 2019-2020: Katarína Kucbelová's book Čepiec, Ivana Gibová's comic short story collection Eklektik Bastard, Veronika Šikulová's non-novel Tremolo ostinato, and Nataša Holinová's prose Prípad starej dámy, which each in a different way break the boundaries of genres or artistic literature. In particular, I will be interested in whether the hybridisation in the analysed prose works, i.e. whether an aesthetically effective form emerges through the crossing of practices from different fields. [ABSTRACT FROM AUTHOR]

This article resumes what might be defined as a historiography of the Goan short story in Portuguese in order to discuss how intellectuals such as Filinto Cristo Dias, in Esboço da literatura indoportuguesa (1963) [Sketch of indo-portuguese literature], Vimala Devi and Manuel de Seabra in A literatura indo-portuguesa (1971) [Indo-portuguese literature] or Paul Melo e Castro, in Lengthening shadows: an anthology of Goan short stories translated from the portuguese (2015), among others, narrate the development of this literary genre in Goa. Our aim is to demonstrate how the Goan short story in Portuguese was immensely profitable, so much that it still flourished after the end of colonialism in 1961, when Portuguese lost its status as an official language. Then, the article focuses on the book Contos e narrativas [Short stories and tales] (1997), by Carmo de Noronha, that so far has not had the attentive critical approach it deserves. It also deals with the importance of his work, the role of the writer in the maintenance of Portuguese as a literary language in Goa, as well as on its insertion in the plurilinguistic Goan literary universe. [ABSTRACT FROM AUTHOR]

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Copyright of Estudios Humanisticos. Filologia is the property of Universidad de Leon, Area de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The modern novella or nouvelle is an object of artistic order of concentration and suggestion. In it, there is a tension between the objective and the subjective, circumstances that bring it closer to other literary forms different from the short story and the novel. Based on this idea, this article presents and discusses the closeness of the modern novella with drama and poem, literary and artistic expressions that also achieve their aesthetic effects through a short or medium length. [ABSTRACT FROM AUTHOR]

Copyright of American Review of Canadian Studies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study means to improve the translation quality of two closely related literary genres; novel and short stories by determining the most frequently used Bakerian strategies for dealing with non-equivalences at word level. For this end, the English source texts, Matilda (which is a novel) and landlady and other short stories (which is a collection of short stories) are compared with their Farsi target texts to quantitatively study the frequency of Baker's translation strategy. The purpose is first to evaluate if there is any meaningful difference between the implementation of Bakerian non-equivalence translation strategies between a novel and a short story collection. The purpose is also to study if the narrative context affects the translation of non-equivalence and if the shortness, compactness and brevity of the short story as determining genre related factors can affect textual-cultural aspect of translation and the implementation of the selected translation strategy. The findings of this study prove that translation using a loan word or loan word plus explanation is the most frequently used strategy in both works, though it is more frequently used in short story (83%) than in novel (58%). The findings of this study can be used as one contributing factor along with other factors for translation quality assessment of the two studied prose narrative genres; novel and short story. [ABSTRACT FROM AUTHOR]

Alexander Kluge's oeuvre features aesthetic commentary as a process of problematization and investigation. With exemplary case studies of Kluge's films, his literary collections of short stories, his television interviews, and his theory volumes composed with Oskar Negt, this article analyzes not only various forms of questions posed in these genres but also the epistemological dimension of questioning. This perspective reveals howaMarxianmodel ofwriting becomes the point of departure for Kluge'swork on artisticmethod. It demonstrates that his questioning concerns the disclosure of subtexts, contexts, and peripheral texts that otherwise remain unseen. As a form of dual documentation--both scientific and artistic, objective and subjective--aesthetic commentary can be read against contemporary claims that the fictionality of a "postfactual age" replaces reality after the end of the "critical age.". [ABSTRACT FROM AUTHOR]

This paper examines Angela Carter's reassessments of 'Little Red Riding Hood': The Werewolf', 'The Company of Wolves' and 'Wolf-Alice', the last three short stories in her collection The Bloody Chamber and Other Stories (1979). Carter departs from Perrault and the Brothers Grimm's cautionary tale in order to denounce both women and nonhuman animals' objectification. It is my contention that the use of metamorphosis, anthropomorphism and zoomorphism serve the purpose of deconstructing traditional gender roles present in fairy tales and putting forward a new sense of subjectivity which blurs the Western human-animal divide. By using metamorphosis as a literary device which signals liminal states and by interweaving hybrid literary genres like fairy tales or gothic narratives, Carter blurs the traditional opposition between animal and human aiming at female empowerment and at posing forward a radical conception of the self. Her Red Riding Hoods--animalistic, hybrid, liminal others--search for subject positions in their alterity. Carter's postmodern taste agglomerates elements from folklore, Gothic literature, fairy tales and surrealism to open the path for the exploration of different possibilities of female identity and sexuality. [ABSTRACT FROM AUTHOR]

Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the stories collected in John Fowles' "The Ebony Tower," which constitutes two books. One book is a grouping of stories written and translated by one author, apparently associated with but not fastened to each other very firmly, to be read in any order, with or without reflection on the whole. The second book, however, is an integrated collection of short stories, a contemporary example of the genre that includes "1001 Nights," "Merrie Tales of Skelton," and "Dubliners," to name some others spanning the centuries and cultures. This genre has developed through a long history predating and then coexisting with the novel and with the unintegrated collection of stories.

This study is concerned with analyzing the image of the other in literary texts where the people and cultures meet. This literary genre is considered one of the most critical areas of comparative literature studies in modern criticism. The study aims to prepare the students for comparative studies, one of the most essential domains that can benefit language learners. It enables the students to become familiar with and hold contrastive studies between Arabic as their mother tongue and the other languages and increase their linguistic proficiency. In addition, access to such studies or the experience of conducting them develops the learner's skills and abilities to understand, analyze, and track intellectual and reading coherence. Comparative literary studies have recently turned towards the novel to examine the image of nations and people in the writings of some of them in this literary genre. The narrative specificity of this genre is considered very important, as are people and cultures and the multiplicity of relationships of effect and influence among one another. From the importance of this standpoint comes the idea of this research, which seeks to Study the image of the Western Other in the novel "Albadawi Alsaqeer" (The Young Bedouin) by the Saudi novelist Maqbool Al-Alawi. This is due to its heavy reliance in its structure on the "Western Other" in its various manifestations and dimensions. They consider it looked at this other with a neutral and balanced vision that differed from the prevailing fictional writings that dealt with the relationship between the East and the West. [ABSTRACT FROM AUTHOR]

The article discusses the author Katherine Mansfield's contributions as a book reviewer to the journal "Athenaeum" between April 1919 and December 1920. Mansfield's work as an author of short stories stopped during this period but upon her return she produced her second short story collection "Bliss and Other Stories" and the short story "The Daughters of the Late Colonel." How her review of almost 150 novels and short story collections developed her awareness of fiction's position within the literary marketplace is explored. Mansfield's review column "Wanted, a New Word," which endorses the short story genre for its adaptability to literary experimentation, is discussed.

The article presents insightful dialogues between K.V. Raghupathi, an Indian poet, and Roberto Alexandre, a Brazilian scholar, exploring Raghupathi's mystical and philosophical approach. . Topics include Raghupathi's uncanny poetry encompassing mystical, philosophical, and romantic elements, the misunderstanding of his work as religious or mystic, and the limitations of Western philosophy in understanding Eastern thought.

This article examines the Mandelbaum Gate, which delineated the border between Jerusalem's two parts from 1948 to 1967, and which was the only open border crossing between Israel and Jordan. By employing both literary texts and historical documents, the article sheds light on the new reality that the border crossing created between the two states. While the historical sources reveal mainly the political aspects of the Mandelbaum Gate, the literary sources illustrate the mood of the people and the effects of the gate on the human soul. Together, the two different types of sources reveal the important role of the Mandelbaum Gate in the creation of relative normalization between two hostile states in a war environment. [ABSTRACT FROM AUTHOR]

It is argued that the emergence of 'multiculturalism' in Australia during the Nineteen-eighties was almost entirely determined by political considerations. An application of the concept to literary culture was not anticipated. Nor was there a discourse of migrant or ethnic literature before post-war immigration. As part of the Australia Council's decision to sponsor a literary culture of 'New Australians' it encouraged the creation of a journal for multicultural literature, Outrider. This article is an attempt to characterise a group of perceived ‚multicultural writers' by raising doubt about their real or assumed status. It is true they employ highly individual creative imagination and variations of literary style by questioning the nature of migration (often without being migrants themselves). However, such writing is hardly unique to inherent characteristics of ‚multicultural aesthetics'. Formally and thematically these authors' language frequently employs a wide range of elective affinities, alienation techniques or correlative analogies. They can hardly be considered ‚minority writers' of limited literary genius. In truth they are creators of sophisticated poetry and prose by overcoming (or 'integrating') foreign language restriction. To them migration is not merely a subject or theme: it is a consciousness manifesting itself in literary form and style. The best 'migrant writing' invokes dimensions of alienation shared by a readership whose cultural dislocation is not confined to refugees, asylum-seekers or social outcasts. In the contemporary global end game, migration has become a shared state of mind. A brilliant and complex linguistic approach to 'multicultural writing' has been argued by Australian sociolinguist Paul Carter. He rejects the negative view of immigration as a form of displacement. Applying his well-balanced analysis of "migrant aesthetic" dialogue promises not only "a new kind of history". In the end it means refining a new, distinctively migrant poetics. [ABSTRACT FROM AUTHOR]

We may associate the process of creative composition with spontaneity, yet it is inevitable that each artist applies an individual method in their approach to the creative space. Creative writing as a practice and a discovery presents an argument, a line of thinking, a means of ‘finding’, a ‘coming to know’. This paper conceives of writing as discovery and explores the practice of writing by others who had created or may create longer forms of writing that started as short fiction. In my quest to write a literary speculative novel using my strengths as an author of short stories, I sought to understand other people’s experience on converting short works into a novel or novella. I applied practice-led research, and mixed approaches – quantitative and qualitative – in a survey that supported two fundamentally different paradigms. The survey was a means of symbolically identifying with other short story writers and their ‘lived experience’, a way to explore my own model for crafting a novel story-by-story. This paper offers a practical solution in creative research by relating a scientific approach to an arts-based inquiry, and by offering a model that short story writers can productively adopt to write a novel within their strengths. ­ [ABSTRACT FROM PUBLISHER]

The article discusses the three stages of contemporary short stories in Vietnam. Stages include the short stories in 1975-1985 with transition nature from revolutionary literature to peacetime literature, short stories in 1986-2000 which marked the peak of the renewing process, and short stories in the early 21st century with the emergence of young writers.

Crime fiction first started to gain widespread popularity in the 18th century, a popularity which dramatically increased in the 19th century. Today, almost one in every three new books published in English falls into the crime fiction category. Since the early days of crime fiction the genre has evolved into an incredibly diverse area of fiction, making it one of Australia's, and the world's, most popular. There is, literally, a dead body to suit every reader's taste. Such scale and scope of choice, however, can create challenges for readers wanting to read crime fiction for the first time or wanting to extend their reading past a favourite author or series. This overview of the genre identifies the main sub-genres of crime fiction, providing a set of concise definitions illustrated with international and Australian examples of crime fiction works, require us all to be aware of and surface underlying values, assumptions and ideologies that are in play and to understand how leadership and followership practices affect production in a knowledge-intensive economy. [ABSTRACT FROM AUTHOR]

The article sheds light on the abandonment of science fiction by Christopher Priest who has been long considered the best of the younger British science fiction writers. He has anticipated in his writings a crisis in the genre to which ironically his career seems at present to have fallen victim. He opines that people in the science fiction world talk about science fiction writers like George Orwell or Aldous Huxley or Olaf Stapledon as though they are outsiders who once wrote a little science fiction. But actually those are the people who wrote the real stuff. He is of the view that nobody is writing real science fiction.