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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]

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]

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]

Copyright of Knjiženstvo is the property of University of Belgrade, Faculty of Philology 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.)

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]

This article is a personal account of Gaëtan Brulotte's conception of literary creation as a Canadian francophone writer. Using his latest collection of short stories as his starting point, Brulotte takes the reader behind the scenes of the writing of La contagion du réel (2014), which received the Grand Prix de littérature Gérald-Godin in 2015. This account most notably reveals the sources of inspiration for the collection and certain aspects related to the origins of the stories. The author defines the meaning of the title by distinguishing between positive and negative contagion and between "Real" and "Reality," a point at the heart of his creative enterprise, whereby Reality is infinitely more variable than the Real. While adopting the point of view of the author, Brulotte also examines the main themes of his collection and underscores what literature means to him. Here, he also shares his experience as a writer of a literary genre that has its own aesthetic particularities. In a condensed version of his vision of creative writing, he finally touches on the importance that the narrative form and style holds in his writings and how, for him, this aspect is a vital force that shapes and gives style to our existence as a whole. [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]

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]

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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]

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.