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Copyright of Philological Review (00151807) 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 Philological Review (00151807) 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 Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek 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.)

Vega Valladares, Salvador. The Fall. Camus and Boldness for the Other. In this study I attempt to relate Albert Camus's novel The Fall with the author's main philosophical notions, especially "the absurd," "rebellion" and his ethical stance. I also attempt to shed light on how this work lays bare one the leading critiques of Camus: his discovery of metaphysical rebellion and his subsequent disavowal. This rebellion is a profound encounter with himself and with the other, which makes it a co-generator of solidarity; without this, all rebellious clarity is lost. In this way I attempt to show how this philosophical novel ties different concepts proposed by the author to the plot and the main character's life, with the aim of opening up lines of reflection on the essence of the ethical. [ABSTRACT FROM AUTHOR]

This essay examines Matteo Bandello’s arguments against Machiavelli in "Novelle", III, 55. Concentrating on the sententia “non esser mala cosa a saper il male, ma bene essere degno d’eterno biasimo chi il male mette in opera”, this article analyses it in Bandello’s work, as well as in the scholastic and homiletic traditions. It reconsiders the notions of ‘tristizia’ and ‘male’ in Machiavelli’s "Discorsi sopra la prima Deca di Tito Livio" and attempts to throw light on all the polemic aspects both in the reprimand and in the preachers’ apology, as narrated by the storyteller, Francesco Torre.

Zusammenfassung: Dieser Aufsatz bietet eine erste tiefergehende Interpretation einer der besten Novellen des baltisch‐deutschen Autors Werner Bergengruen (1892–1964), der noch bis in die siebziger Jahre hinein hohes Ansehen genoss, der aber anschließend geradezu systematisch aus vielerlei, vor allem aber politischen Gründen aus der Öffentlichkeit verdrängt wurde. Literaturwissenschaftliches Arbeiten muss sich aber davor hüten, subjektiv‐ideologische Kriterien zu verfolgen oder sich einem kanonischen Denken zu verschreiben. Die Tatsache selbst, dass Bergengruen sozusagen über Nacht jedenfalls im germanistischen Kontext zu einer Person non grata wurde, verdient der kritischen Analyse insbesondere im Licht seiner vielleicht aussagekräftigsten aber weitgehend unbekannten Novelle „Der Strom". Wie die Untersuchung erhellt, griff Bergengruen hier auf eine alte, bis ins Mittelalter zurückreichende literarische Tradition zurück, gestaltete aber den Stoff für seine eigenen Zwecke neuartig um: auf der einen Seite können wir feststellen, dass Bergengruen zu den wichtigsten Vertreterm des Medievalism im zwanzigsten Jahrhundert gehörte, auf der anderen lässt sich nachweisen, dass der doch sehr begabte Autor zu Unrecht in den Schatten gerückt wurde, obwohl er doch sehr eindrucksvoll mittels mittelalterlicher Motive tiefgründig über die Bedeutung des Lebens reflektierte. [ABSTRACT FROM AUTHOR]

In this article we unravel the reasons why Vincent de Millis translated Matteo Bandello’s Novelle (1554) from the French translation of Pierre Boaistuau and François de Belleforest; how he manipulated the source text and what changes separate the Historias trágicas ejemplares (1589) from the Histoires tragiques (1559) and the Novelle. To do so, we focus on the comparison of some particularly violent scenes and their denouements, a true sample of the strategies used by Boaistuau, Belleforest, and Millis, to carry out the truculent adaptation of the Italian material to the new context where they write and translate. [ABSTRACT FROM AUTHOR]

Copyright of Italica is the property of University of Illinois Press 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 essay focuses on the representation of jealousy through the analysis of some episodes of Boiardo's Inamoramento de Orlando. For each of these parts of the poem the author tries to highlight the influence of the various classical and medieval models, also defining both the moral implications of this passion and its narrative functions within the poem.

This paper takes into account the oneiric issue in Giovanni Boccaccio Decameron, with the aim of defining Boccaccio’s overall “grammar of dreaming”: besides an accurate investigation on Decameron’s sources, which range from classic to Medieval literature, it retraces the narrative constructions of the short-novels with oneiric subjects, hypothesizing the existence of two main schemes. In the short-tales on a vision (which are the most known), it is almost always replied the scheme of the “tale in the tale”, due to the creation of a imaginary world with its own rules. Meanwhile, in the short tales of deceiving, the dream is useful to trick the naive antagonist, making him believe something unbelievable. In both cases, it has a deep influence on the so-called “statute of reality” (Amedeo Quondam): in the first, there is the invention of a new reality; in the second it is deconstructed instead.

Copyright of Archivio Giuridico is the property of Mucchi Editore 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.)

Sammendrag Denne artikel argumenterer for anvendeligheden af filosoffen Brian Massumis affektbegreb som narratologisk værktøj til fortolkningen af noveller. I dialog med Per Thomas Andersens affektive narratologi som formuleret i Fortelling og følelse påpeger og undersøger den en affinitet mellem denne særlige affektteori og novellegenrens formelle egenskaber. Novellegenren og affektteori deler en interesse for erfaringens intensive, potentielt omvæltende dimension, og hertil abonnerer begge på et begivenhedsbegreb, hos novellen et strukturelt omdrejningspunkt og narrativt omslag, hos affektteori en fysiosensorisk påvirkning, der destabiliserer et perspektiv. Artiklen demonstrerer affektbegrebets anvendelighed for fortolkningen og forståelsen af to nyere danske novellers strukturelle opbygning, henholdsvis Helle Helles «Mere kaffe?» og Naja Marie Aidts «Bryllupsrejse», som nærlæses.

Auf Grund geänderter wirtschaftlicher, technischer und europarechtlicher Rahmenbedingungen werden mit Anbruch der Legislaturperiode 2013 Neuerungen des Urheberrechts in Österreich notwendig. Im Oktober 2015 tritt es in Kraft. Viele dieser Modifikationen sind auch für die Nutzung elektronischer Repositorien relevant. Das vorliegende Dokument stellt diesbezüglich zentrale Regelungen dar und erläutert diese kurz.

En este artículo se ofrece un primer panorama acerca de la difusión y repercusión de las novelas de Sebastiano Erizzo y Niccolò Granucci en el Siglo de Oro, en particular de dos de sus obras principales, Le sei giornate (1567) y La piacevol notte et lieto giorno (1574). Las características de los ejemplares localizados y los datos recabados en torno a la circulación de ambas obras por tierras españolas permiten suponer que sus novelas, cuyo carácter moralista probablemente favoreciese su difusión, ejercieron un cierto influjo en la literatura áurea. Esta circunstancia invita a volver los ojos hacia las novelas de Sebastiano Erizzo y Niccolò Granucci, hasta ahora poco atendidas en el ámbito del hispanismo, a la hora de valorar la huella de la novella en la España del Siglo de Oro, particularmente en autores como Lope o Cervantes.

The discussion of genre theory since the middle of the twentieth century has been marked, among other things, by two conflicting endeavors: on the one hand, there are attempts to semantically regulate generic terms for the purpose of a clear scientific language by defining them as types of texts (cf. Fricke 2010, Fishelov 1991, Zymner 2003); and on the other hand, there are attempts to accustom literary studies to the factual indeterminacy of generic terms and to comprehend this indeterminacy by adapting Wittgenstein's concept of family resemblance or the semantics of prototypes (cf. Strube 1986, Hempfer 2010a). The essay is intended to show that both positions – that of strictly regulating and of merely descriptively comprehending practice – as they have been advocated so far hinder the foundation of genre-historical research. This essay aims to more precisely formulate the productive ideas from both positions and thus to provide a robust foundation for the historical study of genres. This foundation is to be structured by two core questions that until now have not been clearly separated: first, how one ought to define, before and during historiographic and empirical work, the concept of the genre that is to be examined; and second, how one can synthesize the historically changing semantics of a genre at the end of this empirical work. Answering these two questions becomes a problem when one is dealing with historically discontinuous and heterogeneous genres. This essay pursues this problem using the example of novella history, because research here is particularly divided as to how the concept of the novella can best be understood. The guiding idea of the essay is to reverse the usual sequence of steps: in genre theory, the dogma is often advocated that the concept of genre must be defined a priori, i. e., before the investigation begins and independently of empirical work. The first section of this essay rejects this dogma and recommends that we make the use of the concept of a specific genre dependent on the concrete epistemological interest of the investigation. With the help of an argument by Kendall L. Walton, the essay shows that aesthetic innovations and the historical development of literary procedures can only be understood if a hermeneutic interest in the references of individual texts to historically established generic expectations is at the forefront of the investigation (cf. Walton 1970). The essay recommends that generic historiography serve this hermeneutic interest. It aims to answer the first core question of how the concept of genre ought be used before and during historiographic work for two central procedures: for reconstruction from, on the one hand, historical poetics (second section); and, on the other hand, from text groups (third section). In both procedures, the thesis is that the concept of the genre to be examined should not be regulated before or independently of empirical work by defining a concept of a text type. In the case of the reconstruction of generic expectations from text groups, one is therefore dependent on a variant of the so-called inductive procedure. In order to rid the inductive method of its methodological deficiencies, the article reformulates this method in terms of quantity theory in such a way that the procedure fulfills the essential requirements. The problem with the inductive procedure is that, in the case of inconsistent historical use of names for genres, it is not suitable for inferring generic characteristics from text groups. This problem is particularly pronounced with novellas, because the texts historically referred to as novellas seem to have only one thing in common, namely, that they have been referred to as novellas. The set-theoretical reformulation of the inductive procedure should allow the reconstruction of the generic expectations historically associated with the name of the genre by making use of classificatory predicates. However, it is not the concept of genre that this procedure aims to determine prior to historiographic work. Rather, the aim is to relate the set of texts that were communicated as novellas in the relevant historical situation to classificatory sets by means of intersections. Each of these intersections – for example, the intersection of the texts referred to as novellas and of fictional journal prose – can be described with regard to the relevant text characteristics of the defined set (for example, fictional journal prose). It is important not to summarily define such intersections as novellas, as is often done. Such a definition would result in a classificatory concept of the respective genre, which in turn would no longer be suitable for comprehending the historical use of the generic label and hence the semantics of a genre in historical literary communication. This essay thus provides an operationalizable reconstruction of the intuition, only vaguely formulated in genre theory so far, that in conducting research one must mediate between inductive and deductive procedures, between being oriented toward the material and reflecting on systematic concepts (cf. Hempfer 1973, 128 sqq., Mueller 2010). The fourth and final section of the essay seeks to answer the second key question of how to move from heterogeneous empirical findings to a concept of genre that brings these findings together. This question is divided into two subquestions. On the one hand, the question arises as to how the connection between factual and conceptual history can be conceived: whether such a connection exists cannot, this essay argues, be decided on the basis of genre theory. Rather, this is a problem of conceptual and factual history that can only be solved hermeneutically. Two different genre understandings are connected in terms of conceptual history only if the later conception is meaningful for the earlier conception. They are not connected by a concept of text type that has been previously defined quasi as a substance. On the other hand, the question arises as to the concrete cases of literary application for which the results of a history of genre should be integrated into a single concept of genre. These are primarily acts of interpretation and codifying mediations of knowledge, in which generic knowledge becomes manageable in being comprehended by generic concepts that are as simple as possible. However, formulating generic knowledge in terms of concepts is principally associated with a loss of historical accuracy. In order to avoid returning to historically inadequate concepts of genres, the essay develops a model in which a concept of family resemblance oriented toward Wittgenstein and already roughly transferred, by Strube, to genre theory is specified and differentiated with historical indexes (cf. Strube 1986). The essay argues that such a specific concept of genre is most likely to serve the initially developed hermeneutic interest and, at the present stage of theory elaboration, represents the best compromise between historical accuracy and practical applicability. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid 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 Anuario Lope de Vega. Texto, Literatura, Cultura is the property of Universitat Autonoma de Barcelona 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.)