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This article analyzes the Mikhail Volkov’s collection “Tales of Antrop from Fox Hills”, which was repeatedly republished in the late 1920s. It notes the characteristic trend of cyclicality in the first decade after the October Revolution: uniting novellas into books and collections. The study is based on the 1926 editions and the reprints of 1927, reflecting a change in the author’s concept: a semantic and thematic reorientation. The research aims to identify the artistic specificity of M. Volkov’s book, with tasks including understanding the functional role of the title and preface of the collection as parts of the header-final complex, characterizing the image of the fictional author-narrator, and exploring the genre features of the book. It is established, firstly, that while in the first edition, the narrator’s figure, his narrative style, and storytelling method were significant, in reprints, the narrated world becomes more important. Secondly, the fictional author-narrator, Grandpa Antrop, describes the humorous world of the village slowly changing and restructuring in the first post-revolutionary decade through a storytelling manner in a series of “tales.” Thirdly, in terms of genre, the novellas in the collection tend towards anecdote. It is shown that at the core of the paradoxically developing, comedic plot is the storyteller himself, presenting all stories as a life “fact” presented in a playful form.

In a reading of Goethe's exemplary Novella, the essay seeks to show that Juliane Vogel's study of dramatic entrances can be made fruitful for the analysis of narrative Darstellung. In this late work, Goethe creatively appropriates the premodern tradition of the aventure or âventiure and redeploys it as a representation strategy. The Novella relates events in which elemental forces appear before the eyes of the characters. These forces are represented as advancing toward their spectators; charged with energy, they seem to be emerging from a background and approaching them. The essay analyzes the representational strategies and linguistic devices through which Goethe shapes these narrative scenes of advancing. Among them, the present participle plays a salient role. It is a means of grammatically forming energetic states and can be understood as a grammatical figuration of Goethe's concept of form. [ABSTRACT FROM AUTHOR]

Este artículo se constituye como la segunda parte de un trabajo en torno al influjo de la novella italiana en la organización estructural y temática de El Abencerraje. Nos proponemos aquí examinar el cuento sobre la continencia de don Rodrigo, incorporado en la versión que transmite el Inventario de Villegas, poniéndolo en relación contrastiva con dos novelle, una de ser Giovanni Fiorentino y otra de Masuccio Salernitano. El propósito es el de ahondar en el posible hipotexto para el relato sobre este acontecimiento privado del caballero cristiano.

Siegfried Lenz's novella (2008, English edition 2009) has not only been appreciated by literary critics, but also turned out to be a great bestseller. The novella is a frequent subject of research analysis, especially in terms of its location in the tradition of German and world novella writing. This diversity of reception is astonishing and presents an interesting phenomenon. The novella tells a banal love story, but through an intentional silence and a series of intertextual tropes it also creates mysteriousness. The analysis proposed here is based on Walter Benjamin's notion of "aura" in the 1930s. From today's point of view, this concept requires a few additions, primarily from the perspective of systems theory. As it turns out, this concept can be applied both to the content of the novella and to the strategy of literary criticism, as well as to explain the role of form and context in the personal perception of the text. [ABSTRACT FROM AUTHOR]

The aim of this study is to demonstrate how, and to explain why, Camila, the female protagonist of Cervantes's El curioso impertinente , deviates from the lineage of tested wives, of which Boccaccio's Griselda is the matriarch. Cervantes initially follows the Boccaccian template of the patient wife, with his Camila displaying at the outset an unwavering loyalty to her husband Anselmo. Yet she eventually deviates from the Griselda model, first through her acquisition of agency and voice, and then through her adultery, as Cervantes innovatively presents her metamorphosis alongside an emphasis on Anselmo's culpability. This analysis of Cervantes's dialogue with Boccaccio centered on tested wives is incomplete, however, without also recognizing the previously overlooked influence of Petrarch on El curioso impertinente. Although Cervantes was likely familiar with the Griselda of Il Decameron , it was Petrarch's standalone Latin rifacimento of Boccaccio's tale that served as the basis for the popular 16th-century Spanish translations. [ABSTRACT FROM AUTHOR]

This article compares two very different historical cases in which oral proverbs provided the essential linguistic material for literary writing: Georg Philipp Harsdörffer’s 1642 play The Seeing=Play of German Proverbs and Gottfried Keller’s 1856 novella cycle The People of Seldwyla. Harsdörffer’s use of the proverb as the crude but ‘original’ token of German vernacular that could help to construct German as a literary language from its spoken realist pieces returns in the crude formalism of Keller’s realist novellas. With subtle but constant allusions to the Baroque, Keller employs various proverbs as a scaffolding for his realist prose. As will be shown particularly for the novella Clothes Make the Man, these proverbs are responsible for rendering a realist modern world based on formulaic structures, while demonstrating at the same time that this realist world can, in consequence, be navigated by formulas alone. Keller’s use of the proverb as a foundation for realist diegesis hence echoes Harsdörffer’s attempt to ground German literature on the proverb. This implies that a decisive signature of the surface and the make-up of modern reality is its constant reliance on repeatable formulas. [ABSTRACT FROM AUTHOR]

Исследование посвящено лейтмотивным элементам в образах хранителя очага в новеллах Теодора Шторма. В статье показано, как происходит комбинирование и взаимодействие идиллических и сказочных мотивов. Для немецкой культуры исследуемый образ является выражением «немецкости» и получает положительные оценки. Образы хранителей очага связаны с эпохой бидермайера, которая реабилитировала право быть обычным, невыдающимся человеком. Идиллические мотивы играют важную роль в образах хранителей очага, так как они являются мерилом достойного образа жизни и всего того, что считается правильным и общепринятым. Однако эти образы могут быть недостаточно выразительными и трафаретными из-за своего образцового статуса.

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The author undertakes a study of the symbolic-religious conflict, a man and Viy, as a structural and content basis for the integrity of the novella Viy . In Gogol's “paradoxical negative realism”, the “squabbling of life” is depicted from an eschatological perspective. The heterogeneity of the conflict is predetermined by the heterogeneity of Gogol's vision of life: behind the vulgar relations of vulgar people, an existential world, invisible to the characters, shines through, in which an irreal enemy awaits a person in order not to allow this person to avoid meeting with himself. The basis of the conflict of the novella Viy is the subterranean phenomena of the universe, which are at different stages of accepting evil. The mutual negation of the vulgarity of evil (Khoma) and the fantasy of supernatural evil (Viy) does not seem to Gogol absolute, just as the scenario of their movement towards each other does not seem impossible. Analysis of the conflict allows us to assert that Gogol, as a “prophet and philosopher of Orthodox culture”, according to V. Zenkovsky's definition, declares himself already in the story of 1834, and Russian literature owes the “implantation of the religious theme” to this particular work.

Copyright of Studia Ukrainica Posnaniensia is the property of Adam Mickiewicz University 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 Studia Ukrainica Posnaniensia is the property of Adam Mickiewicz University 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.)

Paul Heyse has been neglected for many years. The article explores the potentials of rediscovering his Italian novellas with respect to intercultural relations. Specifically, the concept of scenography is used to identify narrative devices that frame the picture of Mediterranean landscape, people and culture in such a way that the complacent attitude of German visitors and readers is challenged. [ABSTRACT FROM AUTHOR]

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Il saggio si propone di indagare la novella Lisabetta da Messina di Giovanni Boccaccio, la quinta della IV giornata del Decameron. Ampiamente nota per il carattere tragico-elegiaco che la connota, è anche tra le più "resistenti" ad un'esegesi che esaurisca la sua profondità di senso e sciolga in via definitiva la natura stratificata che la ammanta. Il contributo si sofferma sulla funzione strutturale delle numerose ambiguità che attraversano il testo dal principio alla fine e intende svelare i meccanismi intrinseci su cui è costruita l'intera fabula attraverso le allusioni intertestuali. Oggetto di molteplici riletture critiche nel tempo, è proprio il suo carattere "sfuggente" ad avere conservato intatto il fascino del capolavoro novellistico di Boccaccio che scaturisce dalle sottili ambivalenze suscitate dai testi impliciti sottesi, dai numerosi paratesti inglobati o allusivamente richiamati, soprattutto i classici della tradizione greco-latina o i rimandi medievali coevi e anteriori. Il potere fortemente generativo dell'ambiguità strutturale del testo in sé moltiplica il gioco delle diverse interpretazioni possibili che nei secoli hanno offerto un aggancio testuale anche agli scrittori posteriori. Nella sua peculiare anamorfosi consiste pertanto la sua capacità di resistere ad una decifrazione appagante e onnicomprensiva, nonostante i vari approcci sociologici, storici, comparativi, linguistici, semiologici e psicoanalitici proposti, ognuno dei quali svela parzialmente la verità, ma senza mai illuminare esaustivamente i sensi ultimi di una novella esemplare. [ABSTRACT FROM AUTHOR]

Longer than a short story but shorter than a novel, the novella appears to occupy a clear formal niche. However, novellas have posed problems for even the most basic taxonomies of literary criticism and publishing. Though the novella is defined by its length, length alone has never been sufficient to determine whether a text counts as a novella. Though the novella is a global form, shared among many national literary cultures, its transnational history is muddled by terminological inconsistency. This article sets out to understand the novella as a slippery form, one that slides through the institutional machinery that administers literary production. It centers its investigation on the United States during a period in global cultural history when the literary field was slowly coming into existence. In this environment, a group of long short stories or short novels—Nathaniel Hawthorne's "The Scarlet Letter," Herman Melville's "Benito Cereno," and Frederick Douglass's The Heroic Slave—revealed the incoherence of "literature" as it gradually assumed its modern form. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Revista de Filología Románica 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.)

This article focuses on the representation of the relation between widows and justice in the novella from the late Middle-Ages. As an incarnation of the weak citizen, widows were theoretically protected by judicial institutions especially against economic abuses. In the novella though, widows are often presented in an erotic way and their interactions with legal authorities often become a moralistic trial against themselves, leading to the loss of their honour and public reputation. The only exceptions are the cases of private justice, and/or when a man close to the judge is involved. The widow, despite the fact that she’s described as very vulnerable, is judged for her conduct instead of being protected against the offence she suffers. This element shows an ambiguous representation of justice, more worried about the preservation of moral standards than the citizens’ safety and the respect of the law.

Chudamani is one of the inconspicuous writers in Indian literature who is gradually gaining prominence in the recent past. Chudamani's works are powerful and sensitive unveiling the reality of human beings in society and their psychological aspects. This research article aims to analyse a novella and three short stories of R. Chudamani and inquires about the human emotions especially fear portrayed in those stories. The major focus of the article is on the novella, Yamini, and the minor focus is on the three short stories: "A Knock at the Door", "The Strands of the Void" and "Drought". Yamini is the story of a girl Yamini, who is forced into the institution of marriage. "A Knock at the Door" is the narrative of two widows who safeguard their sister's son from his father. "The Strands of the Void" explores the system of dowry in Indian society. "Drought" is the story of a married woman who tries to escape from the torments of her husband. This paper also scrutinizes the fear in the protagonists and the central characters in the above works. It also inspects how fear transmogrifies the characters in different situations. [ABSTRACT FROM AUTHOR]

The following article takes into consideration two cases of early modern female 'monstrosity' drawn from the Italian collection of Novelle published by Matteo Bandello in 1554. The events recount the stories of two mothers who, seized by 'unnatural' folly, kill in cold blood their own offspring. The article tackles the conflicting concepts of normality and malady, putting this ambiguous opposition in relation with the consequent translations of the Novelle in French and in English. The shifts that appear in the translations reveal a deep preoccupation with definitions of malady, be they physical or cultural. Through a close analysis of the original Italian text and its English rendition written by Geoffrey Fenton in 1567, this article sheds light on the troubled relationship of English translators with 'Italianated' thus 'degenerate' customs, and on their authorial and textual strategies to pre-empt the infectious potential of their Italian sources. [ABSTRACT FROM AUTHOR]

Nouvelle 15 of the Heptaméron follows the love life of an aristocratic woman over a long period of time: married at a very young age to a husband who completely neglects her in favor of a lady of the court, she first patiently endures her situation before experiencing three successive adulterous loves. In this sentimental education for women, the heroine constantly metamorphoses as she learns: far from a figure presented as unambiguously vicious or virtuous, she evolves in a gray area rich in multiple virtualities and never ceases to amaze the reader with her speeches or her attitude. In fact, Marguerite de Navarre offers here one of the most beautiful portraits of a woman in the entire collection, a portrait in movement and a multifaceted one nourished by four different literary models—the mal mariée , the virile woman, the cunning woman, the lady's advocate—which reflect the tensions of her (proto-)feminism. [ABSTRACT FROM AUTHOR]

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In the Age of Goethe major legal reforms occurred, which are reflected in the works of numerous writers. One of these authors is Heinrich von Kleist, who brings together different legal concepts in his novella Michael Kohlhaas (1810) and sets them in a conflicting relationship. Kleist, who is usually seen as being ahead of his time, not only reflects on the procedural reforms of the Age of Goethe but also anticipates reforms that will soon follow. What is often overlooked in discussions of Michael Kohlhaas is that the protagonist of the novella is not a typical avenger; he does not ignore current law in order to take the law into his own hands, rather he tries to draw attention to a corrupted juridical system in need of reform. As "one of the most righteous individuals of his time," Kohlhaas insists on a fair legal procedure and even accepts a death sentence as its consequence. It is not by chance that Kleist chooses the genre of the novella for his adaption of a historical case story: in German, Novelle can name the literary genre, as well as a revision of current law (Gesetzesnovelle). [ABSTRACT FROM AUTHOR]

This article is an attempt to indicate the genre of two collections of the apocryphal letters - The letters of Xenophon (we only have 7 excerpts preserved in the Anthology by Stobaeus) and The letters of Socrates and the Socratics. The term griechische Briefroman proposed by N. Holzberg to describe the genre of pseudonymous collections of letters in most cases proved to be too wide and inadequate. P.A. Rosenmeyer found the term novella more appropriate here. So, what literary characteristics, inherent in a novel or a novella or a short story, are dominant in Xenophontis epistolae and Socrates et socraticorum epistolae? [ABSTRACT FROM AUTHOR]

Siegfried Lenz's novella (2008, English edition 2009) has not only been appreciated by literary critics, but also turned out to be a great bestseller. The novella is a frequent subject of research analysis, especially in terms of its location in the tradition of German and world novella writing. This diversity of reception is astonishing and presents an interesting phenomenon. The novella tells a banal love story, but through an intentional silence and a series of intertextual tropes it also creates mysteriousness. The analysis proposed here is based on Walter Benjamin's notion of "aura" in the 1930s. From today's point of view, this concept requires a few additions, primarily from the perspective of systems theory. As it turns out this concept can be applied both to the content of the novella and to the strategy of literary criticism, as well as to explain the role of form and context in the personal perception of the text. [ABSTRACT FROM AUTHOR]

The theme of the ‘end’ is central to all Beppe Fenoglio’s work and is decisive in defining his very identity as an author. Rarely, both in unfinished novels and in works licensed by the author, does the conclusion allow the meaning of the story to be determined retrospectively. And the suspension of the ending is even more pronounced when it coincides with the thematisation of the ‘end’, that is, the death of a character. Death is a recurring event in Fenoglio’s stories, sometimes the subject of an obsessive precision, sometimes of an evident desire to remove it. This mechanism appears particularly pronounced in Il trucco (‘The trick’), from I ventitré giorni della città di Alba. Here death is the central theme, but also the instrument of a narrative experiment: death is announced, discussed, awaited but, ultimately, not represented. The ending thus becomes the place where a ‘trick’ is revealed that even involves the reader. This article proposes to tackle the ‘problem of the end’ in Fenoglio’s Il trucco, combining an analytical investigation of the text (aimed mainly at the use of shifting focalization and reticence) with some observations on the way in which the author reworks the potential of the short story, which by its very statute envisages the placement of the accent precisely on the ending.

The Russian Formal School was active between 1915 and 1930 and represents one of the most influential directions in literary theory. Our intention was to present the main points of action of this school and to revalue some of its postulates as well. Views of members of the Russian Formalism that we analyzed were illustrated by examples from the story "Plod črevo tvojego" by Vidosav Stevanović. Our analysis has shown that the Russian Formalism is much more modern as a literary school than is most commonly thought.

A partir de una cita de La discreta venganza, escrita hacia 1620, analizamos la relación de Lope de Vega con la novella. El escritor cambia su posición respecto al género, que había utilizado como fuente de muchas de sus comedias en una primera etapa (1588-1613), pero que había dejado de interesarle en los años siguientes (1613-1620). En la segunda década del siglo XVII, sin embargo, Lope utiliza la novella para mostrarse como un autor de prestigio, no solo en las Novelas a Marcia Leonarda sino también en su teatro.

The point of departure for the reflections contained in this article is the motif of the sun in Tomasz Mann’s Death in Venice. Analysing the presence of the sun in the work turns out to be fruitful for distinguishing and connecting several symbolic planes, on which the issues of Death in Venice and the drama of the main character are depicted: the relationship between contemporary times and antiquity, the cultural North-South axis, the destructive power of beauty as well as the individual fate of the artist marked by decadence. The figure of the sun seems to provide material for the interpretation of the figure of Gustav von Aschenbach as an incarnation of contemporary Icarus and allows the reader to see the path which the protagonist of Death in Venice follows in a new light.

This article presents a state of the art on the Novelas en verso by Cristóbal de Tamariz, a corpus that is still under discussion, both in terms of the number of its texts and its sources. The medieval models of stories 4, 7 and 5 are traced, before stopping at novella 15 (The Tournament). The main hypotext (novella iii, 4 of Le piacevoli notti by Giovan Francesco Straparola) is superimposed by the memory of the folkloric tradition, which explains some of the changes.

El cuento Avecilla , publicado por Leopoldo Alas "Clarín" en 1882, se centra en el encuentro entre un humilde oficinista y una mujer monstruosa en una feria popular. Clarín utiliza este episodio para explorar la manera en que las formas de diversión pública reflejan la relación entre el individuo y las estructuras sociales, culturales y políticas que dan sentido a su experiencia. En particular, el autor sugiere que la distinción entre lo "normal" y lo "anormal" constituye la base de una gran variedad de discursos de la época mientras satiriza las ansiedades de clase social y género del protagonista, cuyo concepto de sí mismo depende del establecimiento de jerarquías sociales y culturales. The novella Avecilla , published by Leopoldo Alas "Clarín" in 1882, has at its center the encounter between a lowly office worker and a monstrous woman on display at a public fair. Clarín uses this episode as the basis for an exploration of the way in which forms of public entertainment reflect the relationship between individuals and the social, cultural, and political structures that give their experience meaning. In particular, he suggests how notions of what is "normal" and "abnormal" underpin a wide variety of discourses of the time while satirizing the class and gender anxieties of the protagonist, whose sense of self-worth depends on the establishment of social and cultural hierarchies. [ABSTRACT FROM AUTHOR]

El presente estudio tiene por objeto analizar la presencia de Gli Ecatommiti (1565), de G. B. Giraldi Cinzio, y de su traducción parcial al castellano, Primera parte de las cien novelas de M. Juan Baptista Giraldo Cinthio (1590), realizada por Luis Gaitán de Vozmediano, en Los trabajos de Persiles y Sigismunda, de Cervantes. Consta de dos partes nítidamente diferenciadas: en la primera se lleva a cabo una descripción tanto de la estructura de Gli Ecatommiti como de la versión castellana, se repasa la influencia de manera general que han podido ejercer sobre la novela póstuma de Cervantes y se ofrecen datos nuevos a propósito de la persona de Luis Gaitán, al que Cervantes pudo conocer de primera mano. En la segunda, se ofrece un análisis detallado del diálogo intertextual que se establece entre la novella II, 8 de Gli Ecatommiti y el episodio de las dobles bodas de los pescadores (Persiles, II, XI y XIII).

Although it is less frequent than in Spanish Comedia, exchanging clothes among both sexes also occurs in Baroque short Novel. As it has been highlighted for theater, men in woman's clothes are rare and their utility in the plot is smaller than women in men's clothes. In any case, the possibility of wearing women's clothes was approved by most authors/playwriters. In Castillo's Works, the motif tends to be comical/humorous, and only rarely has an erotic purpose, always following conservative patterns and never in a modern transvestism sense.

The present paper studies the Italian reminiscences in Alonso de Castillo Solórzano’s collection Las harpías de Madrid y coche de las estafas. These echoes can be found in the structure of the peculiar collection as well as in the insertion of a novella in the last estafa. The changes in the original text are our starting point to explain the omissions, additions and modifications with which the author aimed to meet the new demands of censors and 17th century readers.

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]

With English as a lingua franca in mind, it has become essential for undergraduate students to acquire the English language. Additionally, undergraduate students are expected to acquire a repertoire of critical thinking skills for lifelong learning. Inspired by the need to augment mastery of English as a foreign language (EFL) whilst at the same time enhancing critical thinking on the part of EFL learners, the research study this paper portrays was conducted for one academic semester involving a number of students at the institution where the author of this paper works. The research aimed to investigate whether using English novels; novellas; and short stories for teaching purposes would have any significant impacts on subjects' attitudes towards using literary texts for enhancement of both critical thinking and EFL skills. To achieve the intended aim, the researcher used eight English short stories and one novella in class besides assigning one English novel as extensive reading, while teaching the course Communication Skills during the implementation stage. The researcher also administered a pre-post questionnaire with the aim of measuring subjects' attitudes towards utilizing novels; novellas; and short stories as a means for fostering both critical thinking and EFL skills. Based on the statistical tests, there were significant differences in favor of the post questionnaire regarding the majority of the questionnaire's items. Based on this study, it can be concluded that English novels; novellas; and short stories have a significant role to play in relation to developing critical thinking and EFL skills. [ABSTRACT FROM AUTHOR]

El estudio comparado de la traducción castellana antigua del Decameron muestra la adaptación de la obra de Boccaccio al nuevo público, que determinó su recepción y su proyección en las letras hispánicas de los siglos siguientes. Este trabajo centra la atención en una serie de variaciones identificadas en la traducción del s. XV, para estudiar el cambio en la concepción global de la obra y en el modelo literario al que responden: si Boccaccio había inaugurado con el Decameron el género de la novella, la versión castellana parece indicar una clara vuelta a la tradición y a las características literarias de los exempla.

The article examines the nexus between the novella and the spider in Jeremias Gotthelf’s Die schwarze Spinne (1842), offering a new perspective on the Realist novella’s self-reflexive potential. Contrary to previous scholarship, which has interpreted the spider as an allegory of the plague, femininity, and revolutions, this article reads the spider as a critical reflection on the novella form that simultaneously activates and transgresses the novella’s genre conventions. Drawing on recent theories of Realism and the novella, this study focuses on the temporal aspects of a baptismal celebration that turns into captivity, the ways in which the novella’s frame is destabilized and pluralized, as well as the poetological dimension of the spider’s growth. The black spider is an animal that proliferates and in doing so disturbs the domestic sphere and with it the limitations of the novella form. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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.)