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Since the sixteenth century, Western literature has produced picaresque novels penned by authors across Europe, from Alemán, Cervantes, Lesage and Defoe to Cela and Mann. Contemporary authors of neopicaresque are renewing this traditional form to express twenty-first-century concerns. Notwithstanding its major contribution to literary history, as one of the founding forms of the modern novel, the picaresque remains a controversial literary category, and its definition is still much contested. The Picaresque Novel in Western Literature examines the development of the picaresque, chronologically and geographically, from its origins in sixteenth-century Spain to the neopicaresque in Europe and the United States.
Exiled to the margins of society and surviving by his wits in the course of his wanderings, the picaro marks a sharp contrast to the high-born characters on whom previous Spanish literature had focused. In this illuminating book, Peter N. Dunn offers a fresh view of the gamut of sixteenth- and seventeenth-century Spanish picaresque fiction.
This critical interpretation of the origins of modern fiction follows the transformation of the picaresque novel over four centuries through the literature of Spain, France, England, Germany, Russia, and the United States. Blackburn uses for the first time the resources of myth criticism to demonstrate how the picaresque masterpieces of the Spanish Golden Age founded a narrative structure that was continued by Defoe, Smollett, Melville, Twain, and Mann. Originally published in 1979. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
"This is the first graphic novel adaptation of Lazarillo de Tormes, an anonymous sixteenth-century work that is credited with founding the literary genre of the picaresque novel. This genre includes not only works by Spanish authors like Miguel de Cervantes but also famous novels in English and American literature featuring the "anti-hero." This edition offers a new approach to old questions about a book that has puzzled readers and critics alike for centuries. Who was its mysterious author? Why did the Inquisition forbid this seemingly harmless book? Who read the book and how was it understood? These and other questions are recreated in the graphic novel, offering a broader vision of the fortunes and adversities that this book "lived" and how against all odds it became a literary classic. Translated and retold for the modern reader, Lazarillo de Tormes offers a complete visual experience of the adventures and misadventures of the ultimate picaresque anti-hero as well as insights into the history of the book that set a precedent in Spanish literature."--
In this book on the relationship between pícaro and cortesano, Felipe E. Ruan argues that these two cultural figures are linked by a shared form of deportment centered on prudent self-accommodation. This behavior is generated and governed by a courtly ethos or habitus that emerges as the result of the growth and influence of the court in Madrid. Ruan posits that both pícaro and cortesano, and their respective books, conduct manual and picaresque narrative, tacitly engage questions of identity and individualism by highlighting the valued resources or forms of capital that come to fashion and sustain self-identity. He places the books of the pícaro and cortesano within the larger polemic of early modern identity and individualism, and offers an account of the individual as agent whose actions are grounded on objective social relations, without those actions being simply the result of mechanistic adherence to the social order.
The Cambridge Companion to the Spanish Novel presents the development of the modern Spanish novel from 1600 to the present. Drawing on the combined legacies of Don Quijote and the traditions of the picaresque novel, these essays focus on the question of invention and experiment, on what constitutes the singular features of evolving fictional forms. It examines how the novel articulates the relationships between history and fiction, high and popular culture, art and ideology, and gender and society. Contributors highlight the role played by historical events and cultural contexts in the elaboration of the Spanish novel, which often takes a self-conscious stance toward literary tradition. Topics covered include the regional novel, women writers, and film and literature. This companionable survey, which includes a chronology and guide to further reading, conveys a vivid sense of the innovative techniques of the Spanish novel and of the debates surrounding it.
In 1554, Lazarillo de Tormes, a slim, unassuming little volume, unsigned by the author, made its first published appearance in the bookstalls of several important mercantile centers in Spain and the Netherlands. Since then, as narratives of pícaros—and pícaras—continued to follow in the footsteps of Lázaro's fictional life, picaresque literature developed into a major genre in literary studies that remains popular to this day. Yet the genre's definition is anything but simple, as the diversity of this volume demonstrates. Part 1, "Materials," reviews editions and translations of Lazarillo and other picaresque works, as well as the critical and historical resources related to them. The essays in part 2, "Approaches," explore the picaresque's place in language and literature classrooms of all levels. Some contributors contextualize Lazarillo in the early modern Spanish culture it satirizes, investigating the role of the church and the marginalization of Muslims and Jews. Others pair Lazarillo with Alemán's Guzmán de Alfarache or Quevedo's Buscón to concentrate on the genre's literary aspects. A cluster of essays focuses on teaching the picaresque (including the female picaresque) to nonspecialist students in interdisciplinary courses. The volume concludes with a section devoted to the picaresque novel's influence on other literary traditions, from early modern autobiographies, such as Teresa of Ávila's Libro de la vida, to post-Spanish Civil War texts to twentieth-century Latin American novels and 1950s American beat narratives.
Is the pícaro, the roguish hero of early modern Spanish adventure fiction, a 'real man'? What position does he hold in the gender hierarchy of his fictional social context? Why is the pícara so 'non-female'? What effect has her gender constitution on her fictional social context? In terms of a gendered subject, the picaresque figure has hardly been analyzed so far. Although scholars have recognized it as a transgressive and subversive model, the 'queer' effect of the figure is yet to be examined. With regard to the categories of class, generation, topography, and gender, the contributions assembled in this volume explore Spanish, French, English, and German novels narratologically from the perspective of culture and gender theories.
In the sixteenth century, the picaresque novel introduced marginal figures (wanderers, beggars and thieves) as the protagonists of elaborate prose narratives, thus appearing to give a voice to hitherto unrepresented social types. This raises several questions as to the referentiality of the picaresque text, pertinent both to historians and literary scholars alike. Microhistory can help investigate this referentiality of the picaresque text, by revealing how particular historical agents perceived marginals and marginality, and juxtaposing these agent perspectives to the literary representation. Microhistory and the Picaresque Novel is the first publication to combine scholarship on the picaresque novel and the practice of microhistory. This innovative volume argues that the approach of microhistorical studies, such as The Cheese and the Worms by Carlo Ginzburg, Inheriting Power: The Story of an Exorcist by Giovanni Levi and The Return of Martin Guerre by Natalie Zemon Davis, can be used to shed new light on classic picaresque novels such as Guzmán de Alfarache, Gil Blas, Grimmelshausen, and their many epigones. The volume brings together expert scholars on the picaresque novel such as Professor Robert Folger, on the one hand, and established microhistorians such as Professor Giovanni Levi, on the other. This exploration is further enriched with contributions by Professor Matti Peltonen, an expert on history theory, and Professor Hans Renders, an expert on biography studies, as well as providing case studies from recent research by the editors Binne de Haan and Dr Konstantin Mierau.
First published in 1977, this book studies the picaresque as a literary genre. It begins by discriminating between the literature of roguery and the picaresque in particular before discussing the origins of the genre in Spain and tracing its development into Europe. The book concludes with a brief description of ‘contemporary’ works which belong to the same tradition. In tracing the itinerary of the picaro in Europe and in America, it attempts to define a ‘myth’ of the picaresque which consists of two phases: the first being the traditional Spanish model of the picaresque and the second comprising of an ‘anti-picaresque’ myth, in which the ‘hero’ or ‘anti-hero’ no longer remains alienated but instead is the figure in which the ‘new’ society is formed.