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001 ocn878145065
003 OCoLC
005 20190710061324.2
006 m o d
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008 140408t20142014enk ob 001 0 eng d
020 9781909254770|q(electronic bk.)
020 1909254770|q(electronic bk.)
020 1909254789|q(epub)
020 9781909254787|q(epub)
020 1909254797|q(mobi)
020 9781909254794|q(mobi)
020 |z9781909254763
020 |z9781909254787|q(epub)
020 |z9781909254794|q(mobi)
020 |z1909254762
020 |z9781909254756
020 |z1909254754
035 (OCoLC)878145065|z(OCoLC)875999443|z(OCoLC)923318100
|z(OCoLC)961625100|z(OCoLC)962639466
037 22573/ctt5qrchw|bJSTOR
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049 FNNN
050 4 PN441|b.G694 2014eb
100 1 Goyet, Florence,|eauthor.
245 14 The Classic Short Story, 1870-1925 :|bTheory of a Genre /
|cFlorence Goyet.
264 1 Cambridge, England :|bOpen Book Publishers,|c2014.
264 4 |c©2014
300 1 online resource (223 pages)
336 text|btxt|2rdacontent
337 computer|bc|2rdamedia
338 online resource|bcr|2rdacarrier
504 Includes bibliographical references and index.
505 0 Table of Contents -- Acknowledgements -- Introduction --
PART I: STRUCTURE -- 1. Paroxystic Characterisation --
Extremes in the fantastic short story -- 2. Antithetic
Structure -- Secondary tensions -- Editing antithetic
tension: Maupassant and James -- 3. Ending with a Twist --
The “twist-in-the-tail� and antithetic tension -- The
“Twist-in-the-tail� and retroreading -- “Open�
texts and tension -- 4. The Tools of Brevity --
Preconstructed material -- Character types -- Recurring
characters and empty characters -- Tight focus
505 8 Permanence of types -- 5. Conclusion to Part I --
Hypotyposis and schematisation -- Short stories,
sensational news items and serials -- The short story:
privileged object of narratology -- PART II: MEDIA -- 6.
Exoticism in the Classic Short Story -- The role of the
press -- Exotic subjects -- The constraints of the
newspapers -- Exceptions to the rule -- 7. Short Stories
and the Travelogue -- Praise of nature, criticism of
culture -- From vision to judgement: guidelines for
description -- PART III: READER, CHARACTER AND AUTHOR --
8. A Foreign World
505 8 An explicit distance -- The use of types: subversion or
immersion? -- “Deceptive representations� of reality -
- The great man -- “We are simply the case�: James and
abstract entities -- Reading at face value: the double
distance -- 9. Dialogue and Character Discreditation --
Direct and indirect speech: Verga�s novel versus short
stories -- Dialect and distancing -- Foreign terms -- 10.
The Narrator, the Reflector and the Reader -- Unreliable
narrators and reflectors -- Reliable narrators and
reflectors -- 11. Distance and Emotion
505 8 The short story with a dilemma -- Readers� emotional
response to the classic short story -- 12. Conclusion to
Part III: Are Dostoevsky�s Short Stories Polyphonic? --
Epilogue: Beyond the Classic Short Story -- Lengthy
stories: the long Yvette after the brief Yveline --
Fantastic tales: the deconstruction of the self -- Authors
at a crossroads -- Bibliography -- Index -- read --
Naturalism -- Parox -- Verga -- James1 -- Chek -- fan2 --
Mau -- Stev -- ohen -- Verg1 -- Tieck -- Akutagawa1 --
James2 -- Akutagawa2 -- Chek1 -- Mau1 -- James
505 8 James3 -- end -- Chek2 -- Mau2 -- retro -- Chek3 -- fan3 -
- Mau3 -- read1 -- precon -- read2 -- type -- type1 --
read3 -- Chek5 -- prov -- Mau4 -- cyc -- emo -- James5 --
James4 -- type2 -- Mau5 -- James6 -- hyp -- fait -- novel
-- news -- Mau6 -- news1 -- Gil -- Fanful -- Ver2 -- Ver3
-- Chek6 -- sat -- int -- read4 -- Joyce -- Prou -- Mau7 -
- read5 -- News2
520 "The ability to construct a nuanced narrative or complex
character in the constrained form of the short story has
sometimes been seen as the ultimate test of an author's
creativity. Yet during the time when the short story was
at its most popular--the late nineteenth and early
twentieth centuries--even the greatest writers followed
strict generic conventions that were far from subtle. This
expanded and updated translation of Florence Goyet's
influential La Nouvelle, 1870-1925: Description d'un genre
ŕ son apogée (Paris, 1993) is the only study to focus
exclusively on this classic period across different
continents. Ranging through French, English, Italian,
Russian and Japanese writing--particularly the stories of
Guy de Maupassant, Henry James, Giovanni Verga, Anton
Chekhov and Akutagawa Ryunosuke--Goyet shows that these
authors were able to create brilliant and successful short
stories using the very simple 'tools of brevity' of that
period. In this challenging and far-reaching study, Goyet
looks at classic short stories in the context in which
they were read at the time: cheap newspapers and higher-
end periodicals. She demonstrates that, despite the
apparent intention of these stories to question bourgeois
ideals, they mostly affirmed the prejudices of their
readers. In doing so, her book forces us to re-think our
preconceptions about this 'forgotten' genre."--Publisher's
website.
588 0 Online resource; title from PDF title page (ebrary, viewed
April 08, 2014).
590 JSTOR|bBooks at JSTOR Open Access
650 0 Literature|xHistory and criticism|xTheory, etc.
650 0 Literature|xPhilosophy.
650 0 Literary form|xHistory.
655 7 Electronic books|2local
776 08 |iPrint version:|aGoyet, Florence.|tClassic short story,
1870-1925 : theory of a genre.|dCambridge, England : Open
Book Publishers, ©2014|h113 pages|z9781909254763
856 40 |uhttp://sherman.library.nova.edu/auth/index.php?aid=1632&
url=https://www.jstor.org/stable/10.2307/j.ctt5vjtqn
|zAvailable via Books at JSTOR: Open Access; click here
for access<br><img class="wb_perm_icon" src="/screens/
wb_cond_9.gif" alt="Local access for all registered users.
Remote access only for NSU.">
948 jlee1
