Journal of the Short Story in English, 56 | 2013

New Literary History, 2019

G iven its brevity, the novella has been newly rediscovered as "the original #Longread," 1 an appellation that fits neatly into its centuries-long genealogy. Before there were hashtags, the novella has been described as many things: an anecdote retold, the sister of drama, a short novel, a story readable in a single sitting, an unprecedented incident, or simply as a piece of news. Curiously, these alternative titles point to no common feature, except one: novellas seem to be defined with respect to other genres. This is perhaps most true of the rapprochement of the novella and the short novel, which has proven so intuitive that its comparative nature is often forgotten and "novella" used interchangeably with "short novel." On the contrary, a novella and a novel, however long or short, are very different things.

2019

Journal of the Short Story in English Les Cahiers De La Nouvelle, 2011

she published several articles on Bowen, Graham Greene, and Ford Madox Ford, before turning to the study of film adaptation. She has coorganized three conferences on the subject, and has published collected articles (De la page blanche aux salles obscures) and a textbook (Etudier l'adaptation filmique) recently with the Presses Universitaires de Rennes. She is currently working on a book-length study on Bowen as well as a book on post-modern adaptations.

Open Book Publishers, 2014

, and rooted in Hawthorne's "invention" of the genre at the beginning of the nineteenth century. This apparently comprehensive view of the genre, however, left a crucial missing link: critics tend to ignore the end of nineteenth century, despite the fact that this period has a strong claim as a major stage-if not the major stage-of the form. There is of course nothing groundbreaking in such an assertion: it is well documented that the short story was enormously popular at this time, and that innumerable periodicals were publishing countless stories. 4 It was also the time when more masters of the form were active than perhaps at any other time: Chekhov, Guy de Maupassant, Luigi Pirandello, Henry James, Mori Ōgai and Akutagawa Ryūnosuke, to name just a few. 5 The particular form of the genre has also been recognised. In 1985, Clare Hanson reminded us with force that not only was the short story of that time important, but also that it had initiated a whole tradition in itself: the "short story", as opposed to "short fiction". 6 Yet compared to the wealth and importance of these stories in their time, critical appraisals of this form have been very few. 7 The classic short 3 Charles E. May (ed.), Short Story Theories (Athens, OH: Ohio University Press, 1976). The quote is from Charles E. May, "The Nature of Knowledge in Short Fiction", in The New Short Story Theories, ed. by Charles E. May (Athens, OH: Ohio University Press, 1994), pp. 131-43 (p. 133). 4 Between 1885 and 1901 the publication numbers for cheap magazines in the United States went from 3,600 to 7,500. See Andrew Levy, The Culture and Commerce of the American Short Story (Cambridge: Cambridge University Press, 1993). In Europe, the figures are maybe even more impressive: in Italy alone, about 1,800 periodicals were published in 1891; in France, several papers had a circulation of nearly one million by 1900. On all this, and on the consequences for the form itself, see Part II. 5 Throughout the book, Japanese names will be given following the academic habit of using the surname first followed by the given name. 6 "Throughout this period [1880-1980], despite the development of Symbolist and Modernist short story forms, the 'traditional' tale continued to appear. Indeed, the major point which I wish to make about this period is that it is possible to distinguish in it two quite separate lines of development in the short story".

Journal of Literature and Art Studies, a monthly professional academic journal, covers all sorts of researches on literature studies, art theory, appreciation of arts, culture and history of arts and other latest findings and achievements from experts and scholars all over the world.

E): When Carlo Crivelli placed the scene of The Annunciation (1486, National Gallery, London) in the Renaissance town of Ascoli, dressed the humbled Mary in the latest fashion, and included the intervening Saint Emidius, the patron saint of the city, he created a visual analogy of what Aelred of Rievaulx, a Cistercian monk had advised to his readers three centuries earlier: "First enter the room of blessed Mary (…) wait there for the arrival of the angel, so that you may see him as he comes in, hear him as he utters his greeting, and so, filled with amazement and rapt out of yourself, greet your most sweet Lady together with the angel." Both the painting, with its updated 15th century stage, and the text, with the appeal to join, created the atmosphere of presentness in order to encourage active participation in the biblical event. Crivelli's ahistorical rendering of the story uses multiplied temporal and diegetic levels, and can be best described by the phenomenon of visual anachronism, an effective narrative strategy still used by such contemporary artists as Cindy Sherman or Adi Nes. This essay will examine the phenomenon of visual anachronism and its role in narrative understanding. This text will argue that there is a difference in the narrative perception between the 'that-time' and the present-day viewer, and in both cases it depends on the beholder's time experience.

Open Book Publishers, 2014

, and rooted in Hawthorne's "invention" of the genre at the beginning of the nineteenth century. This apparently comprehensive view of the genre, however, left a crucial missing link: critics tend to ignore the end of nineteenth century, despite the fact that this period has a strong claim as a major stage-if not the major stage-of the form. There is of course nothing groundbreaking in such an assertion: it is well documented that the short story was enormously popular at this time, and that innumerable periodicals were publishing countless stories. 4 It was also the time when more masters of the form were active than perhaps at any other time: Chekhov, Guy de Maupassant, Luigi Pirandello, Henry James, Mori Ōgai and Akutagawa Ryūnosuke, to name just a few. 5 The particular form of the genre has also been recognised. In 1985, Clare Hanson reminded us with force that not only was the short story of that time important, but also that it had initiated a whole tradition in itself: the "short story", as opposed to "short fiction". 6 Yet compared to the wealth and importance of these stories in their time, critical appraisals of this form have been very few. 7 The classic short 3 Charles E. May (ed.), Short Story Theories (Athens, OH: Ohio University Press, 1976). The quote is from Charles E. May, "The Nature of Knowledge in Short Fiction", in The New Short Story Theories, ed. by Charles E. May (Athens, OH: Ohio University Press, 1994), pp. 131-43 (p. 133). 4 Between 1885 and 1901 the publication numbers for cheap magazines in the United States went from 3,600 to 7,500. See Andrew Levy, The Culture and Commerce of the American Short Story (Cambridge: Cambridge University Press, 1993). In Europe, the figures are maybe even more impressive: in Italy alone, about 1,800 periodicals were published in 1891; in France, several papers had a circulation of nearly one million by 1900. On all this, and on the consequences for the form itself, see Part II. 5 Throughout the book, Japanese names will be given following the academic habit of using the surname first followed by the given name. 6 "Throughout this period [1880-1980], despite the development of Symbolist and Modernist short story forms, the 'traditional' tale continued to appear. Indeed, the major point which I wish to make about this period is that it is possible to distinguish in it two quite separate lines of development in the short story".

2020

All references to "When We Were Nearly Young" are from Mavis Gallant, Selected Stories. London, Bloomsbury, 1997, and will be incorporated into the text of the article. 6. As Liz Stanley points out, the term auto/biography refuses any easy distinction between biography and autobiography, and recognises, instead, their symbiosis (127). 7. William H. New, Modern Canadian Essays. Toronto: Macmillan, 1976. 8. Señor Pinedo", her other story about Spain, however, does include some oblique and understated criticism about Franco's dictatorship.

Orbis Litterarum, 1970