A Sangre Fría

Me citan en este artículo egipcio sobre la técnica narrativa en A Sangre Fría, de Truman Capote:

Eldiasty, Amany Abdullah. (Faculty of Arts, Damietta University). "From New Journalism to Fiction: Truman Capote's Narrative Innovations in In Cold Blood." Occasional Papers 65 (July 2018): 129-50.*

https://www.researchgate.net/publication/385213374

2024

 

—oOo—

Aspectos de la técnica narrativa

 

Decir y mostrar (Telling and Showing)

4 Telling and Showing. García Landa by JAGL- uploaded by francisca ignacia on Scribd

Distance and Dramatization: Henry James on the Art of Fiction

Narrative Theory is an online introduction to classical structuralist narratological analysis. The fourth section deals with the modes of narrative, "showing" and "telling", as theorized by Henry James and other theorists of the dramatic aesthetics in narrative. 

Outline: 

1. Two concepts of narrative distance;
2. The theory of the novel before James; Besant's 'Art of Fiction'; 
3. James and the Art of the Novel; 
4. The Novel as an Organic Unit; 
5. Point of View; 
6. The Revaluation of Narrative; 
7. Distance: Conclusion.

 

Full text:

Distance and Dramatization: 

Henry James on the Art of Fiction (Narrative Theory, 4)

http://ssrn.com/abstract=2732338

http://dx.doi.org/10.2139/ssrn.2732338
Number of Pages in PDF File: 16
Keywords: Narratology, Theory of narrative, Aesthetics, Novel, Dramatic structure, Narrative perspective, Henry James

eJournal Classifications (Date posted: February 15, 2016)

CSN Subject Matter eJournals      Cognition & the Arts eJournal - CMBO          CSN: Mental Operations (Cognition & the Arts) (Topic) - CMBO              CSN: Narrative & Story (Sub-Topic) - CMBO

LIT Subject Matter eJournals      Literary Theory & Criticism eJournal - CMBO

Also here:

_____. "Story: Distance and Dramatization (Henry James on the Art of Fiction)." In García Landa, Narrative Theory. 1990. Online at Net Sight de José Angel García Landa (2005):

    http://www.unizar.es/departamentos/filologia_inglesa/garciala/publicaciones/narrativetheory/4.Distance.htm

2005 DISCONTINUED 2021- Online at the Internet Archive:

https://web.archive.org/web/20190914132323/http://www.unizar.es:80/departamentos/filologia_inglesa/garciala/publicaciones/narrativetheory/4.Distance.htm

2022

http://personal.unizar.es/garciala/publicaciones/narrativetheory/4.Distance.htm

2022

_____. "Distance and Dramatization: Henry James on the Art of Fiction (Narrative Theory, 4). Social Science Research Network 15 Feb. 2016.*

         http://dx.doi.org/10.2139/ssrn.2732338

         http://ssrn.com/abstract=27332338

         2016

         Cognition & the Arts eJournal 15 Feb. 2016.*

         http://www.ssrn.com/link/Cognition-Arts.html

         2016

         Literary Theory & Criticism eJournal 15 Feb. 2016.
http://www.ssrn.com/link/English-Lit-Theory-Criticism.html

         2016

_____. "Distance and Dramatization: Henry James on the Art of Fiction (Narrative Theory, 4)." In García Landa, Vanity Fea 29 Feb. 2016.*

         http://vanityfea.blogspot.com.es/2016/02/distance-and-dramatization-henry-james.html

         2016

_____. "Distance and Dramatization: Henry James on the Art of Fiction (Narrative Theory, 4)." Academia 2 July 2017.*

         https://www.academia.edu/33742193/

         2017

         https://www.academia.edu/86981414/

         2022

_____. "Distance and Dramatization: Henry James on the Art of Fiction (Narrative Theory, 4)." ResearchGate 3 July 2017.*

         https://www.researchgate.net/publication/314645141

         2017

_____. "Distance and Dramatization: Henry James on the Art of Fiction (Narrative Theory, 4)." Humanities Commons 10 June 2018.*

         http://dx.doi.org/10.17613/M6FF3KZ9Q

         https://hcommons.org/deposits/item/hc:19641/

         2018

_____. "Distance and Dramatization: Henry James on the Art of Fiction (Narrative Theory, 4)." Vanity Fea 29 Feb. 2016.*

         https://vanityfea.blogspot.com/2016/02/distance-and-dramatization-henry-james.html

         2022

—oOo—

JAMES, Henry, Jr.

From Hart and Leininger's Oxford Companion to American Literature, 6th ed.

JAMES, HENRY, JR. (1843-1916), son of Henry James, Sr., was born in New York City, and, with his brothers William, Garth (1845-83) and Robertson (1846-1910), received a remarkably cosmopolitan, eclectic education. The father, desiring his sons to be citizens of the world, believed that they should avoid forming definite habits of living or of intellect, until prepared to make wise choices of their own. Accordingly, Henry was privately educated by tutors until 1855, when the family went to Europe for a three-year stay. He also lived for a time in Newport (1858, 1860-62) before he entered Harvard Law School (1862). After 1866, although he lived mostly in Europe, his American home was at Cambridge. His conception of himself as a detached spectator of life was maturing, as was his idea that the American scene was hostile toward creative talent and offered no adequate subject matter.

For the time being, however, he divided his interest between European and American materials. During the late 1860s, encouraged by Howells, C. E. Norton, and others, he wrote critical articles and reviews, exhibiting admiration for the technique of George Eliot , and also produced short stories, frequently showing the influence of Hawthorne, one of his masters; a realistic novelette, "Watch and Ward" (Atlantic Monthly, 1871; in book form, 1878), concerned with a guardian who loves and marries his ward; and a farce, "Pyramus and Thisbe" (1869). His first important fiction was "A Passionate Pilgrim" (1871), in which he deals with the first of his great themes, the reactions of an eager American "pilgrim" when confronted with the fascinations of the complex European world of art and affairs.

The author himself during this period was often a pilgrim to the transatlantic world, which he came to regard as his spiritual fatherland, moving there permanently in 1875. During a year in Paris he associated with such masters of his art as Turgenev and Flaubert, but after 1876 he made his home mainly in London, with which much of his writing is concerned. His first novel, following A Passionate Pilgrim and Other Tales (1875) and Transatlantic Sketches (1875), mainly treating his views of England and Italy, was Roderick Hudson (1876), concerned with the failure of an American sculptor in Rome, resulting from a lack of inner discipline. Other novels and tales of this early London period, when James's course of life was still for him a matter of doubt and self-questioning, include The American (1877), contrasting French and American standards of conduct; The Europeans (1878), reversing the situation by bringing Europeans into a New England background; Daisy Miller (1879), whose wide popularity is probably owing to its portrayal of a charming, ingenuous American girl; An International Episode (1879), a novelette showing the reactions of Englishmen to the American scene and of an American heiress to aristocratic Britain; The Madonna of the Future and Other Tales (1879); and Confidence (1880), a romantic, melodramatic novelette about a group of expatriated Americans.

In Washington Square (1881), James again revealed American character, this time in its native environment, but after The Bostonians (1886), a satirical novel of New England reformers and philanthropists, he devoted himself to British and continental themes. The Portrait of a Lady (1881), the first of his mature masterpieces, is a triumph of his method of psychological realism, analyzing the relations of a young American woman with a group of European and expatriated Americans, who objectify her conscientious moral attitude, her sensitive appreciation, and her endurance under suffering. In nearly all of James's fiction, the environment is one of affluence and leisure, in which the preoccupations are with manners and the appreciation of character and the arts, including that of conversation. He treats this society with an infinite refinement of particulars, and in a prose style considered to be unapproached in English for subtlety of phrase and rhythm.

Following The Portrait of a Lady, James temporarily turned from the writing of novels. He collected his fiction (14 vols., 1883), and published several new works: a dramatization of Daisy Miller (1883); The Siege of London (1883), short stories, Portraits of Places (1883), a travel book; Tales of Three Cities (1884); A Little Tour in France (1885); and Stories Revived (3 vols., 1885), reprinting earlier tales.

He returned to the novel with The Princess Cassamassima  (1886), a melodramatic story of revolutionaries and lower-class life in London, told, as all of James's later fictions are, through the observations of one character, who usually remains outside the events. This was followed by The Reverberator (1888), a novelette concerned with American travelers on the Continent; The Aspern Papers  (1888), a novelette which tells of the attempt of a critic to gain a celebrated poet's letters; A London Life  (1889), short stories; The Tragic Muse (1880), a novel dealing with the lives of artists in English society; The Lesson of the Master (1892), short stories; The Real Thing and Other Tales  (1893); The Private Life (1893) and The Wheel of Time (1893), collections of tales. At this time he also wrote four comedies, collected in Theatricals (2 vols., 1894-95), but none of them was successful in the theater, owing perhaps to his essentially cerebral attide towards life, his extreme refinement of motive and situtation, and his unlifelike dialogue and inability to create dramatic simplifications.

His next series of fictional works includes Terminations (1895) and Embarrassments (1896), books of stories, the latter containing "The Figure in the Carpet"; The Other House (1896), an unsuccessful melodramatic novel; The Spoils of Poynton (1897), a tragic novel of mean passions magnified by the excellence of their object, a household of precious objects of art; What Maisie Knew  (1897), a novel told through the medium of a little girl's mind; In the Cage (1898), in which a telegraph clerk observes his aristocratic patrons ; The Two Magics (1898), containing the fine tale of the supernatural "The Turn of the Screw"; The Awkward Age (1899), portraying a British society girl between adolescence and marriage; The Soft Side (1900), a collection of tales; The Sacred Fount (1901), a novelette that seems to satirize the typical "detached observer" of James's novels; The Wings of the Dove (1902), another of his masterpieces in subtle character portrayal; The Better Sort (1903), short stories; The Ambassadors (1903), a novel that shows the author's genius for formal structure, as well as his discernment of the values of Old World culture; and The Golden Bowl (1904), his last completed novel, which also exhibits him at the height of his artistry.

With the addition of two volumes of stories, The Altar of the Dead (1909) and The Finer Grain (1910), and two unfinished novels, The Ivory Tower (1917) and The Sense of the Past  (1917), this completed his prolific output of fiction. He edited a second collection of his novels and tales (1907-9), which included the valuable critical prefaces, and other writings of the last decade include William Wetmore Story and His Friends (2 vols., 1903); English Hours (1905), essays; The Question of our Speech, and The Lesson of Balzac (1905), two lectures delivered in the U.S.; The American Scene (1907), a descriptive work written after a long journey through the U.S.; Views and Reviews (1908), essays, and the autobiographical books, A Small Boy and Others (1913), Notes of a Son and Brother (1914), and The Middle Years (1917). He also returned to playwriting, but of three plays only The High Bid was produced (1908).

These last years were troubled ones, saddened by deaths, including that of his brother William, and at the outbreak of World War I he was particularly agitated. To show allegiance to the Allied cause, he became a British subject in 1915. Always strongly conscious of the formal and thoretical phases of his work, he kept Notebooks (published 1948) and wrote criticism of his own practice and that of other masters of fiction. Even his Letters (3 vols, 1974, 1975, 1980), edited by Leon Edel, display his creative and critical turn of mind. His formal critical writings, sufficient in themselves to establish an author's reputation, were published in French Poets and Novelists (1878); Hawthorne (1879); Partial Portraits (1888), including the essay "The Art of Fiction"; Picture and Text (1893); Essays in London and Elsewhere (1893); Notes on Novelists (1914); Within the Rim and Other Essays (1918); and Notes and Reviews (1921). Thus he fulfilled his cosmopolitan destiny, detached even from the art that absorbed him, for his self-judgements are as subtle and well formed as is the substance of his fiction.

His artistry was conscious at every point, but his intellectual perceptivity in later life seemed to make him a rarefied observer, apparently largely out of touch with many of the more commonplace realities of his times. His eminence in the realm of his choice, however, is unquestioned, as is his influence in the history of the novel, in which he was a pioneer of psychological realism and formal architectonics, and the master of a rich, highly complex prose style and an extremely sensitive appreciation of values of character.

Narrative perspective and psychological realism: On Henry James's theory of the novel

Un artículo mío sobre estilística, estructura y lenguaje fílmico:

El momento fílmico: 

'He estado en una película' 

http://papers.ssrn.com/abstract=2555324

Se trata de un análisis de elementos temáticos y formales de la película de Fritz Lang Fury (1936), enfatizando las figuras estilísticas que intensifican la complejidad semiótica y la reflexividad de la película. Proponemos una definición del 'momento fílmico', un concepto crucial para tratar momentos cruciales de complejidad semiótica y reflexiva en las películas.

The Filmic Moment: 'I Have Been in a Film'

English Abstract: This is an analysis of some thematic and formal elements of Fritz Lang's film Fury (1936), with an emphasis on stylistic figures that enhance the film's semiotic complexity and its reflexivity. A definition of 'the filmic moment' in film structure, a crucial concept to deal with crucial moments of semiotic reflexivity in films, is put forward.

 

 Reference Info: Ibercampus (Oct. 19, 2010)

Aparece además en:

eJournal Classifications (Date posted: January 26, 2015)
CSN Subject Matter eJournals      Cognition & the Arts eJournal - CMBO          CSN: Genre & Media (Topic) - CMBO              CSN: Film (Sub-Topic) - CMBO
PRN Subject Matter eJournals      Philosophy of Mind eJournal - CMBO          PRN: Consciousness (Topic) - CMBO

También aquí:

_____. "He estado en una película." Rev. of Fury, dir. Fritz Lang. In García Landa, Vanity Fea 5 October 2010.*

         http://vanityfea.blogspot.com/2010/10/he-estado-en-una-pelicula.html

         2010

_____. "He estado en una película." Ibercampus (Vanity Fea) 19 Oct. 2010.*

         http://www.ibercampus.es/articulos.asp?idarticulo=14506

         2013

_____. "El momento fílmico: 'He estado en una película' (The Filmic Moment: 'I Have Been in a Film'). SSRN 26 Jan. 2015.*

https://ssrn.com/abstract=2555324

         2015

         Cognition & the Arts eJournal 26 Jan. 2015.*

         http://www.ssrn.com/link/Cognition-Arts.html

         2015

         Philosophy of Mind eJournal 26 Jan. 2015.*

         http://www.ssrn.com/link/Philosophy-Mind.html

         2015

_____. "El momento fílmico (He estado en una película)." In García Landa, Vanity Fea 30 Jan. 2015.*

         http://vanityfea.blogspot.com.es/2015/01/el-momento-filmico.html

         2015

_____. "El momento fílmico: 'He estado en una película'." Academia 24 June 2016.*

         https://www.academia.edu/26472099/

         2016

_____. "El momento fílmico: 'He estado en una película'." ResearchGate 24 junio 2016.*

         https://www.researchgate.net/publication/304381369

         2016

_____. "El momento fílmico: He estado en una película." Net Sight de José Angel García Landa 4 Jan. 2024.*

https://personal.unizar.es/garciala/publicaciones/MomentoFilmico.pdf

         2025

He estado en una película

—oOo—

—oOo—

Samuel Beckett y la narración reflexiva es un estudio en profundidad de la escritura experimental de Beckett, en especial de la trilogía novelística Molloy, Malone Dies, y The Unnamable, desde la perspectiva de la narratología estructuralista y las teorías estructuralistas sobre la enunciación. Resulta de allí no sólo una mejor comprensión de la técnica utilizada por Beckett para transmitir su peculiar visión de la realidad, sino también toda una nueva gama de significaciones en estos textos. En este capítulo examinamos la voz narrativa de The Unnamable (El Innombrable) como la culminación del proceso de vaciado crítico de la narración homodiegética o en primera persona iniciado en las novelas anteriores de la trilogía.

Texto completo:

El narrador impersonal 

(Samuel Beckett y la narración reflexiva, 7) 

The Impersonal Narrator (Samuel Beckett and Reflexive Narrative, 7)

José Angel García Landa

Universidad de Zaragoza

1992

Samuel Beckett y la narración reflexiva (Zaragoza: Prensas Universitarias de Zaragoza, 1992)
  

English Abstract: Samuel Beckett and Reflexive Narrative is an in-depth study of Beckett's experimental writing, more specifically of the novelistic trilogy Molloy, Malone Dies and The Unnamable, from the standpoint of structuralist theories of narrative and of enunciation. An increased insight is thereby obtained into the technique used by Beckett to articulate his peculiar view of reality, and a new dimension of signification of these texts emerges. This chapter examines the use of narrative voice in The Unnamable as a culmination of the critical emptying out of homodiegetic or first-person narrative begun in the previous novels of the trilogy.

Number of Pages in PDF File: 35
Accepted Paper Series 

 

eJournal Classifications

CSN Subject Matter eJournals      Cognition & the Arts eJournal - CMBO          CSN: Genre & Media (Topic) - CMBO              CSN: Literature (Sub-Topic) - CMBO

LIT Subject Matter eJournals      English & Commonwealth Literature eJournal - CMBO          LIT: Other English & Commonwealth Literature (Topic) - CMBO

También aquí:

_____. "El narrador impersonal (Samuel Beckett y la narración reflexiva, 7)." Social Science Research Network 5 Nov. 2014.*

         http://papers.ssrn.com/abstract=2518914

         2014

         Cognition & the Arts eJournal 5 Nov. 2014.*

         http://www.ssrn.com/link/Cognition-Arts.html

         2014

         English & Commonwealth Literature eJournal 5 Nov. 2014.*

         http://www.ssrn.com/link/English-Commonwealth-Lit.html

         2014

_____. "El narrador impersonal (Samuel Beckett y la narración reflexiva, 7)." Academia 19 July 2015.*

         https://www.academia.edu/14184820/

         2015

_____. "El narrador impersonal." In García Landa, Vanity Fea 4 Nov. 2014.*

         https://vanityfea.blogspot.com/2014/11/el-narrador-impersonal.html

         2024

_____. "El narrador impersonal (Samuel Beckett y la narración reflexiva, 7). ResearchGate 7 Aug. 2015.*

         https://www.researchgate.net/publication/280737526

         2015

 

Aspectos de la técnica narrativa en HARD TIMES de Charles Dickens

Ediciones en red y resumen de mi primera tesis, y mi primera publicación, de 1984:

José Angel García Landa. "Aspectos de la técnica narrativa en Hard Times de Charles Dickens." Tesis de Licenciatura. Universidad de Zaragoza, Facultad de Filosofía y Letras, 1984. (Grado de Licenciatura en Filosofía y Letras – Filología Inglesa, 20 Sept. 1984).

Spanish abstract: Esta tesis examina la técnica narrativa de la novela de Charles Dickens HARD TIMES (Tiempos Difíciles, 1854). Lleva a cabo un ejercicio práctico de análisis del relato en la línea del estructuralismo francés, ateniéndose en particular a los modelos de análisis narrativo propuestos por Gérard Genette y Mieke Bal. Nuestro objetivo ha sido el estudio del espacio comprendido entre el argumento y la caracterización por una parte, y la superficie textual o discursiva por otra. Ejemplificamos en el análisis de una típica novela victoriana la manera en que las distintas categorías que actúan sobre la historia (las distorsiones temporales, el punto de vista, la voz) mediatizan la percepción que de ella tenemos y constituyen un sistema particular que orienta el significado de la historia de acuerdo con la intencionalidad del autor. Al estudio práctico de la obra se une una reflexión sobre el método seguido y, en su caso, una concretización o ampliación del mismo.

English abstract: This thesis examines narrative technique in Charles Dickens's novel HARD TIMES (1854), carrying out a practical exercise of literary analysis in the line of French structuralist criticism (in particular the analytic models proposed by Gérard Genette and Mieke Bal). Our aim is to study narrative structure, more specifically the analytic level situated between plot and characterization on one hand and the actual text or discursive surface on the other. The way narrative categories (time, point of view, voice) act on the story is exemplified through the analysis of this typically Victorian novel; these categories are shown to build a specific system used by the author to control the reader's perception of the story and of its ultimate meaning. Along with the practical study of the book a parallel study of the method is to be found in which development or specification has been made whenever necessary.

—oOo—

_____. "Aspectos de la técnica narrativa en Hard Times de Charles Dickens." Tesis de Licenciatura. Universidad de Zaragoza, Facultad de Filosofía y Letras, 1984.* (Grado de Licenciatura en Filosofía y Letras – Filología Inglesa, 20 Sept. 1984).

El texto completo está en red aquí:

_____. Aspectos de la técnica narrativa en Hard Times de Charles Dickens. Online edition at Net Sight de José Angel García Landa (2004).*

http://www.unizar.es/departamentos/filologia_inglesa/garciala/publicaciones/hardtimes/

2014 DISCONTINUED 2020 – Online at the Internet Archive:

https://web.archive.org/web/20150922162401/http://www.unizar.es/departamentos/filologia_inglesa/garciala/publicaciones/hardtimes/

2020

http://personal.unizar.es/garciala/publicaciones/hardtimes/index.html

2020 DISCONTINUED 2024 – Online at the Internet Archive:

https://web.archive.org/web/20240617015022/http://personal.unizar.es/garciala/publicaciones/hardtimes/index.html

2024

_____. Aspectos de la técnica narrativa en Hard Times de Charles Dickens (Aspects of Narrative Technique in Charles Dickens's Hard Times)). Online at Social Science Research Networks 28 Feb. 2014.

         http://papers.ssrn.com/abstract=2401586

         2014

         Cognition & the Arts eJournal 28 Feb. 2014.

         http://www.ssrn.com/link/Cognition-Arts.html

         2014

         English & Commonwealth Literature eJournal 28 Feb. 2014.

         http://www.ssrn.com/link/English-Commonwealth-Lit.html

         2014

_____. Aspectos de la técnica narrativa en Hard Times de Charles Dickens. Online at Academia.edu (José Angel García Landa) 2 May 2014:

         https://www.academia.edu/6934395/

         2014

_____. Aspectos de la técnica narrativa en Hard Times de Charles Dickens. Online at ResearchGate (José Angel García Landa) 2 May 2014:

         https://www.researchgate.net/publication/262001977

         2014

 

_____. "Aspectos de la técnica narrativa en Hard Times de Charles Dickens." Humanities Commons 10 Dec. 2017.*

         https://hcommons.org/deposits/item/hc:16933/

         2017

Y el resumen apareció aquí:

_____. "Aspectos de la técnica narrativa en Hard Times de Charles Dickens." Summary. In Resúmenes de tesis de licenciatura: Curso 83-84. Zaragoza: Secretariado de Publicaciones de la Universidad de Zaragoza, 1986. 339-344.

En red aquí:

_____. "Aspectos de la técnica narrativa en Hard Times de Charles Dickens." Summary. Net Sight de José Angel García Landa.* 2009.

         http://www.unizar.es/departamentos/filologia_inglesa/garciala/publicaciones/hardtimes.html

         2009 DISCONTINUED 2020

http://personal.unizar.es/garciala/publicaciones/hardtimes.html

2020

_____. "Aspectos de la técnica narrativa en Hard Times de Charles Dickens." Summary. Social Science Research Network  15 Dec. 2012.

http://ssrn.com/abstract=2189362

2012

Cognition and the Arts eJournal 15 Dec. 2012.

http://www.ssrn.com/link/Cognition-Arts.html

2013

         English & Commonwealth Literature eJournal 15 Dec. 2012.

         http://www.ssrn.com/link/English-Commonwealth-Lit.html

         2013

_____. "Aspectos de la técnica narrativa en Hard Times de Charles Dickens." Summary. ResearchGate 27 June 2013.

         https://www.researchgate.net/publication/242165949

         2013

_____. "Aspectos de la técnica narrativa en Hard Times de Charles Dickens (Resumen)." Academia.edu 11 Aug. 2013.

         http://www.academia.edu/4214199/

         2013

_____. "Aspectos de la técnica narrativa en Hard Times de Charles Dickens: Resumen de la tesis de licenciatura." Semantic Scholar.*

https://www.semanticscholar.org/paper/Aspectos-de-la-t%C3%A9cnica-narrativa-en-Hard-Times%2C-de-Landa-%C3%81ngel/a784be58b8e0ed93ab43be2acdbf2da55d75d16a#paper-header

2019

De mi tesina sobre Dickens hablé aquí y aquí. Y aquí. Y aquí.