The Classic Short Story, 1870-1925: Theory of a Genre - cover image

Copyright

Florence Goyet

Published On

2014-01-13

ISBN

Paperback978-1-909254-75-6
Hardback978-1-909254-76-3
PDF978-1-909254-77-0
HTML978-1-80064-466-3
XML978-1-78374-420-6
EPUB978-1-909254-78-7
MOBI978-1-909254-79-4

Language

  • English

Print Length

220 pages (viii + 212)

Dimensions

Paperback156 x 12 x 234 mm(6.14" x 0.46" x 9.21")
Hardback156 x 14 x 234 mm(6.14" x 0.56" x 9.21")

Weight

Paperback697g (24.59oz)
Hardback1076g (37.95oz)

Media

Illustrations1

OCLC Number

878145065

LCCN

2019467794

BIC

  • FYB
  • DSK

BISAC

  • LIT018000
  • LIT020000

LCC

  • PN441

Keywords

  • Florence Goyet
  • Guy de Maupassant
  • Henry James
  • Giovanni Verga
  • Anton Chekhov
  • Akutagawa Ryūnosuke
  • Short Stories
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The Classic Short Story, 1870-1925

Theory of a Genre

  • Florence Goyet (author)
  • Yvonne Freccero (translator)
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 à 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 Ryūnosuke - 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.

Table of Contents

Acknowledgements

Introduction


PART I: STRUCTURE

1. Paroxystic Characterisation

2. Antithetic Structure

3. Ending with a Twist

4. The Tools of Brevity

5. Conclusion to Part I


PART II: MEDIA

6. Exoticism in the Classic Short Story

7. Short Stories and the Travelogue


PART III: READER, CHARACTER AND AUTHOR

8. A Foreign World

9. Dialogue and Character Discreditation

10. The Narrator, the Reflector and the Reader

11. Distance and Emotion

12. Conclusion to Part III: Are Dostoevsky’s Short Stories Polyphonic?

Epilogue: Beyond the Classic Short Story


Bibliography

Index


Contributors

Florence Goyet

(author)
Professor of General and Comparative Literature at Stendhal University

Yvonne Freccero

(translator)