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A novel is an extended work of
Recent technological developments have led to many novels also being published in non-print media: this includes
Defining the genre
A novel is a long, fictional narrative. The novel in the modern era usually makes use of a literary prose style. The development of the prose novel at this time was encouraged by innovations in printing, and the introduction of cheap paper in the 15th century.
Several characteristics of a novel might include:
- Fictional narrative: Fictionality is most commonly cited as distinguishing novels from historiography. However this can be a problematic criterion. Throughout the early modern period authors of historical narratives would often include inventions rooted in traditional beliefs in order to embellish a passage of text or add credibility to an opinion. Historians would also invent and compose speeches for didactic purposes. Novels can, on the other hand, depict the social, political and personal realities of a place and period with clarity and detail not found in works of history. Several novels, for example Ông cố vấn written by Hữu Mai, were designed to be and defined as a "non-fiction" novel which purposefully recorded historical facts in the form of a novel.
- Literary prose: While prose rather than verse became the standard of the modern novel, the ancestors of the modern European novel include verse epics in the The Golden Gate (1986), composed of 590 Onegin stanzas, is a more recent example of the verse novel.[18]
- Experience of intimacy: Both in 11th-century Japan and 15th-century Europe, prose fiction created intimate reading situations. Harold Bloom[19] characterizes Lady Murasaki's use of intimacy and irony in The Tale of Genji as "having anticipated Cervantes as the first novelist." On the other hand, verse epics, including the Odyssey and Aeneid, had been recited to select audiences, though this was a more intimate experience than the performance of plays in theaters. A new world of individualistic fashion, personal views, intimate feelings, secret anxieties, "conduct", and "gallantry" spread with novels and the associated prose-romance.
- Length: The novel is today the longest genre of narrative prose fiction, followed by the novella. However, in the 17th century, critics saw the romance as of epic length and the novel as its short rival. A precise definition of the differences in length between these types of fiction, is, however, not possible. The philosopher and literary critic György Lukács argued that the requirement of length is connected with the notion that a novel should encompass the totality of life.[20] However, according to the English novelist E. M. Forster, a novel should be composed with at least fifty-thousand words.[21]
East Asian definition
East Asian countries, like China, Korea, Vietnam and Japan, use the word 小說 (pinyin: xiǎoshuō), which literally means "small talks", to refer works of fiction of whatever length.[22] In Chinese, Japanese and Korean cultures, the concept of novel as it is understood in the Western world was (and still is) termed as "long length small talk" (長篇小說), novella as "medium length small talk" (中篇小說), and short stories as "short length small talk" (短篇小說). However, in Vietnamese culture, the term 小說 exclusively refers to 長篇小說 (long-length small talk), i.e. standard novel, while different terms are used to refer to novella and short stories.
Such terms originated from ancient Chinese classification of literature works into "small talks" (tales of daily life and trivial matters) and "great talks" ("sacred" classic works of great thinkers like
Early novels
The earliest novels include classical Greek and Latin prose narratives from the first century BC to the second century AD, such as
In China
See also Classic Chinese Novels
Urbanization and the spread of printed books in
Medieval period 1100–1500
The European developments of the novel did not occur until after the invention of the printing press by
Chivalric romances
Romance or chivalric romance is a type of
Originally, romance literature was written in Old French, Anglo-Norman and Occitan, later, in English, Italian and German. During the early 13th century, romances were increasingly written as prose.
The shift from verse to prose dates from the early 13th century; for example, the Romance of Flamenca. The Prose Lancelot or Vulgate Cycle also includes passages from that period. This collection indirectly led to Thomas Malory's Le Morte d'Arthur of the early 1470s. Prose became increasingly attractive because it enabled writers to associate popular stories with serious histories traditionally composed in prose, and could also be more easily translated.[32]
Popular literature also drew on themes of romance, but with
The novella
The term "novel" originates from the production of short stories, or
Renaissance period: 1500–1700
The modern distinction between history and fiction did not exist in the early sixteenth century and the grossest improbabilities pervade many historical accounts found in the early modern print market.
In the 16th and 17th centuries two factors led to the separation of history and fiction. The invention of printing immediately created a new market of comparatively cheap entertainment and knowledge in the form of
In Japan
Many different genres of literature made their debut during the Edo period in Japan , helped by a rising literacy rate among the growing population of townspeople, as well as the development of lending libraries. Ihara Saikaku (1642–1693) might be said to have given birth to the modern consciousness of the novel in Japan, mixing vernacular dialogue into his humorous and cautionary tales of the pleasure quarters, the so-called Ukiyozōshi ("floating world") genre. Ihara's Life of an Amorous Man is considered the first work in this genre. Although Ihara's works were not regarded as high literature at the time because it had been aimed towards and popularized by the chōnin (merchant classes), they became popular and were key to the development and spread of ukiyozōshi.
Chapbooks
A chapbook is an early type of
The term "chapbook" for this type of literature was coined in the 19th century. The corresponding French and German terms are
The early modern market, from the 1530s and 1540s, divided into low
The term "chapbook" is also in use for present-day publications, commonly short, inexpensive booklets.[35]
Heroic romances
Heroic Romance is a genre of imaginative literature, which flourished in the 17th century, principally in France.
The beginnings of modern fiction in France took a pseudo-
Satirical romances
Stories of witty cheats were an integral part of the European novella with its tradition of
A second tradition of satirical romances can be traced back to Heinrich Wittenwiler's Ring (c. 1410) and to François Rabelais' Gargantua and Pantagruel (1532–1564), which parodied and satirized heroic romances, and did this mostly by dragging them into the low realm of the burlesque. Don Quixote modified the satire of romances: its hero lost contact with reality by reading too many romances in the Amadisian tradition.
Other important works of the tradition are Paul Scarron's Roman Comique (1651–57), the anonymous French Rozelli with its satire on Europe's religions, Alain-René Lesage's Gil Blas (1715–1735), Henry Fielding's Joseph Andrews (1742) and Tom Jones (1749), and Denis Diderot's Jacques the Fatalist (1773, printed posthumously in 1796).[41]
Histories
A market of literature in the modern sense of the word, that is a separate market for fiction and poetry, did not exist until the late seventeenth century. All books were sold under the rubric of "History and politicks" in the early 18th century, including pamphlets, memoirs, travel literature, political analysis, serious histories, romances, poetry, and novels.
That fictional histories shared the same space with academic histories and modern journalism had been criticized by historians since the end of the Middle Ages: fictions were "lies" and therefore hardly justifiable at all. The climate, however, changed in the 1670s.
The romance format of the quasi–historical works of Madame d'Aulnoy, César Vichard de Saint-Réal,[42] Gatien de Courtilz de Sandras,[43] and Anne-Marguerite Petit du Noyer, allowed the publication of histories that dared not risk an unambiguous assertion of their truth. The literary market-place of the late 17th and early 18th century employed a simple pattern of options whereby fictions could reach out into the sphere of true histories. This permitted its authors to claim they had published fiction, not truth, if they ever faced allegations of libel.
Prefaces and title pages of seventeenth and early eighteenth century fiction acknowledged this pattern: histories could claim to be romances, but threaten to relate true events, as in the Roman à clef. Other works could, conversely, claim to be factual histories, yet earn the suspicion that they were wholly invented. A further differentiation was made between private and public history: Daniel Defoe's Robinson Crusoe was, within this pattern, neither a "romance" nor a "novel". It smelled of romance, yet the preface stated that it should most certainly be read as a true private history.[44]
Cervantes and the modern novel
The rise of the modern novel as an alternative to the chivalric romance began with the publication of Miguel de Cervantes' novel Don Quixote:[45][46] "the first great novel of world literature".[47] It continued with Scarron's Roman Comique (the first part of which appeared in 1651), whose heroes noted the rivalry between French romances and the new Spanish genre.[48] In Germany an early example of the novel is Simplicius Simplicissimus by Hans Jakob Christoffel von Grimmelshausen, published in 1668,
Late 17th-century critics looked back on the history of prose fiction, proud of the generic shift that had taken place, leading towards the modern novel/novella.[49] The first perfect works in French were those of Scarron and Madame de La Fayette's "Spanish history" Zayde (1670). The development finally led to her Princesse de Clèves (1678), the first novel with what would become characteristic French subject matter.[50][51]
Europe witnessed the generic shift in the titles of works in French published in Holland, which supplied the international market and English publishers exploited the novel/romance controversy in the 1670s and 1680s.
However, one of the earliest English novels,
18th-century novels
The idea of the "rise of the novel" in the 18th century is especially associated with Ian Watt's influential study The Rise of the Novel (1957).[57] In Watt's conception, a rise in fictional realism during the 18th century came to distinguish the novel from earlier prose narratives.[58]
Philosophical novel
The rising status of the novel in eighteenth century can be seen in the development of philosophical
Philosophical fiction was not exactly new.
The tradition of works of fiction that were also philosophical texts continued with
An example of the
The romance genre in the 18th century
The rise of the word "novel" at the cost of its rival, the romance, remained a Spanish and English phenomenon, and though readers all over Western Europe had welcomed the novel(la) or short history as an alternative in the second half of the 17th century, only the English and the Spanish had openly discredited the romance.[citation needed]
But the change of taste was brief and Fénelon's Telemachus [Les Aventures de Télémaque] (1699/1700) already exploited a nostalgia for the old romances with their heroism and professed virtue. Jane Barker explicitly advertised her Exilius as "A new Romance", "written after the Manner of Telemachus", in 1715.[64] Robinson Crusoe spoke of his own story as a "romance", though in the preface to the third volume, published in 1720, Defoe attacks all who said "that [...] the Story is feign'd, that the Names are borrow'd, and that it is all a Romance; that there never were any such Man or Place".
The late 18th century brought an answer with the
The sentimental novel
Sentimental novels relied on emotional responses, and feature scenes of distress and tenderness, and the plot is arranged to advance emotions rather than action. The result is a valorization of "fine feeling", displaying the characters as models of refined, sensitive emotional affect. The ability to display such feelings was thought at this time to show character and experience, and to help shape positive social life and relationships.[65]
An example of this genre is
Male heroes adopted the new sentimental character traits in the 1760s. Laurence Sterne's Yorick, the hero of the Sentimental Journey (1768) did so with an enormous amount of humour. Oliver Goldsmith's Vicar of Wakefield (1766) and Henry Mackenzie's Man of Feeling (1771) produced the far more serious role models.[citation needed]
These works inspired a sub- and counterculture of pornographic novels, for which Greek and Latin authors in translations had provided elegant models from the last century.[66] Pornography includes John Cleland's Fanny Hill (1748), which offered an almost exact reversal of the plot of novels that emphasise virtue. The prostitute Fanny Hill learns to enjoy her work and establishes herself as a free and economically independent individual, in editions one could only expect to buy under the counter.[67]
Less virtuous protagonists can also be found in satirical novels, like Richard Head's English Rogue (1665), that feature brothels, while women authors like Aphra Behn had offered their heroines alternative careers as precursors of the 19th-century femmes fatales.[68]
The genre evolves in the 1770s with, for example, Werther in Johann Wolfgang von Goethe's The Sorrows of Young Werther (1774) realising that it is impossible for him to integrate into the new conformist society, and Pierre Choderlos de Laclos in Les Liaisons dangereuses (1782) showing a group of aristocrats playing games of intrigue and amorality.[citation needed].
The social context of the 18th century novel
Changing cultural status
By around 1700, fiction was no longer a predominantly aristocratic entertainment, and printed books had soon gained the power to reach readers of almost all classes, though the reading habits differed and to follow fashions remained a privilege. Spain was a trendsetter into the 1630s but French authors superseded Cervantes, de Quevedo, and Alemán in the 1640s. As Huet was to note in 1670, the change was one of manners.[69] The new French works taught a new, on the surface freer, gallant exchange between the sexes as the essence of life at the French court.
The situation changed again from 1660s into the 1690s when works by French authors were published in Holland out of the reach of French censors.[70] Dutch publishing houses pirated fashionable books from France and created a new market of political and scandalous fiction. This led to a market of European rather than French fashions in the early 18th century.[71]
By the 1680s fashionable political European novels had inspired a second wave of private scandalous publications and generated new productions of local importance. Women authors reported on politics and on their private love affairs in The Hague and in London. German students imitated them to boast of their private amours in fiction.[72] The London, the anonymous international market of the Netherlands, publishers in Hamburg and Leipzig generated new public spheres.[73] Once private individuals, such as students in university towns and daughters of London's upper class began to write novels based on questionable reputations, the public began to call for a reformation of manners.[74]
An important development in Britain, at the beginning of the century, was that new journals like
Influenced by the new journals, reform became the main goal of the second generation of eighteenth century novelists. The Spectator Number 10 had stated that the aim was now "to enliven morality with wit, and to temper wit with morality […] to bring philosophy out of the closets and libraries, schools and colleges, to dwell in clubs and assemblies, at tea-tables and coffeehouses"). Constructive criticism of novels had until then been rare.[75] The first treatise on the history of the novel was a preface to Marie de La Fayette's novel Zayde (1670).
A much later development was the introduction of novels into school and later university curricula.[when?]
The acceptance of novels as literature
The French churchman and scholar Pierre Daniel Huet's Traitté de l'origine des romans (1670) laid the ground for a greater acceptance of the novel as literature, that is comparable to the classics, in the early 18th century. The theologian had not only dared to praise fictions, but he had also explained techniques of theological interpretation of fiction, which was a novelty. Furthermore, readers of novels and romances could gain insight not only into their own culture, but also that of distant, exotic countries.[citation needed]
When the decades around 1700 saw the appearance of new editions of the classical authors
The English, Select Collection of Novels in six volumes (1720–22), is a milestone in this development of the novel's prestige. It included Huet's Treatise, along with the European tradition of the modern novel of the day: that is, novella from
19th-century novels
Romanticism
The very word romanticism is connected to the idea of romance, and the romance genre experienced a revival, at the end of the 18th century, with gothic fiction, that began in 1764 with Horace Walpole's The Castle of Otranto, subtitled (in its second edition) "A Gothic Story".[78] Subsequent important gothic works are Ann Radcliffe's The Mysteries of Udolpho (1794) and 'Monk' Lewis's The Monk (1795).
The new romances challenged the idea that the novel involved a
The authors of this new type of fiction were accused of exploiting all available topics to thrill, arouse, or horrify their audience. These new
The romances of
The
The Victorian period: 1837–1901
In the 19th century the relationship between authors, publishers, and readers, changed. Authors originally had only received payment for their manuscript, however, changes in
Another difference was that novels began to deal with more difficult subjects, including current political and social issues, that were being discussed in newspapers and magazines. Under the influence of social critics like Thomas Carlyle,[87] the idea of social responsibility became a key subject, whether of the citizen, or of the artist, with the theoretical debate concentrating on questions around the moral soundness of the modern novel.[88] Questions about artistic integrity, as well as aesthetics, including the idea of "art for art's sake", proposed by writers like Oscar Wilde and Algernon Charles Swinburne, were also important.[89]
Major British writers such as
A number of European novelists were similarly influenced during this period by the earlier romance tradition, along with the
Many 19th-century authors dealt with significant social matters.
As the novel became a platform of modern debate,
Along with this new appreciation of history, the future also became a topic for fiction. This had been done earlier in works like
20th century
Modernism and post-modernism
This section needs additional citations for verification. (February 2014) |
Later works like
The 20th century novel deals with a wide range of subject matter. Erich Maria Remarque's All Quiet on the Western Front (1928) focusses on a young German's experiences of World War I. The Jazz Age is explored by American F. Scott Fitzgerald, and the Great Depression by fellow American John Steinbeck. Totalitarianism is the subject of British writer George Orwell's most famous novels. Existentialism is the focus of two writers from France: Jean-Paul Sartre with Nausea (1938) and Albert Camus with The Stranger (1942). The counterculture of the 1960s, with its exploration of altered states of consciousness, led to revived interest in the mystical works of Hermann Hesse, such as Steppenwolf (1927), and produced iconic works of its own, for example Ken Kesey's One Flew Over the Cuckoo's Nest and Thomas Pynchon's Gravity's Rainbow. Novelists have also been interested in the subject of racial and gender identity in recent decades.[99] Jesse Kavadlo of Maryville University of St. Louis has described Chuck Palahniuk's Fight Club (1996) as "a closeted feminist critique".[100] Virginia Woolf, Simone de Beauvoir, Doris Lessing, Elfriede Jelinek were feminist voices during this period. Furthermore, the major political and military confrontations of the 20th and 21st centuries have also influenced novelists. The events of World War II, from a German perspective, are dealt with by Günter Grass' The Tin Drum (1959) and an American by Joseph Heller's Catch-22 (1961). The subsequent Cold War influenced popular spy novels. Latin American self-awareness in the wake of the leftist revolutions of the 1960s and 1970s resulted in a "Latin American Boom", linked to the names of novelists Julio Cortázar, Mario Vargas Llosa, Carlos Fuentes and Gabriel García Márquez, along with the invention of a special brand of postmodern magic realism.
Another major 20th-century social event, the so-called
In the second half of the 20th century, Postmodern authors subverted serious debate with playfulness, claiming that art could never be original, that it always plays with existing materials.[102] The idea that language is self-referential was already an accepted truth in the world of pulp fiction. A postmodernist re-reads popular literature as an essential cultural production. Novels from Thomas Pynchon's The Crying of Lot 49 (1966), to Umberto Eco's The Name of the Rose (1980) and Foucault's Pendulum (1989) made use of intertextual references.[103]
Genre fiction
This section needs additional citations for verification. (February 2014) |
While the reader of so-called serious literature will follow public discussions of novels, popular fiction production employs more direct and short-term marketing strategies by openly declaring a work's genre. Popular novels are based entirely on the expectations for the particular genre, and this includes the creation of a series of novels with an identifiable brand name. e.g. the Sherlock Holmes series by Arthur Conan Doyle.
Popular literature holds a larger market share.
Genre literature might be seen as the successor of the early modern
The authors of popular fiction tend to advertise that they have exploited a controversial topic and this is a major difference between them and so-called elitist literature.
Crime became a major subject of 20th and 21st century genre novelists and
Fantasy is another major area of commercial fiction, and a major example is J. R. R. Tolkien's The Lord of the Rings (1954/55), a work originally written for young readers that became a major cultural artefact. Tolkien in fact revived the tradition of European epic literature in the tradition of Beowulf, the North Germanic Edda and the Arthurian Cycles.
21st century
Non-traditional formats
A major development in this century has been novels published as
Another non-traditional format, popular in the 21st century, is the
Audiobooks have been available since the 1930s in schools and public libraries, and to a lesser extent in music shops. Since the 1980s this medium has become more widely available, including more recently online.[114]
Web fiction is especially popular in China, with revenues topping US$2.5 billion,[115] as well as in South Korea. Online literature such as web fiction inside China has over 500 million readers,[116] therefore, online literature in China plays a much more important role than in the United States and the rest of the world.[117] Most books are available online, where the most popular novels find millions of readers. Joara is S. Korea's largest web novel platform with 140,000 writers, with an average of 2,400 serials per day and 420,000 works. The company posted 12.5 billion won in sales in 2015 as profits were generated from 2009. Its membership is 1.1 million, and it uses 8.6 million cases a day on average (2016).[118] Since Joara's users have almost the same gender ratio, both fantasy and romance forms of genre fiction are in high demand.[119]
The development of ebooks and web novels has led to a rapid expansion of self-published works in recent years.[120] Some authors who self-publish can make more money than through a traditional publisher.[121] However, despite the challenges from digital media print remains "the most popular book format among U.S. consumers, with more than 60 percent of adults having read a print book in the last twelve months" (in September 2021).[122]
See also
- Bengali novels
- Chain novel
- Young adult fiction
- Collage novel
- Gay literature
- Graphic novel
- Light novel
- Nautical fiction
- Novel in Scotland
- Proletarian novel
- Psychological novel
- Sociology of literature
- Social novel
- War novel
References
- ^ "Novel", A Glossary of Literary Terms (9th Edition), M. H. Abrams and Geoffrey Gall Harpham, Wadsworth Cengage Learning, Boston, 2009, p. 226.
- ^ Britannica Online Encyclopedia [1] accessed 2 August 2009
- ^ Margaret Anne Doody, The True Story of the Novel. New Brunswick, NJ: Rutgers University Press, 1996, rept. 1997, p. 1. Retrieved 25 April 2014.
- ^ J. A. Cuddon, Dictionary of Literary Terms & Literary Theory, ed., 4th edition, revised C. E. Preston. London: Penguin, 1999, pp. 76o-2.
- The Scarlet Letter: A Romance
- ISBN 0-8101-0995-6.
- ^ William Harmon & C, Hugh Holmam, A Handbook to Literature (7th edition), p. 237.
- ^ See A Glastonbury Romance.
- ^ M. H. Abrams, A Glossary of Literary Terms (7th edition), p. 192.
- ^ "Essay on Romance", Prose Works volume vi, p. 129, quoted in "Introduction" to Walter Scott's Quentin Durward, ed. Susan Maning. Oxford: Oxford University Press, 1992, p. xxv.
- The House of Seven Gables: A Romance, 1851. External link to the "Preface" below)
- ^ "The 100 best novels: No 8 – Frankenstein by Mary Shelley (1818)". The Guardian. 11 November 2013.
- ^ Grossman, Lev (8 January 2010). "All-TIME 100 Novels". TIME.
- ^ "To Kill a Mockingbird voted greatest novel of all time". The Telegraph. Archived from the original on 2022-01-11.
- ^ "Hayy ibn Yaqzan | Encyclopedia.com". www.encyclopedia.com. Retrieved 2020-05-02.
- ^ a b Merriam-Webster's Encyclopedia of Literature. Kathleen Kuiper, ed. 1995. Merriam-Webster, Springfield, Mass.
- ^ Doody (1996), pp. 18–3, 187.
- ^ Doody (1996), p. 187.
- ISBN 978-1-84115-398-8. Retrieved 19 December 2021.
- ^ György Lukács The Theory of the Novel. A historico-philosophical essay on the forms of great epic literature [first German edition 1920], transl. by Anna Bostock (Cambridge, Massachusetts: The MIT Press, 1971).
- ^ সহপাঠ [Co-lesson] (in Bengali). Vol. Classes XI-XII and Alim. National Curriculum and Textbook Board, Dhaka, Bangladesh. October 2023. p. 2.
- ^ Artistic and Architectural Index—An archive of the Internet Archive of Fiction, archived on 2011-11-24
- ^ Đỗ Thu Hiền (2021) Definition of novel, biography and narrative prose in medieval Vietnam. Journal of Literature Researches, No. 6. In Vietnamese
- ^ Trần Nghĩa, Hán-Nôm Journal Issue 3 (32), 1997, Classification of Vietnamese novel in Hán script (in Vietnamese)
- ^ Lê Thanh Sơn. Modernization tendency in Tản Đà's literature works, from the categorization aspecy UED Journal of Social Sciences, Humanities & Education, 2020 (in Vietnamese)
- ^ ONLINE, TUOI TRE (March 21, 2008). "Lý Lan và chuyện 'bé mọn' của thế giới đàn bà". TUOI TRE ONLINE.
- ^ "Nhận thức thể loại của nhà văn Nam Bộ giai đoạn 1945 - 1954". vannghequandoi.com.vn.
- ISBN 978-0-520-30559-5.
- ^ John Robert Morgan, Richard Stoneman, Greek fiction: the Greek novel in context (Routledge, 1994), Gareth L. Schmeling, and Tim Whitmarsh (hrsg.) The Cambridge companion to the Greek and Roman novel (Cambridge University Press 2008).
- ^ "Printing press | History & Types".
- ^ "Chivalric romance", in Chris Baldick, ed., Oxford Dictionary of Literary Terms, 3rd ed. (Oxford University Press, 2008).
- ^ See William Caxton's preface to his 1485 edition.
- ISBN 0-521-47735-2
- ^ The ESTC notes 29 editions published between 1496 and 1785 ESTC search result Archived 2016-01-28 at the Wayback Machine
- ^ a b "Chapbooks: Definition and Origins". Massachusetts Institute of Technology. Retrieved 19 April 2015.
- chapmen, chap, a variety of peddler, which folks circulated such literature as part of their stock.
- ISBN 978-0-907628-47-7.
- ^ Leitch, R. (1990). "'Here Chapman Billies Take Their Stand': A Pilot Study of Scottish Chapmen, Packmen and Pedlars". Proceedings of the Scottish Society of Antiquarians 120. pp. 173–88.
- ^ See Rainer Schöwerling, Chapbooks. Zur Literaturgeschichte des einfachen Lesers. Englische Konsumliteratur 1680–1840 (Frankfurt, 1980), Margaret Spufford, Small Books and Pleasant Histories. Pleasant Fiction and its Readership in Seventeenth-Century England (London, 1981) and Tessa Watt, Cheap Print and Popular Piety 1550–1640 (Cambridge, 1990).
- ^ See Johann Friedrich Riederer German satire on the widespread reading of novels and romances: "Satyra von den Liebes-Romanen", in: Die abentheuerliche Welt in einer Pickelheerings-Kappe, vol. 2 (Nürnberg, 1718) online edition
- ^ Compare also: Günter Berger, Der komisch-satirische Roman und seine Leser. Poetik, Funktion und Rezeption einer niederen Gattung im Frankreich des 17. Jahrhunderts (Heidelberg: Carl Winter Universitätsverlag, 1984), Ellen Turner Gutiérrez The reception of the picaresque in the French, English, and German traditions (P. Lang, 1995), and Frank Palmeri, Satire, History, Novel: Narrative Forms, 1665–1815 (University of Delaware Press, 2003).
- ^ See his Dom Carlos, nouvelle histoire (Amsterdam, 1672) and the recent dissertation by Chantal Carasco, Saint-Réal, romancier de l'histoire: une cohérence esthéthique et morale (Nantes, 2005).
- ^ Jean Lombard, Courtilz de Sandras et la crise du roman à la fin du Grand Siècle (Paris: PUF, 1980).
- William Taylor, 1719)
- ^ Bloom, Harold (13 December 2003). "The knight in the mirror". The Guardian. Retrieved 5 July 2019.
- ^ Puchau de Lecea, Ana; Pérez de León, Vicente (25 June 2018). "Guide to the classics: Don Quixote, the world's first modern novel – and one of the best". The Conversation. Retrieved 1 July 2020.
- ^ "Don Quixote gets authors' votes". BBC News. 7 May 2002. Retrieved 3 January 2010.
- ^ See Paul Scarron, The Comical Romance, Chapter XXI. "Which perhaps will not be found very Entertaining" (London, 1700) with its call for the new genre. online edition
- ^ See [Du Sieur,] "Sentimens sur l'histoire" in: Sentimens sur les lettres et sur l'histoire, avec des scruples sur le stile (Paris: C. Blageart, 1680) online edition and Camille Esmein's Poétiques du roman. Scudéry, Huet, Du Plaisir et autres textes théoriques et critiques du XVIIe siècle sur le genre romanesque (Paris, 2004).
- ^ "Mme de La Fayette : La Princesse de Clèves (1678)". EspaceFrancais.com. Archived from the original on Dec 9, 2023.
- ^ "The Princess Of Cleves","www.espacefrancais.com",
- ^ See Robert Ignatius Letellier, The English novel, 1660–1700: an annotated bibliography (Greenwood Publishing Group, 1997).
- ^ See the preface to The Secret History of Queen Zarah (Albigion, 1705)– the English version of Abbe Bellegarde, "Lettre à une Dame de la Cour, qui lui avoit demandé quelques Reflexions sur l'Histoire" in: Lettres curieuses de littérature et de morale (La Haye: Adrian Moetjens, 1702) online edition
- ^ DeJean, Joan. The Essence of Style: How the French Invented Fashion, Fine Food, Chic Cafés, Style, Sophistication, and Glamour (New York: Free Press, 2005).
- ^ Warner, William B. Preface From a Literary to a Cultural History of the Early Novel In: Licensing Entertainment – The Elevation of Novel Reading in Britain, 1684–1750 University of California Press, Berkeley · Los Angeles · Oxford: 1998.
- ^ Cevasco, George A. Pearl Buck and the Chinese Novel, p. 442. Asian Studies – Journal of Critical Perspectives on Asia, 1967, 5:3, pp. 437–51.
- ISBN 9780813940137.
- ^ The Rise of the Novel (Harmondsworth: Penguin Books, 1963), p. 10.
- ^ See Jonathan Irvine Israel, Radical Enlightenment: Philosophy and the Making of Modernity 1650–1750 (Oxford University Press, 2002), pp. 591–599, Roger Pearson, The fables of reason: a study of Voltaire's "Contes philosophiques" (Oxford University Press 1993), Dena Goodman, Criticism in action: Enlightenment experiments in political writing (Cornell University Press 1989), Robert Francis O'Reilly, The Artistry of Montesquieu's Narrative Tales (University of Wisconsin., 1967), and René Pomeau and Jean Ehrard, De Fénelon à Voltaire (Flammarion, 1998).
- Samar Attar, The Vital Roots of European Enlightenment: Ibn Tufayl's Influence on Modern Western Thought, Lexington Books, [ISBN missing].
- ^ Muhsin Mahdi (1974), "The Theologus Autodidactus of Ibn at-Nafis by Max Meyerhof, Joseph Schacht",
- ^ Encyclopaedia Britannica [2].
- JSTOR 372959.
- ^ See the preface to her Exilius (London: E. Curll, 1715)
- ^ Richard Maxwell and Katie Trumpener, eds., The Cambridge Companion to Fiction in the Romantic Period (2008).
- ^ The elegant and clearly fashionable edition of The Works of Lucian (London: S. Briscoe/ J. Woodward/ J. Morphew, 1711), would thus include the story of "Lucian's Ass", vol.1 pp. 114–43.
- ^ See Robert Darnton, The Forbidden Best-Sellers of Pre-Revolutionary France (New York: Norton, 1995), Lynn Hunt, The Invention of Pornography: Obscenity and the Origins of Modernity, 1500–1800 (New York: Zone, 1996), Inger Leemans, Het woord is aan de onderkant: radicale ideeën in Nederlandse pornografische romans 1670–1700 (Nijmegen: Vantilt, 2002), and Lisa Z. Sigel, Governing Pleasures: Pornography and Social Change in England, 1815–1914 (January: Scholarly Book Services Inc, 2002).
- ^ Aphra Behn's Love-Letters Between a Nobleman and His Sister (1684/ 1685/ 1687)
- ^ Pierre Daniel Huet, The History of Romances, transl. by Stephen Lewis (London: J. Hooke/ T. Caldecott, 1715), pp. 138–140.
- ^ See for the following: Christiane Berkvens-Stevelinck, H. Bots, P.G. Hoftijzer (eds.), Le Magasin de L'univers: The Dutch Republic as the Centre of the European Book Trade: Papers Presented at the International Colloquium, Held at Wassenaar, 5–7 July 1990 (Leiden/ Boston, MA: Brill, 1992).
- ^ See also the article on Pierre Marteau for a profile of the European production of (not only) political scandal.
- ^ See George Ernst Reinwalds Academien- und Studenten-Spiegel (Berlin: J.A. Rüdiger, 1720), pp. 424–427 and the novels written by such "authors" as Celander, Sarcander, and Adamantes at the beginning of the 18th century.
- ^ Jürgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry Into a Category of the Bourgeois Society [1962], translated by Thomas Burger (MIT Press, 1991).
- ^ See the Entertainments pp. 74–77, Jane Barker's preface to her Exilius (London: E. Curll, 1715), and George Ernst Reinwalds Academien- und Studenten-Spiegel (Berlin: J.A. Rüdiger, 1720), pp. 424–27.
- ^ See Hugh Barr Nisbet, Claude Rawson (eds.), The Cambridge history of literary criticism, vol. IV (Cambridge University Press 1997); and Ernst Weber, Texte zur Romantheorie: (1626–1781), 2 vols. (München: Fink, 1974/ 1981) and the individual volumes of Dennis Poupard (et al.), Literature Criticism from 1400 to 1800: (Detroit, Mich.: Gale Research Co, 1984 ff.).
- ^ The Works of T. Petronius Arbiter [...] second edition [...] (London: S. Briscoe/ J. Woodward/ J. Morphew, 1710); The Works of Lucian,, 2 vols. (London: S. Briscoe/ J. Woodward/ J. Morphew, 1711). See The Adventures of Theagenes and Chariclia [...], 2 vols. (London: W. Taylor/ E. Curll/ R. Gosling/ J. Hooke/ J. Browne/ J. Osborn, 1717),
- ^ August Bohse's (alias Talander) "Preface" to the German edition. (Leipzig: J.L. Gleditsch/ M.G. Weidmann, 1710).
- ^ "The Castle of Otranto: The creepy tale that launched gothic fiction". BBC. 13 December 2014. Retrieved 17 August 2017.
- ^ See Geoffrey Galt Harpham, On the Grotesque: Strategies of Contradiction in Art and Literature, 2nd ed. (Davies Group, Publishers, 2006).
- ^ See Gerald Ernest Paul Gillespie, Manfred Engel, and Bernard Dieterle, Romantic prose fiction (John Benjamin's Publishing Company, 2008).
- ^ a b c The Bloomsbury Guide to English Literature, ed. Marion Wynne Davis. New York: Prentice Hall, 1990, p. 885.
- ^ The Bloomsbury Guide to English Literature, ed. Marion Wynne Davis, p. 884.
- ^ a b The Norton Anthology of English Literature, vol.2, 7th edition, ed. M.H. Abrams. New York: Norton, 2000, pp. 20–21.
- ^ See Mark Rose, Authors and Owners: The Invention of Copyright 3rd ed. (Harvard University Press, 1993) and Joseph Lowenstein, The Author's Due: Printing and the Prehistory of Copyright (University of Chicago Press, 2002)
- ^ See Susan Esmann, "Die Autorenlesung – eine Form der Literaturvermittlung", Kritische Ausgabe 1/2007 PDF; 0,8 MB Archived 2009-02-24 at the Wayback Machine.
- ^ See Richard Altick and Jonathan Rose, The English Common Reader: A Social History of the Mass Reading Public, 1800–1900, 2nd ed. (Ohio State University Press, 1998) and William St. Clair, The Reading Nation in the Romantic Period (Cambridge: CUP, 2004).
- Tillotson, Kathleen(1956). Novels of the Eighteen-Forties. London: Oxford University Press. pp. 150–6.
All serious novelists were affected by [the influence of Carlyle] in some degree, both in ways common to all and individually modified; and it is an influence not merely upon the content but upon the mode and temper of the novel. ... After Carlyle, the poetic, prophetic, and visionary possibilities of the novel are fully awakened.
- ^ See: James Engell, The committed word: Literature and Public Values (Penn State Press, 1999) and Edwin M. Eigner, George John Worth (ed.), Victorian criticism of the novel (Cambridge: CUP Archive, 1985).
- ^ Gene H. Bell-Villada, Art for Art's Sake & Literary Life: How Politics and Markets Helped Shape the Ideology & Culture of Aestheticism, 1790–1990 (University of Nebraska Press, 1996).
- ^ Arthur C. Benson, "Charles Dickens". The North American Review, Vol. 195, No. 676 (Mar., 1912), pp. 381–91.
- ^ Jane Millgate, "Two Versions of Regional Romance: Scott's The Bride of Lammermoor and Hardy's Tess of the d'Urbervilles. Studies in English Literature, 1500–1900, Vol. 17, No. 4, Nineteenth Century (Autumn, 1977), pp. 729–38.
- ^ Lucasta Miller, The Brontë Myth. London: Vintage, 2002.
- ^ Dictionary of Literary Terms & Literary Theory, ed. J.A. Cuddon, 4th ed., revised C.E. Preston (1999), p. 761.
- ^ A Handbook of Literary Terms, 7th edition, ed. Harmon and Holman (1995), p. 450.
- Metahistory: The Historical Imagination in Nineteenth-Century Europe (Baltimore: Johns Hopkins University, 1977).
- ^ See Scott Donaldson and Ann Massa American Literature: Nineteenth and Early Twentieth Centuries (David & Charles, 1978), p. 205.
- ^ Claire Parfait, The Publishing History of Uncle Tom's Cabin, 1852–2002 (Ashgate Publishing, Ltd., 2007).
- ^ See Erwin R. Steinberg (ed.) The Stream-of-consciousness technique in the modern novel (Port Washington, N.Y: Kennikat Press, 1979). On the extra-European usage of the technique see also: Elly Hagenaar/ Eide, Elisabeth, "Stream of consciousness and free indirect discourse in modern Chinese literature", Bulletin of the School of Oriental and African Studies, 56 (1993), p. 621 and P.M. Nayak (ed.), The voyage inward: stream of consciousness in Indian English fiction (New Delhi: Bahri Publications, 1999).
- ^ See, for example, Susan Hopkins, Girl Heroes: The New Force In Popular Culture (Annandale NSW:, 2002).
- ^ Kavadlo, Jesse (Fall–Winter 2005). "The Fiction of Self-destruction: Chuck Palahniuk, Closet Moralist". Stirrings Still: The International Journal of Existential Literature. 2 (2): 7.
- ^ See: Charles Irving Glicksberg, The Sexual Revolution in Modern American Literature (Nijhoff, 1971) and his The Sexual Revolution in Modern English Literature (Martinus Nijhoff, 1973).
- ^ See for a first survey Brian McHale, Postmodernist Fiction (Routledge, 1987) and John Docker, Postmodernism and popular culture: a cultural history (Cambridge University Press, 1994).
- ^ See Gérard Genette, Palimpsests, trans. Channa Newman & Claude Doubinsky (Lincoln, NE: University of Nebraska Press) and Graham Allan, Intertextuality (London/New York: Routledge, 2000); Linda Hutcheon, Narcissistic Narrative. The Metafictional Paradox (London: Routledge, 1984) and Patricia Waugh, Metafiction. The Theory and Practice of Self-conscious Fiction (London: Routledge 1988).
- ^ See the page Romance Literature Statistics: Overview Archived 2007-12-23 at the Wayback Machine (visited March 16, 2009) of Romance Writers of America Archived 2010-12-03 at the Wayback Machine homepage. The subpages offer further statistics for the years since 1998.
- ^ John J. Richetti Popular Fiction before Richardson. Narrative Patterns 1700–1739 (Oxford: OUP, 1969).
- ^ Dan Brown on his website visited February 3, 2009. Archived January 16, 2009, at the Wayback Machine
- ^ "graphic novel". Merriam-Webster.
- ISBN 978-0-8389-0904-1.
- ISBN 978-0-8389-1089-4.
- ISBN 978-0-7864-5762-5.
- ISBN 978-1-4616-5597-8.
- ^ Coville, Jamie. "The History of Comic Books: Introduction and 'The Platinum Age 1897–1938'". TheComicBooks.com. Archived from the original on April 15, 2003.
- ISBN 978-1-84513-068-8.
- ^ Matthew Rubery, ed. (2011). "Introduction". Audiobooks, Literature, and Sound Studies. Routledge. pp. 1–21. ISBN 978-0-415-88352-8.
- ^ Cheung, Rachel (May 6, 2018). "China's online publishing industry – where fortune favours the few, and sometimes the undeserving". South China Morning Post. Retrieved 19 June 2020.
- ^ "Chinese Web Novel: The New Trending Pastime Entertainment". Funwemake. 29 August 2021. Archived from the original on 27 September 2021. Retrieved 29 August 2021.
- ^ "Top Ten Languages Used in the Web". Internet World Stats. Retrieved 31 March 2020.
- doi:10.21732/skps.2017.78.97. Archived from the originalon 2023-04-06. Retrieved 2020-10-30.
- ^ 민정, 고(Ko MinJung). "한국 웹소설의 플랫폼 성장과 가능성(Platform Growth and Possibility of Korean Web Novels)". scholar.dkyobobook.co.kr. Archived from the original on 2022-06-26. Retrieved 2020-09-27.
- ^ Watson, Amy (9 November 2020). "Number of International Standard Book Numbers (ISBNs) assigned to self-published books in the United States from 2010 to 2018". statista.
- ^ Pope, Bella Rose (9 September 2021). "Self-Publishing vs Traditional Publishing: How to Choose". Self-Publishing School.
- ^ Watson, Amy (10 September 2021). "U.S. book industry - statistics & facts". statista.
Further reading
Theories of the novel
- Bakhtin, Mikhail. About novel. The Dialogic Imagination: Four Essays. Ed. Michael Holquist. Trans. Caryl Emerson and Michael Holquist. Austin and London: University of Texas Press, 1981. [written during the 1930s]
- Encyclopedia Britannica. Retrieved 19 December 2021.
- Lukács, Georg (1971) [1916]. The Theory of the Novel. Translated by Anna Bostock. Cambridge: MIT Press.
- Madden, David; Charles Bane; Sean M. Flory (2006) [1979]. A Primer of the Novel: For Readers and Writers (revised ed.). Lanham, MD: Scarecrow Press. ISBN 978-0-8108-5708-7. Updated edition of pioneering typology and history of over 50 genres; index of types and technique, and detailed chronology.
- McKeon, Michael, Theory of the Novel: A Historical Approach (Baltimore: Johns Hopkins University Press, 2000).
Histories of the novel
- Armstrong, Nancy (1987). Desire and Domestic Fiction: A Political History of the Novel. New York: Oxford University Press. ISBN 978-0-19-504179-8.
- Burgess, Anthony (1967). The Novel Now: A Student's Guide to Contemporary Fiction. London: Faber.
- Davis, Lennard J. (1983). Factual Fictions: The Origins of the English Novel. New York: Columbia University Press. ISBN 978-0-231-05420-1.
- Doody, Margaret Anne (1996). The True Story of the Novel. New Brunswick, NJ: Rutgers University Press. ISBN 978-0-8135-2168-8.
- Gosse, Edmund William (1911). Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 19 (11th ed.). Cambridge University Press. pp. 833–838. . In
- Heiserman, Arthur Ray. The Novel Before the Novel (Chicago, 1977) ISBN 0-226-32572-5
- McKeon, Michael (1987). The Origins of the English Novel, 1600–1740. Baltimore: Johns Hopkins University Press. ISBN 978-0-8018-3291-8.
- Mentz, Steve (2006). Romance for sale in early modern England: the rise of prose fiction. Aldershot: Ashgate. ISBN 0-7546-5469-9
- Moore, Steven (2013). The Novel: An Alternative History. Vol. 1, Beginnings to 1600: Continuum, 2010. Vol. 2, 1600–1800: Bloomsbury.
- Müller, Timo (2017). Handbook of the American Novel of the Twentieth and Twenty-First Centuries. Boston: de Gruyter.
- Price, Leah (2003). The Anthology and the Rise of the Novel: From Richardson to George Eliot. London: Cambridge University Press. ISBN 978-0-521-53939-5. from Leah Price
- Relihan, Constance C. (ed.), Framing Elizabethan fictions: contemporary approaches to early modern narrative prose (Kent, Ohio/ London: ISBN 0-87338-551-9
- Roilos, Panagiotis, Amphoteroglossia: A Poetics of the Twelfth-Century Medieval Greek Novel (Cambridge, Mass.: Harvard University Press, 2005).
- Rubens, Robert, "A hundred years of fiction: 1896 to 1996. (The English Novel in the Twentieth Century, part 12)." Contemporary Review, December 1996.
- Belknap Press, 2014).
- Watt, Ian (1957). The Rise of the Novel: Studies in Defoe, Richardson and Fielding. Berkeley: University of Los Angeles Press.
External links
- The novel 1780–1832 Archived 2021-11-11 at the Wayback Machine at the British Library
- The novel 1832–1880 Archived 2021-06-25 at the Wayback Machine at the British Library
- The House of the Seven Gables with "Preface"
- "The 100 greatest novels of all time". The Telegraph. 2 March 2021. Archived from the original on 2022-01-11. Retrieved 4 March 2021.