Maupassant and the American Short Story: The Influence of Form at the Turn of the Century, 0. kötet,271-1089. kiadás
Penn State Press, 1994 - 230 oldal
Maupassant and the American Short Story isolates and develops more fully than any previous study the impact of Maupassant's work on the writing of Ambrose Bierce, O. Henry, Kate Chopin, and Henry James. It introduces a new perspective to assess their canons, reviving the importance of many often-ignored stories and, in the cases of Maupassant and O. Henry, reasserting the necessity of studying such writers to understand the history of the genre.
An important moment in the history of the short story occurred with the American misreading of Maupassant's use of story structure. Before the turn of the century, Jonathan Sturges and others published mostly surprise-inversion tales in translation. Especially inspiring Bierce and O. Henry, this skewed sample implied to American writers that Maupassant constructed such plots exclusively. Only a few writers, such as James and Chopin, both of whom read Maupassant in French, appreciated his deft handling of form more fully. Their vision and the impact of Maupassant upon their fiction was largely ignored by later generations of writers who preferred to associate Maupassant and O. Henry with the "trick ending" story. This book details the origins and consequences of this misperception.
The book further contributes to the study of the short-story genre. Through an adaptation of Aristotelian concepts, Richard Fusco proposes an original approach to short-story structure, defining and developing seven categories of textual formulas: linear, ironic coda, surprise-inversion, loop, descending helical, contrast, and sinusoidal. As a practitioner of all these forms, Maupassant established his mastery of the genre. By studying his use of form, the book asserts a major reason for his pivotal importance in the historical development of the short story.
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Maupassant and the American Short Story: The Influence of Form at the Turn ...
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aesthetic Ambrose Bierce American artistic attack audience becomes behavior Bierce's Bijoux Boule de suif character circumstances coda cognitive dissonance Consequently conte contrast story critics death descending helical dismiss early effect essay essence example existence experience fiction Flaubert's Francis Steegmuller French ghost Guy de Maupassant H. L. Mencken Henry James Horla human husband impact incident initial insight inspired interpretive inversion story ironic irony italics in original James's Kate Chopin later Le Horla Leon Edel Les Bijoux linear literary loop madness Maupas Maupassant canon Maupassant's Maupassantian memory narrative narrator notion novel Odd Number parallel Parure past pattern perceptual perhaps perspective Pierre et Jean plot Porter possibility protagonist psychological published Raidler reader sant's seems sexual Seyersted short story significant point sinusoidal social story's Sturges's subconscious suggests suicide surprise surprise-inversion symbolic tale theme tion translations trick ending truth turning point vision volume wife woman writers York