Short Story Criticism Research Papers

Although there is a tight bond between the short story and the novel, the two forms are different from each other in many respects. There is a general notion that a short story is only a truncated novel. It is construed as practicing... more

Una aproximación a la teoría de la novela corta desde los conceptos de protonovela y paranovela

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- by Luis Beltrán Almería
- •
- 6
  Theory of the Novel, Short story, Novela, The Novella

Home figures as an ambivalent construct in the writing of Katherine Mansfield. This special issue of Tinakori looks to explore issues of space and belonging in Mansfield’s work. We explore the ways in which aspects of identity in... more

Jhumpa Lahiri who shot into fame with her Pulitzer-winning debut collection of nine short tales, Interpreter of Maladies (1999) has, within the small canvas of her literary oeuvre (just two collections of short stories and a novel),... more

Woody Allen has been recognized as one of Hollywood’s most talented filmmakers; however, not many people know that the Brooklyn native director has also found success in short story writing. Below you’ll find a personal literary analysis... more

Although there is a tight bond between the short story and the novel, the two forms are different from each other in many respects. There is a general notion that a short story is only a truncated novel. It is construed as practicing... more

This complete publication is posted on Academia.Edu courtesy of Living Time™ Media International until 31st December 2019. This anthology of stories includes ten unabridged tales based around the themes of Love and Immortality. The ten... more

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- by Anna Baldini
- •
- 3
  Primo Levi, Short story, Short Story Criticism

Short Fiction in Theory and Practice 6.2 (Oct. 2016): 239-42. Print.

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- by Tom Ue, FRHistS
- •
- 28
  Canadian Studies, Canadian History, Canadian Literature, Canadian art

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- by Ronald Walker
- •
- 2
  Graham Greene, Short Story Criticism

This paper offers a brief commentary on Katherine Mansfield's famous Modernist short story, "Bliss" (1920)

In this book in your hand, the adventure of the Turkish short story between 1923-2000 is explained in six periods. We first summarized each period according to certain trends; Then we briefly introduced the names that guide them. We... more

In this book in your hand, the adventure of the Turkish short story between 1923-2000 is explained in six periods. We first summarized each period according to certain trends; Then we briefly introduced the names that guide them. We should state that the purpose of dividing literature into certain periods and movements through stories is to show only change; otherwise, there were no impenetrable sets among them.
Turkish story has always been parallel to the novel. This is true for both literary art and literary studies. Few authors stand out only with stories; also, scholars often consider it together with the novel. However, this study focused only on the story accumulation of the authors, and did not mention other literary productions unless necessary. There was no mention of the awards and rewards he received, if they did not have a significant influence on his writing line.
In this book, you can come across some periods and groupings that you cannot find in previous short story history books. For example, the classifications that consider the storytelling of Oğuz Atay and Bilge Karasu to be the beginning of the Postmodern movement, have now settled into our ears as an unchanging acceptance. But let us immediately state that Postmodernism is not a trend; It is the name of a paradigm shift, an era that started in 20th century art. All studies that consider it as a trend need to be revised. Because the currents are the simultaneous orientations in that age. Moreover, in our opinion, Atay and Karasu are not the postmodern narrative; They are representatives of the neo-avant-garde quests of the late modernist period, placed between 1945 and the beginning of postmodernism by art and literary historians.
On the other hand, this book does not distinguish between "high literature" and "popular literature". In order to see the landscape of the story of the Republican era with a holistic perspective, it has been tried to include all the folds of the story as much as possible. Moreover, leaving behind the modernist classifications with the postmodern science paradigm that started to settle in the world since the 1980s is generally accepted in literary studies. In summary, we hope that this book can at least create a general map of the Turkish story in the reader's mind.

Didem Madak'ın şiirlerinin çevreci feminizm bağlamında incelendiği bir çalışmadır.

Short Fiction in Theory and Practice 12.1 (2022): 101-04. Print.

Yasak Ağacın Altında yasaklı konuların üzerindeki perdeyi, dokunulmazlığı kaldırıyor; özgürlük, esaret, iman, zaman, tarih, sonsuzluk, benlik, suç, günah, masumiyet gibi konuları aynı derecede tartışılabilir, üzerine varılabilir kılıyor.... more

The Indian short story is not merely a derivative of the Western genre, but owes much to the great story-telling tradition of Indian antiquity. The mythical and legendary tales as well as folktales have provided a fertile soil for the... more

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- by SAIKAT GUHA
- •
- 100
  Fiction Writing, Mythology And Folklore, Mythology, Indian Philosophy

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- by Anastasia Natsina
- •
- 10
  Computer Animation, Net Art, Short story (Literature), Digital Art

This paper offers a brief commentary on Katherine Mansfield's Modernist short story, "A Dill Pickle" (1920)

In this essay, the short stories of Turkish writer Selçuk Baran and the last years of her life are discussed.

All those yesterdays
Mystery never fades away

James Graham Ballard was a contemporary British novelist who published a wide variety of works ranging from climate fiction to transgressive fiction. "The Ultimate City" (1976) is one of Ballard's short stories that portrays a dystopian... more

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- by Cenk TAN and +1
  İsmail Serdar Altaç
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- 14
  Dystopian Literature, Apocalypticism In Literature, Ecocriticism, Dystopian Fiction

Primero de Mayo y otros cuentos / Mário de Andrade; selección y prólogo Flávio Rodrigo Penteado y Jorge Uribe; traducción Jorge Uribe. – Bogotá: Universidad de los Andes, Facultad de Artes y Humanidades, Departamento de Humanidades y... more

Primero de Mayo y otros cuentos / Mário de Andrade; selección y prólogo Flávio Rodrigo Penteado y Jorge Uribe; traducción Jorge Uribe. – Bogotá: Universidad de los Andes, Facultad de Artes y Humanidades, Departamento de Humanidades y Literatura, Ediciones Uniandes, 2017.
194 páginas; 15 x 24cm. – (Colección Labirinto)
ISBN 978-958-774-475-0

Primero de Mayo y otros cuentos de Mário de Andrade es una antología de textos escritos por uno de los más importantes autores de la lite- ratura brasileña del siglo xx. Este libro ofrece al lector en lengua española un panorama de su producción literaria que evidencia un minucioso proceso de desarrollo estilístico, característico de la obra y del pensamiento del polígrafo Mário de Andrade (1893-1945), autor de la reconocida novela Macunaíma (1928). En esta antología el lector encontrará once relatos extraídos de tres compilaciones del género organizadas por su autor: Primeiro Andar (1926), Belazarte (1934) y Contos Novos (1947), este último publicado póstumamente. La selección de los textos favoreció aquellos inéditos en español y que a su vez fueran representativos de la producción ficcional de Mário de Andrade y de su proceso creativo. De este modo, se pretende hacer visible un desarrollo estético en el que poco a poco el lenguaje erudito absorbió la oralidad del territorio brasileño y llevó a cabo un proyecto de cultivo y aprovechamiento del imaginario nacional. En los estados más avanzados de ese proceso se encuentran narrativas que combinan, de forma impecable, la investigación etnolingüística, la observación de la realidad y la exploración psicológica de los perso- najes, al mismo tiempo que son planteadas cuestiones propias de la literatura, pensando sobre sí misma.

Mário Raul de Moraes Andrade nació en São Paulo en 1893. Ejerció varias actividades durante sus escasos cincuenta y un años de vida: fue poeta, novelista, cronista, crítico de literatura, de artes plásticas y de cine, musicólogo, folclorista, inves- tigador de la cultura popular y funcionario público. Bajo el seudónimo de Mário Sobral comenzó su carrera literaria en 1917, con Há uma gota de sangue em cada poema, y posteriormente ejerció un papel protagónico en la Semana de Arte Moderno de São Paulo, realizada en febrero de 1922, que abalaría los cimientos del arte practicado en Brasil desde entonces. Entre 1935 y 1938 ejerció como director del Departamento de Cultura de la ciudad de São Paulo, donde coordinó un ambicioso proyecto etnográfico que pretendía dar reconocimiento y divulgación a la producción cultural popular, recorriendo el amplio territorio brasileño, parti- cularmente la zona nordeste del país. Falleció en 1945, víctima de un infarto, mientras aún traba- jaba en su compilación Contos Novos, fruto de un elaborado proceso de producción que persistía ya por más de quince años. Entre los más de veinte libros que publicó, se destaca la novela Macu- naíma, o herói sem nenhum caráter, de 1928, marco paradigmático del modernismo en Brasil.

Otros títulos de la colección Labirinto
La enfermedad feliz y otras obras
Pablo José Miranda
◆ narrativa ◆ poesía
Autopsia de un mar de ruinas
João de Melo
◆ narrativa
Cuadernos de memorias coloniales
Isabela Figuereido
◆ memorias
La dama del Bar Nevada y otros cuentos
Sergio Faraco
◆ narrativa
El niño de ojos de gigante. Antología
José de Almada Negreiros
narrativa ◆ poesía ◆ teatro ◆ imagen
El Sombrero del Sur
Pepetela
◆ narrativa
Enciclopedia
Gonçalo Tavares
◆ narrativa
Machado maxixe: el caso Pestana
José Miguel Wisnik
Sobre «Un hombre célebre» de Joaquim Machado de Assis
ensayo ◆ narrativa
Los trabajos y los días. Una antología
Jorge de Sena
ensayo ◆ narrativa ◆ poesía

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- by Jerónimo Pizarro and +2
  Jorge Uribe
  Flávio Rodrigo Penteado
- •
- 26
  Portuguese and Brazilian Literature, Portuguese, Portuguese Studies, Literature

Introduzione alla sezione "A fuoco" del numero 44 di O.b.l.i.o., dedicata a "La scuola come tema e come contesto per la narrativa breve". I contributi costituiscono gli atti della giornata di studi sul racconto tenutasi a Bergamo nel... more

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- by Giacomo Raccis and +4
  Emanuela Bandini
  Dario Boemia
  Ginevra Latini
  Simone Marsi
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- 7
  Italian Studies, Short story (Literature), Short story, Short Story Criticism

The “zero ending” holds a prominent place in discussions about the craft and technical aspects of the short stories written by Ernest Hemingway. Scholars believe his use of it was influenced by the works of Anton Chekhov. Scholar Robert... more

The “zero ending” holds a prominent place in discussions about the craft and technical aspects of the short stories written by Ernest Hemingway. Scholars believe his use of it was influenced by the works of Anton Chekhov. Scholar Robert Paul Lamb discusses the “zero ending,” but he goes further in his analysis of Hemingway and introduces several new terms. In addition to the “open ending,” he presents the “rounded closed ending,” the “seeded closed ending,” and the “float-off.” Lamb’s efforts are noted in his critical research on Hemingway’s short story aesthetics.

Although Lamb and other scholars have made notable contributions on Hemingway’s work as it relates to various techniques and literary devices, they have not adequately addressed his use of repetition in the closing sections of his short stories.

This study, based on a comparative analysis of the stories, takes a closer look at this technique and offers a new way of understanding Hemingway’s craft. Specifically, this study focuses on his use of repetition as a closing device in five short stories, in order to show how he experimented and grew as a writer. The selected stories are featured in The Short Stories: The First Forty-Nine Stories with a Brief Preface by the Author. They include: “Up in Michigan,” “The Snows of Kilimanjaro,” “The Three-Day Blow,” “In Another Country,” and “Ten Indians.”

This paper aims to extend the research on Hemingway’s writings. It argues explicitly for a new term or concept for his short story endings that relates specifically to his use of repetition. Having a new concept for current discussions should aid in moving the conversation beyond the “zero ending” and other previously discussed terms on this topic. A new concept may also serve as a lens through which the readers may see Hemingway’s use of repetition in a new light.

In conclusion, it may be said that one cannot fully appreciate the genius of Hemingway’s craft without understanding the way in which he opened and ended his short stories. This study, which highlights his use of repetition in a way that has not been previously discussed in detail, is designed to shed light on the engaging way in which he ended a few of his stories.

Author’s Bio

Roscoe Barnes III is an independent scholar of Church History. He is the author of 12 books, including F.F. Bosworth: The Man Behind ‘Christ the Healer.’ He holds a Ph.D. in Church History from the University of Pretoria, South Africa.

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- by Philip Balma
- •
- 163
  World Literatures, Comparative Literature, New Media, Jewish Studies

The Critical Guide to Short Stories is one of a series of 'companion' books created by Dr. Gamini Fonseka and intended primarily for use by students preparing for the GCE (A' Level) Examination in Sri Lanka. This does not limit the... more

The characters in Marco Lodoli’s stories constantly hesitate between the condition of 'student'/'beginner' and that of 'master'. In a passage from Professori e altri professori, a teacher states that “culture only serves to dissolve the... more

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- by Dario Boemia
- •
- 5
  Italian Studies, Short story, Short Story Criticism, Polytextuality

I investigate the connections between the short story giant Gallant and the pictures, moving pictures, and music she and the early modernists before her loved. (part of ch. 1, Mavis Gallant: The Eye & the Ear).

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- by Marta Dvorak
- •
- 17
  Intermediality, Rhetorical Analysis, Literary Stylistics, Narratology

By courtesy of Living Time™ Media International, this is the complete publication of 'Future Past and Other Premonitions', a short story anthology containing ten stories of prophecy, foresight and the supernatural. It brings together an... more

Representing reality in literary writings has always been of perennial interest to literary authors. Among them is James Kelman, who himself claims on many occasions to realistically represent his community, the working-class Glaswegians,... more

This essay examines Hemingway’s short fiction in the light of Mircea Eliade’s notion of the camouflage of the sacred. Spiritual meaning and love are hidden beneath the dialogue of Hemingway’s characters. In a short play (“Today Is... more

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- by Ali Zaidi
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- 8
  Hemingway, Ernest Hemingway, Short story (Literature), Short Stories

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- by Mitch James
- •
- 5
  Creative Writing, Rhetoric, Short story (Literature), Short Fiction

মণ্ডলবাড়ির এ পুকুরের পানি বেশ টলটলে। সূর্য ঠিক মাথার উপরে, দিনের মধ্যবেলা এখন। পুকুরের টলটলে পানিতে সূর্যটার পূর্ণ প্রতিবিম্ব পড়েছে। ছোট ছোট ঢেউয়ে প্রতিবিম্বটা কেঁপে কেঁপে উঠছে। পুকুরের পানিতে সূর্যের পূর্ণ প্রতিবিম্বের কেঁপে কেঁপে ওঠার... more

মণ্ডলবাড়ির এ পুকুরের পানি বেশ টলটলে। সূর্য ঠিক মাথার উপরে, দিনের মধ্যবেলা এখন। পুকুরের টলটলে পানিতে সূর্যটার পূর্ণ প্রতিবিম্ব পড়েছে। ছোট ছোট ঢেউয়ে প্রতিবিম্বটা কেঁপে কেঁপে উঠছে। পুকুরের পানিতে সূর্যের পূর্ণ প্রতিবিম্বের কেঁপে কেঁপে ওঠার এমন খেলা দেখার আগ্রহ এ মুহূর্তে মণ্ডলপাড়ার কারও নেই। পুকুর পাড়ের বিশাল মেহগনী গাছের সাথে বেঁধে রাখা হয়েছে মান্নানকে। মণ্ডলপাড়াসহ এ গাঁয়ের ওপাড়া সে পাড়া এমনকি আশেপাশের আরো দু-চার গাঁয়ের উৎসুক জনতা এখন মান্নানকেই দেখছে। দেখার জন্য মান্নানই এখন সবচেয়ে উপভোগ্য উপকরণ!
উপর্যুপরি পেটানোর ফলে মান্নান একেবারে নেতিয়ে পড়েছে। পায়ে ভর দিয়ে দাঁড়ানোর শক্তি তার নেই, বসিয়ে রেখে বাঁধা হয়েছে তাকে। মান্নানের মাথা নোয়ানো। কপালের মাঝখানটায় ফেটে গেছে। ডানপাশের চোখের কোণা দিয়ে কপাল থেকে রক্ত গড়িয়ে চিবুক বেয়ে মান্নানের গায়ের কাপড় রাঙিয়ে দিয়েছে। নাক, ঠোঁটও ফেটে রক্তাক্ত। কিল-ঘুষি-রড-বাটামের আঘাতে পুরো মুখই তার ক্ষত-বিক্ষত, রক্তে লাল। রক্তগুলো এখন শুকিয়ে জমাট বেঁধেছে। তাজা রক্তমাখা মুখ এক রকম বিভৎস, শুকিয়ে যাওয়া জমাটবাঁধা রক্তে সে মুখ আরেক রকম বিভৎস। এ বিভৎসতার কারণেই মান্নান হয়তো তার মাথা নুইয়ে রেখেছে!
মান্নানের দুপাশে দুই জোয়ান পুরুষ দাঁড়িয়ে। একজনের হাতে কাঠের মোটাসোটা বাটাম, আরেকজনের হাতে লম্বা লোহার রড। একটু পর পরই দুজনে পালা করে মান্নানের ওপর চড়াও হচ্ছে। প্রথম প্রথম সে আর্তচিৎকার দিয়ে উঠছিল, এখন কেবল একটু কঁকিয়ে উঠছে, একটু গোঙাচ্ছে—এর বেশি শক্তি তার এখন নেই।
মান্নানের বিরুদ্ধে অভিযোগ, গভীর রাতে সে মণ্ডলবাড়ির বউয়ের ঘরে উঁকি দেয়। অভিযোগটা স্বয়ং মণ্ডলবাড়ির বউয়ের। মাত্র দুসপ্তা হলো মণ্ডলের বড় ছেলের বিয়ে হয়েছে। মণ্ডলের ছেলে শহরে চাকরি করে। বিয়ের একসপ্তা পরই সে শহরে চলে গেছে। নতুন বউকে এখনই শহরে পাঠাতে রাজি হয় নি মণ্ডল সাহেব। মাস খানেক পরে পাঠানো হবে। মণ্ডলবাড়ির বউয়ের অভিযোগ, স্বামী চলে যাবার পর থেকে প্রতিরাতেই মান্নান তার ঘরের জানালায় উঁকি দেয়। লজ্জায় সে এ কয়দিন কাউকে কিছু জানাতে পারে নি। আজ জানাতেই সাত সকালে নিজের ঘর থেকে পেটাতে পেটাতে তুলে আনা হয়েছে মান্নানকে।
অন্যকোনো বাড়ির বউয়ের ঘরে উঁকি দিলে যেভাবেই হোক হয়তো পার পেয়ে যেত মান্নান। কিন্তু মণ্ডলবাড়ির বউ বলে কথা! মণ্ডল সাহেবের দাদা এবং তার বাপ-দাদা জমিদার ছিল। আশেপাশের বিশ গ্রাম শাসন করত। মণ্ডল বংশের নামেই গ্রামের এ পাড়ার নাম মণ্ডলপাড়া। এখন আর জমিদারির যুগ নেই, আশেপাশের বিশ গ্রামে এখন মোড়লেরও অভাব নেই। তবুও মণ্ডলদের এখনও আলাদা ক্ষমতা আছে, দাপট আছে। আশেপাশের বিশ গ্রাম এখনও তাদের মান্য করে, তোঁয়াজ করে চলে। আর এ মণ্ডলবাড়ির বউয়ের ঘরে গভীর রাতে উঁকি দেয় মান্নান! সহজে সে তাই পার পাচ্ছে না।
মান্নানের এখন বিচার করা হবে। পাঁচ গ্রামের পাঁচ মোড়লকে নিয়ে তাই বসেছে মণ্ডল সাহেব। উপস্থিত গ্রামবাসীর সামনেই বিচার করা হবে, শাস্তিও দেয়া হবে সবার সম্মুখে। এটাই মণ্ডলপাড়ার রেওয়াজ। মান্নানের বিচারের অবশ্য কিছু নেই। তার যে অপরাধ তাতে বিচার আর কী হবে! বিচারের জন্য সাক্ষী লাগে, প্রমাণ লাগে। মান্নানের এ অপরাধের জন্য এসব কিছু দরকার নেই। মণ্ডলবাড়ির বউয়ের অভিযোগ বলে কথা! মান্নানের তাই এখন শাস্তি নির্ধারণ করা হবে। জনতার মতামত নিয়ে পাঁচ মোড়লের সিদ্ধান্তে নির্ধারণ করা হবে মান্নানের শাস্তি।

In this short story Leon, a man of African descent, and Pete, a man of unknown ethnicity, are discussing the results of some recent presidential primaries. It appears that a man named Jim, who has won the last two primaries, might become... more

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- by Robert McGee
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- 20
  Economics, Public Finance, Philosophy, Political Philosophy

Short Fiction in Theory & Practice 7.1 (2017): 87-93. Print.

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- by Tom Ue, FRHistS
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- 29
  Ethics, Applied Ethics, Virtue Ethics, Cold War and Culture

From past to present narrator has always been a device of fiction narratives like tale, short story, novel. While narrators of tale and traditional stories are real person, this figure is included fiction world with novel and modern... more

From past to present narrator has always been a device of fiction narratives like tale, short story,
novel. While narrators of tale and traditional stories are real person, this figure is included fiction world
with novel and modern story. In modern narratives it continues to exist as an imaginary or figural voice.
Narrator which it is discolored format continues to take place on focus of narrative studies. Both of in
traditional studies and narratology studies narrator is divided into several classes.
Terms which are person pronoun origin like first person, second person third person becomes
dominant to traditional paradigm. Whereas categories of several scientists are available in narratology
and these categories are used in American and French narratology studies. Gérard Genette who is an
important name of structuralist narratology recommends terms of heterodiegetic narrator, homodiegetic
narrator, intratextual voice taking basis place of narrator. Also classification attempts like open-closed,
personal-impersonal, omniscience-limited omniscient, reliable-unreliable have been.
In this report known will not be repeated, supposed narrator will attempt to conceptualize and be
described with selected fictional texts. Supposed narrator is not phenomenon which will be added to
other categories. It is a new manifestation of a narrator figure of traditional and narratology. On this
phenomenon which located in novels and modern stories readers think that the text was transferred by
first person narrator or intratextual voice. Whereas in such cases third person narrator or homodiegetic
narrator is only authority of the narrative. At the same time authorized narrator pulled the break for a long
time and it leaves face to face characters with readers. In this case looking monologue of the character
or his stream of consciousness readers think that this character is primary narrator. This phenomenon
which can real thought unless questioned has been described as a supposed narrator in this report.

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- by Oktay Yivli
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- 17
  Narratology, Novel, Modern Türk Edebiyatı, Türk Romanı

Also Available Here: https://ensfr.univ-angers.fr/2022/03/18/migrantshortstory/ In this blog post, I write about how migrant writers are leading the development of the contemporary short story revival and influencing the form's... more

Un repaso sobre la concepción del relato corto en tres escritoras del sur de los Estados Unidos: Katherine A. Porter, Eudora Welty y Flannery O'Connor.

Short Story Criticism

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