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A novel is a piece of prose fiction of reasonable length. Not all novels are written in prose. There are novels in verse, like Pushkin's Eugene Onegin or Vikram Seth's The Golden Gate. The truth is that the novel is a genre that resists an exact definition. You can find poetry and dramatic dialogue in the novel, along with epic, pastoral, satire, story, elegy, tragedy, and many other literary modes. Virginia Woolf described it as "the most flexible of all forms". The novel quotes, parodies, and transforms other genres, turning its literary ancestors into mere components of itself in a kind of Oedipal revenge on them. The novel is a powerful melting pot, a mongrel among literary thoroughbreds.

The novel is an anarchic genre, since its rule is to have no rules. An anarchist is not just someone who breaks the rules, but someone who breaks the rules as a rule, and that is what the novel does as well. It also has a finite repertoire of shapes and motifs. But he is still extraordinarily capable. Because it's hard to say what a novel is, it's hard to say when the form first emerged. Several authors have been proposed as plausible candidates for the first novelist, including Miguel de Cervantes and Daniel Defoe; but the game of identifying origins is always dangerous. Most commentators agree that the novel has its roots in the literary form we know as romance. In fact, these are roots that you have never completely cut off. Novels are romances, but romances that have to negotiate the prosaic world of modern civilization. They retain their romantic heroes and villains, wish fulfillment and fairy tale endings, but now these things must be resolved in terms of sex and property, money and marriage, social mobility and nuclear family.

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But if the world is drained of meaning, then
human beings have no place in which they can act purposefully, and so cannot realize their value in practice.  And the less they can do this, the more they begin to disintegrate from the inside, so the human psyche begins to implode.  Meaning and value are driven from the public world, which is now just a soulless expanse of neutral facts, and thrust deep into the interior of the world is thus divided down
the middle between fact and value, public and private, object and meaning.
This, for Georg Lukcs in Theory of the Novel, is the alienated condition of the
modern age, which the novel reflects in its inmost form.  So the novelist can turn instead to the inner life.  subtle and densely textured in the process that it resists anything as Narratives of the inner world are a problem because the human psyche no longer seems a linear affair, as it Nor will the inner life provide you with any sure way of distinguishing between what is significant and what is not, since what both have in the interior monologues of Leopold ,this deepens the For Lukcs, then, the novel is the product of an alienated world.  Alienation is the condition in which men
and women fail to recognize the objective world as their own subjective Yet the very act of writing a novel offers an alternative to this condition, since a novel's objective' vision of the world is one rooted in the subjectivity of its author.  The act of writing crosses the border between.

The novel is one of the few objects in a reified society which manifests in its every objective detail the subjective freedom.
Women also bulked large among novel writers because the novel was.
Women, stereotypically viewed as custodians of the feelings or techniciansof the heart,  Like all social groups under the
unlovely sway of authority, women needed to be adept in finely detailed observation, vigilant in their reading of a potentially hostile world. They were spontaneous semioticians, who needed for their own sake to be skilled in deciphering signs of power, symptoms of dissent, and fruitful or dangerous areas of ambiguity. All this lent itself to the writing of fiction, even if the
same set of talents lends itself to being a successful tyrant.
The version of reality involved an enormous amount
of editing and exclusiveness. It also involved a certain organized violence
wreaked on language. Part of the novel’s appeal was that it seemed able to accommodate every jargon, argot and idiom, yet spoke no specialist language of its own. Instead, it conformed its discourse to what counted as the common language of its specific place and time. And this represented a genuine democratic advance. Rather than simply reflecting everyday speech, however, the novel also helped to draw up the rules for what was linguistically acceptable; and like all such rules, this involved a good deal of prejudice and coerciveness.

the story of the English novel from the see-through style of Defoe to the lushly metaphorical Woolf is the story of a form of writing which becomes progressively more rich in texture. As reality grows more complex and fragmented, the means of representing it become more problematic as well; and this forces language and narrative into a more elaborate self-consciousness.
We have seen that ‘form’ and ‘content’, design and representation, are hard to reconcile in narrative as a whole. But perhaps they may converge instead in what we know as style. And if this is so,
then style provides a kind of compensation at the micro level for the larger problems which the novel finds itself confronting – problems which grow more severe the further we move into the modern era. Which is no doubt another reason why, as we pass from the Enlightenment clarity of an Austen to the modernist opacity of a Joyce, style becomes more and more eye catching and important.

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GROUP 1: Alvarez, Cardenas, Espiritu and Yataco.

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GROUP 1: Alvarez, Cardenas, Espiritu and Yataco.

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What is a novel?
The novel does not have a concrete or exact definition. These do not have a precise extension and can be written in different forms (verse, prose, etc). The novel can combine different literary modes, that is, within it we can find dramatic dialogues, poetry, epics, tragedies, satires, among other modes. According to Virginia Woolf this genre is very malleable, it is a mixture of different literary forms.

If it is a form particularly associated with the middle class. The novel has a finite repertoire of forms and motifs. The novel can indeed be found in ancient times. In the modern era, it has been linked with the emergence of the middle class. Most commentators agree that the novel has its roots in the literary form we know as romance. Novels are romances – but romances which have to negotiate the prosaic world of modern civilization.  Sex and property, one might claim, are the themes of the modern novel from start to finish.

The difference between romance and novel is that the novel portrays a secular and empirical world, while in romance, a mythical or metaphysical place.

The novel is born from the origin of the novel and its essence is time and narrative; Likewise, it presents us with a changing, concrete and open history.

Cervantes' work shows us how the novel emerges when romantic idealism collides with the real world. Furthermore, he was the first author to challenge romance and create the picaresque novel.

This is how the novel begins as a satire of romance, that is, as a kind of anti-literature.

Finally, Cervantes mentions in the history that he wants to create a neat style that is not associated with literature, however his style also exists in the types of literature. The error originates when you want to combine fiction with reality, such is the case of Quixote who hopes that his inventions will be taken seriously, but its author, Cervantes, does not have that idea; novelists always keep in mind that their novels are not taken seriously.

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grupo 2: neyh, leydy, stefania y lurdes 

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grupo 2: neyh, leydy, stefania y lurdes 

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lurdes
This part is abaut
Literary, moral, and epistemological realism go hand in hand. In the case of Don Quixote, fantasy has a very clear connection with social privilege. A man who mistook an ordinary woman for a girl from a famous family, and a man who believes the world owes him its life. In addition, fantasy manipulates reality for selfish purposes, and reality manipulates fantasy for profit in the form of commercial publications. Realism seems like a shame because the average reader revels in the exotic and bizarre. The irony is that fiction as a form is closely related to ordinary life, and ordinary people prefer the strange and the magical. Workers resort to fantasy more often than lawyers. That is why it is mentioned that only the educated elite prefer their art to be rational and realistic. Cervantes thus achieved serious literary status by insisting on the authenticity of his work
"possibility and imitation, as the canon says." If fiction is a genre that affirms ordinary life, it is also a way in which values ​​are more diverse and contradictory.

zulema
For Mikhail Bakhtin, the novel tends to emerge and disappear again, like a river threading its way through a limestone landscape. In his view, then, the novel is inherently anti-normative. It In any case, not all diversity is radical, or all authority oppressive. Yet Bakhtin is surely right to see the novel as emerging from the stream of culture dripping with the shards and fragments of other forms. It is parasitic on the scraps and leavings of ‘higher’ cultural life-forms; and this means that it has only a negative identity. In its mixing of languages and forms of life, it is a model of modern society, not simply a reflection on it.

stefania
If the novel is a distinctively modern form, whatever its ancient pedigree, it is partly because it refuses to be tied to the past. Being 'modern' means relegating everything that happened up to 10 minutes ago to the past. Like a rebellious adolescent, the modern is defined by a definitive break with its affiliation. Having divested himself of all traditional sources of authority, he must become authoritarian.
Authority now means not conforming to an origin, but becoming the origin oneself. In this sense, the novel is a sign of the modern human subject. It is also "original" in the sense that modern men and women are supposed to be the authors of their own existence. Modern themes, like the heroes of modern novels, are formed on the fly.

neyh
The novel and the epic differ in their treatment of the past. But there is another important difference between them. Epics deal with the world of nobility and military heroes, while novels deal with everyday life. It is the great popular genre, the only great literary fashion in the vernacular. The modern version is definitely a soap opera, and we love it not because of the occasional dramatic plot twist, but because the everyday things we know have a strange fascination of their own. The modern version of Moll Flanders is EastEnders. The shocking fact that pop reality shows simply consisted of someone unknowingly walking around the kitchen for a few hours speaks to a fun fact. The Value of Everyday Life is one of the greatest literary works of all time. For Auerbach, realism was a literary form that found its greatest value in the everyday working lives of men and women. Auerbach's fiction was an early genre of democratic art, hostile to what he saw as the static, hierarchical, ahistorical, and socially exclusive nature of classical art. In the words of Walter Benjamin, it is an art form that destroys the "aura" of distance and grandeur associated with these classical relics, drawing us closer to life rather than withdrawing it from inaccessibility and place.

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Archi, Diego - Esteban, Jimena and Huaroc, Nayeli.

So 'fiction' does not exactly mean 'not true'. It means something like a story (either true or false) treated in such a way as to make it clear that it has a significance beyond itself.
Exemplariness without realism is empty, whereas realism without exemplariness is blind.
What we call fiction is the place where the two are supposed to converge and is probably the most effective way of doing so. It is in this sense that fiction is sometimes claimed to be more real than reality.

FR Leavis mentions: the novel must show what he calls "a reverent openness to life" and must reveal an organic form.
In the modern era, the novel shows us a picture of the world, it also has a subjective meaning.
The novel is an ironic, self-undoing genre. Richardson's technique is to involve his characters in their experiences as they happen.
Henry Fielding takes the opposite way out, it does not allow us to forget that we are in a novel.
That the villain has a difficult ending and the heroes a happy ending.
Human viciousness, in other words, is one reason why this gap between form and content cannot be resolved.

The novel is an ironic form. By reflecting everyday life, it also signals his essential detachment from it. In the real world,

The novel is a utopian image, not in what it represents, which can be
*Laurence Sterne warns of the impossibility of reconciling form and realism and draws from the discrepancy one of the greatest anti-novels of all time.
*Tristram Shandy. Tristram, the narrator, cannot give a true account without adding something.
*Roland Barthes comments: The real is not representable, and it is because men incessantly try to represent it with words that there is a history of literature.
literature is categorically realistic, in that it never has as its object of desire anything other than the real
The only problem is that the modern world "has now become non-narrative." One way the novel seeks to overcome this difficulty is through the idea of ​​character. 'Character' unites a varied range of events or experiences. What holds these various experiences together is the fact that they all happen to you. Another way is through the act of narration itself, which involves pattern and continuity but also change and difference. The narrative implies a kind of necessity, such as cause and effect, action and reaction.