The Bildungsroman Usually Contains The Following Course:

The Bildungsroman usually contains the following course:

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In the Bildungsroman, the author presents the psychological, moral and social shaping of the personality of the — generally, young — protagonist. The Bildungsroman is regarded by some as a variation on the concept of the monomyth. Such themes are now often also portrayed in films (epitomic examples of which are The Matrix and Star Wars) and in animation.

* The protagonist grows from boy to man or girl to woman.

* The protagonist must have some reason to go on this journey. A loss or discontent must jar him or her at an early stage away from the home or family setting.

* The process of maturing is long, arduous, and gradual, consisting of repeated clashes between the needs or desires of the hero and the views and judgments enforced by an unbending social order. This bears some similarity to Sigmund Freud's concept of the pleasure principle versus the reality principle.

* Eventually, the spirit and values of the social order become manifest in the protagonist, who is then accommodated into society. The novel ends with an assessment by the protagonist of himself/herself and his/her new place in that society.

* The character is generally making a smooth movement away from conformity. Major conflict is self vs. society or individuality vs. conformity.

Within the genre, an Entwicklungsr oman is a story of general growth rather than self-culture; an Erziehungsroman focuses on training and formal education; and a K ü nstlerroman is about the development of an artist and shows a growth of the self.

Many other genres, separate from the Bildungsroman genre, can include elements of the Bildungsroman as a prominent part of their story lines, while not in themselves fitting the criteria of the Bildungsroman. For example, a military story frequently shows a raw recruit receiving a baptism of fire and becoming a battle-hardened soldier. A high fantasy quest may also show a transformation from an adolescent protagonist into an adult aware of his/her powers or lineage. Neither of those genres or stories correspond exactly to the Bildungsroman, however.

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* The Adventures of Augie March, by Saul Bellow (1953)

* The Awakening, by Kate Chopin (1899)

* Beka Lamb, by Zee Edgell (1982)

* Beneath the Wheel, by Hermann Hesse (1906)

* Black Swan Green, by David Mitchell (2006)

* Bless Me, Ultima, by Rudolfo Anaya (1972)

* The Book of the New Sun, by Gene Wolfe (1980–83)

* Ceremony, by Leslie Marmon Silko (1977)

* The Chronicles of Prydain, by Lloyd Alexander (1964–73)

* Citizen of the Galaxy, by Robert A. Heinlein (1957)

* The Confusions of Young T?rless, by Robert Musil (1906)

* David Copperfield, by Charles Dickens (1850)

* Demian, by Hermann Hesse (1919)

* The Diamond Age, by Neil Stephenson (1995)

* Emile: or, On Education, by Jean-Jacques Rousseau (1762)

* Emma, by Jane Austen (1816)

* Ender's Game, by Orson Scott Card (1985)

* The Famished Road, by Ben Okri (1991)

* The Favourite Game, by Leonard Cohen (1963)

* The Fortress of Solitude, by Jonathan Lethem (2003)

* Glamorama, by Bret Easton Ellis (1998)

* The Go-Between, by L. P. Hartley (1953)

* The God of Small Things, by Arundhati Roy (1997)

* Great Expectations, by Charles Dickens (1860–61)

* Green Henry, by Gottfried Keller (1855)

* The House on Mango Street, by Sandra Cisneros (1984)

* How Many Miles to Babylon?, by Jennifer Johnston (1974)

* In the Beginning, by Chaim Potok (1975)

* Invisible Man, by Ralph Ellison (1952)

* Jane Eyre, by Charlotte Bront? (1847)

* Jean-Christophe, by Romain Rolland (1904–12)

* The Life and Adventures of Nicholas Nickleby, by Charles Dickens (1839)

* The Line of Beauty, by Alan Hollinghurst (2004)

* Lives of Girls and Women, by Alice Munro (1971)

* Look Homeward, Angel, by Thomas Wolfe (1929)

* The Lovely Bones, by Alice Sebold (2002)

* Lucky Jim, by Kingsley Amis (1954)

* The Magic Mountain, by Thomas Mann (1924)

* Moll Flanders, by Daniel Defoe (1722)

* My Name is Asher Lev, by Chaim Potok (1972)

* Der Nachsommer, by Adalbert Stifter (1857)

* The Namesake, by Jhumpa Lahiri (2003)

* Netochka Nezvanova, by Fyodor Dostoyevsky (1849)

* Of Human Bondage, by Somerset Maugham (1915)

* Oranges Are Not the Only Fruit, by Jeanette Winterson (1985)

* Out of the Shelter, by David Lodge (1970)

* Peter Camenzind, by Hermann Hesse (1904)

* Pharaoh, by Boles?aw Prus (1895) 1

* A Portrait of the Artist as a Young Man, by James Joyce (1916)

* The Red and the Black, by Stendhal (1830)

* The Secret Life of Bees, by Sue Monk Kidd (2002)

* A Separate Peace, by John Knowles (1959)

* Siddhartha, by Hermann Hesse (1922)

* The Sorrow of Belgium, by Hugo Claus (1983)

* Special Topics in Calamity Physics, by Marisha Pessl (2006)

* Their Eyes Were Watching God, by Zora Neale Hurston (1937)

* This Side of Paradise, by F. Scott Fitzgerald (1920)

* The Time Traveler's Wife, by Audrey Niffenegger (2003)

* The Tin Drum, by Günter Grass (1959)

* Tom Jones, by Henry Fielding (1749)

* A Tree Grows in Brooklyn, by Betty Smith (1943)

* Der Vorleser (The Reader), by Bernhard Schlink (1995)

* The Wasp Factory, by Iain Banks (1984)

* What Maisie Knew, by Henry James (1897)

* Wilhelm Meister's Apprenticeship, by J.W. Goethe, the paragon of the genre (1795)

* Winesburg, Ohio, by Sherwood Anderson (1919)

* The World Made Straight, by Ron Rash (2006)

* Midnight's Children, by Salman Rushdie (1981) 2

* The Moor's Last Sigh, by Salman Rushdie (1995) 3

* Treasure Island, by Robert Louis Stevenson (1883)

* To Kill A Mockingbird by Harper Lee (1960)

Bildungsroman examples (pre-1930)

From Wikipedia, the free encyclopedia

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This list extends the examples of Bildungsroman contained in the main article. These are novels that trace the spiritual, moral, psychological, or social development and growth of the main character from (usually) childhood to maturity. These are examples from before 1930. See Bildungsroman examples (post-1930) for more recent examples.

* the 13th century Hrafnkels saga

* Louisa May Alcott, Little Women

* Jane Austen, Emma

* Pío Baroja, El árbol de la ciencia (1911) (Engl. transl. The Tree of Knowledge, 1928)

* Leslie Barringer, Gerfalcon

* L. Frank Baum, The Wonderful Wizard of Oz

* Anne Bront?, Agnes Grey

* Anne Bront?, The Tenant of Wildfell Hall

* Charlotte Bront?, Jane Eyre

* Charlotte Bront?, Villette

* Frances Burney, Evelina

* Carlo Collodi, Pinocchio

* Daniel Defoe, Moll Flanders

* Charles Dickens, David Copperfield

* Charles Dickens, Great Expectations

* Charles Dickens, Bleak House

* Charles Dickens, Little Dorritt

* George Eliot, The Mill on the Floss

* Theodor Fontane, Effi Briest

* Jeffrey Farnol, The Amateur Gentleman

* Henry Fielding, Tom Jones

* F. Scott Fitzgerald, This Side of Paradise

* Gustave Flaubert, Sentimental Education

* Johann Wolfgang von Goethe, Wilhelm Meister's Apprenticeship, the paragon of the genre

* Maxim Gorky, In the World

* Maxim Gorky, My Universities

* Thomas Hardy, Jude the Obscure

* Hermann Hesse, Demian

* Hermann Hesse, Siddhartha

* Hermann Hesse, Narcissus and Goldmund

* James Joyce, Portrait of the Artist as a Young Man

* D. H. Lawrence, Sons and Lovers

* Thomas Mann, The Magic Mountain

* Somerset Maugham, Of Human Bondage

* Robert Musil, The Confusions of Young T?rless

* Daniel Owen, Rhys Lewis

* Marcel Proust, In Search of Lost Time

* Boles?aw Prus, Pharaoh (1895)

* Mary Shelley, Frankenstein (the tale told of the creature's development)

* Stendhal, Le Rouge et le Noir

* Stendhal, The Charterhouse of Parma

* Laurence Sterne, Tristram Shandy

* Adalbert Stifter, Der Nachsommer

* William Makepeace Thackery, The Luck of Barry Lyndon

* William Makepeace Thackery, The History of Henry Esmond

* Leo Tolstoy, Childhood/Boyhood/Youth trilogy

* Mark Twain, The Adventures of Huckleberry Finn (1884–85)

* Sigrid Undset, Kristin Lavransdatter

* Voltaire, Candide (1759)

* Virginia Woolf, The Voyage Out

* Virginia Woolf, Jacob's Room

* Evelyn Waugh, Decline and Fall (a comic inversion of the Bildungsroman)

* Treasure Island, by Robert Louis Stevenson (1883)
Bildungs roman examples (post-1930)

From Wikipedia, the free encyclopedia

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This list extends the examples of Bildungsroman contained in the main article. These are novels that trace the spiritual, moral, psychological, or social development and growth of the main character from (usually) childhood to a mature relationship with society. These are examples post 1930. See Bildungsroman examples (pre-1930) for more examples.

* Abha Dawesar, Babyji

* Alan Hollinghurst, The Line of Beauty

* Alex Haley, The Autobiography of Malcolm X

* Arthur Golden, Memoirs of a Geisha

* Bryce Courtenay, The Power of One and Four Fires

* Camilo Jose Cela, La familia de Pascual Duarte (The Family of Pascual Duarte)

* Carson McCullers, The Heart Is a Lonely Hunter

* Chaim Potok, The Chosen

* Cormac McCarthy, All the Pretty Horses and The Crossing

* Dodie Smith, I Capture the Castle

* Doris Lessing, Children of Violence Series (Martha Quest, A Proper Marriage, A Ripple from the Storm, Landlocked, The Four-Gated City)

* Edith Templeton, The Island of Desire

* Frank O'Connor, An Only Child

* A.J. Cronin, The Green Years

* Harper Lee, To Kill a Mockingbird

* Haruki Murakami, Norwegian Wood, Kafka on the Shore

* Hermann Hesse, The Glass Bead Game

* Hisham Matar, In The Country of Men

* Iain Banks, The Wasp Factory, The Crow Road

* Jack Vance, Maske: Thaery

* Janet Fitch, White Oleander

* Jeanette Winterson, Oranges Are Not the Only Fruit

* Jerzy Kosinski, The Painted Bird

* John Barth, The Sot-Weed Factor

* John Fowles, Daniel Martin

* John Irving, The Cider House Rules

* John Knowles, A Separate Peace

* John Ringo and David Weber, Empire of Man series

* Kosmas Politis, Eroica

* Leonard Cohen, The Favourite Game

* Lewis Grassic Gibbon, Sunset Song

* Mervyn Peake, Gormenghast Novels (unfinished)

* Michael McClure, The Mad Cub

* Miriam Toews, A Complicated Kindness

* Mordecai Richler, The Apprenticeship of Duddy Kravitz

* Neal Stephenson, The Diamond Age

* Orson Scott Card, Ender's Game

* Pat Conroy, The Lords of Discipline

* Paul Auster, Moon Palace

* Peter Goldsworthy, Maestro

* Philip Roth, Portnoy's Complaint

* Ralph Ellison, Invisible Man

* Richard Wright, Black Boy

* Roger Zelazny, Chronicles of Amber

* Saul Bellow, The Adventures of Augie March

* Shannon Hale, Princess Academy

* Sherman Alexie, Smoke Signals

* Stephen Chbosky, The Perks of Being a Wallflower

* Terry Pratchett, Mort

* Tom Wolfe, I Am Charlotte Simmons

* Toni Morrison, Song of Solomon

* Tsitsi Dangarembga, Nervous Conditions

* Ursula K. LeGuin, The Earthsea Cycle (series).

* William Boyd, Any Human Heart

* William Maxwell,The Folded Leaf

* Zora Neale Hurston, Their Eyes Were Watching God

* Midnight's Children, by Salman Rushdie (1981)

* The Moor's Last Sigh, by Salman Rushdie (1995)