Dissertationen: „Social realism in literature“

1

Geary, James P. „Social Realism in Central America: the Modern Short Story Translated“. Wright State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=wright1215444512.

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2

Alberca, García María del Mar. „"Por mala conciencia escritores de poesía social" : Jaime Gil de Biedma en el contexto del realismo social español de postguerra /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p3064464.

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3

Grassbaugh, Andrea L. „Reading Jonathan Franzen as a Zombie Novelist: Addressing Reductive Assessments of Contemporary Social Realism“. Walsh University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=walsh1556046783239868.

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4

MILLER, JEFFREY WILLIAM. „NOVEL RESISTANCE: CULTURAL CAPITAL, SOCIAL FICTION, AND AMERICAN REALISM, 1861-1911“. University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1023305969.

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5

Kim, Bong-Gwang. „The Politics of Romance: Henry James's Social (Un)Conscious“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277823/.

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This study addresses the ideological properties of the two main modal strains in fictional representation of romance and realism in order to provide an antidote to the currently extremely negative view of the representational function of fiction. In the course of the discussion, three received positions in traditional literary criticism are challenged. Firstly, the view of literary form as ideology-free is undermined by demonstrating the ideological properties of the two modes. Secondly, the realism/romance binary opposition regarding the mode of fictional representation is critiqued by both uncovering the misconception of the former's competence for transparent representation and evincing the two modes' ideologically interactive relation. Lastly, the categorization of Henry James as an aesthete is problematized by historicizing and socializing his three texts.

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6

Godbey, Margaret J. „Vying for Authority: Realism, Myth, and the Painter in British Literature, 1800-1855“. Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/81444.

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English
Ph.D.
Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed. Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter. Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist.
Temple University--Theses

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7

Harrison, Dana M. „Realism in Pain: Literary and Social Constructions of Victorian Pain in the Age of Anaesthesia, 1846-1870“. Thesis, Temple University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564812.

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In 1846 and 1847, ether and chloroform were used and celebrated for the first time in Britain and the United States as effective surgical anaesthetics capable of rendering individuals insensible to physical pain. During the same decade, British novels of realism were enjoying increasing cultural authority, dominating readers' attention, and evoking readers' sympathy for numerous social justice issues. This dissertation investigates a previously unanswered question in studies of literature and medicine: how did writers of social realism incorporate realistic descriptions of physical pain, a notoriously difficult sensation to describe, in an era when the very idea of pain's inevitability was challenged by medical developments and when, concurrently, novelists, journalists, and politicians were concerned with humanitarian reforms to recognize traditionally ignored and disadvantaged individuals and groups in pain? By contextualizing the emergence of specific realist novels including works by Elizabeth Gaskell, Charles Reade, William Howard Russell, and Charles Dickens, within larger nonfiction discourses regarding factory reform, prison reform, and war, this dissertation identifies and clarifies how realist authors, who aim to demonstrate general truths about "real life," employed various descriptions of physical pain during this watershed moment in medicine and pain theory, to convince readers of their validity as well as to awaken sympathetic politics among readers.

This study analyzes Gaskell's first industrial novel, Mary Barton (1848), Reade's prison-scandal novel, It is Never Too Late to Mend (1856), Russell's Crimean War correspondence (1850s) and only novel, The Adventures of Doctor Brady (1868), and Dickens's second Bildungsroman, Great Expectations (1861), thereby revealing different strategies utilized by each author representing pain - ranging from subtle to graphic, collective to individualized, urgent to remembered, and destructive to productive. This study shows how audience expectations, political timing, authorial authority, and medical theory influence and are influenced by realist authors writing pain, as they contribute to a cultural consensus that the pain of others is unacceptable and requires attention. These realist authors must, in the end, provide fictionalized accounts of pain, asking readers to act as witnesses and to use their imaginations, in order to inspire sympathy.

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Haruna, Abdullahi [Verfasser]. „African fiction and its social context. A critical analysis of social realism in Festus Iyayi's works / Abdullahi Haruna“. München : GRIN Verlag, 2019. http://d-nb.info/1189313782/34.

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9

Smith, Jennifer Ann. „Developing pupil understanding of school-subject knowledge : an exploratory study of the role of discourse in whole-class teacher-pupil interaction during English literature lessons“. Thesis, University of Hertfordshire, 2018. http://hdl.handle.net/2299/21152.

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In this submission I explore the role played by discourse in the development of pupils' understanding of school-subject knowledge in secondary school classrooms in England, following changes to GCSE (General Certificate of Secondary Education) specifications in 2015. Changes to the structure, the subject content, and the assessment of GCSEs were made in an effort to focus on 'powerful knowledge' during the Key Stage (KS) 4 curriculum (for pupils aged 14 - 16 years old) and in order to promote an emphasis on knowledge that is based on academic disciplines. My research looks at the concept of powerful knowledge, based in a critical realist epistemology and a social realist theory of knowledge, and the extent to which all young people are likely to access knowledge that is powerful in the classroom. I argue that access for all pupils to the means by which to judge knowledge claims and thereby challenge and change society - the transformational power of knowledge - underpins a social justice agenda. My research explores a less-developed aspect of the social realist debate on powerful knowledge, a pedagogic discourse to enable a move away from merely teaching factual or content knowledge. I propose that for knowledge to be powerful teachers and pupils need to be 'epistemologically aware'. My case-study research contributes new empirical findings to the literature on pedagogic discourse for a powerful knowledge curriculum. I discuss the learning trajectories of 15 pupils (including five from socio-economically disadvantaged backgrounds) from two Year 10 'case' classes observed over a 12-week period, during which they studied a novel as part of their GCSE English literature course. 'Thinking notes' and concept mapping were introduced as innovative data-gathering and analytical tools with which to gain a unique and detailed analysis of pupils' learning over the series of lessons given during the 12-week period. I discuss the teachers' conceptual framing of their discipline and the role that this, together with pupils' experiences and backgrounds, has in the re-contextualisation of discipline-based knowledge in the classroom. I conclude that pedagogic discourse that makes the epistemic logic and related concepts of a subject explicit - an epistemological awareness - may enable pupils from both disadvantaged and non-disadvantaged socio-economic backgrounds to build systems of meaning that transcend their everyday understanding of the world and the context in which they view it to access powerful knowledge. I present a conceptualisation of a powerful knowledge pedagogic discourse for the study of a novel in the KS4 English literature classroom.

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Bush, Melissa Ann. „Art from the Macchiaioli to the Futurists: Idealized Masculinity in the Art of Signorini and Balla“. BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5655.

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Beginning around 1850, Italians found themselves in the midst of an identity crisis. Europeans in France and England had surpassed Italians in terms of political, economic, and social progress. Italians seemed trapped in the past, clinging to their magnificent artistic heritage. However, new cultural and social movements were on the rise in Italy that attempted to throw off the domination of other European entities and forge a promising future for Italy. The Macchiaioli, a group of Italian modern artists who painted from 1853 to 1908, were the first group to address contemporary social issues such as class struggle and national weakness. Their art called for progressive change and arguably influenced how the later Italian Futurist movement would address similar concerns beginning in 1909. One of the Macchiaioli, Telemaco Signorini, advocated the development of new technologies and industries—dominated by men—in realist paintings from 1853 to 1901. Futurist artist Giacomo Balla gained recognition for promoting similar ideas in a more radical fashion. Most art historians believe that the Futurists were influenced by trends originating in Western Europe, specifically the French avant-garde. This thesis argues that the Futurists were significantly influenced by an Italian tradition that originated with the Macchiaioli. The Macchiaioli were animated by a nationalistic fervor and a desire to create a strong and unified Italian state. They used art and literature to advance progressive ideals based on masculine acts. The Futurists responded to similar stimuli in their day. In the absence of a powerful national identity, Signorini and Balla employed modern artistic styles to idealize masculine solutions to social problems. Both ultimately foresaw a world in which technology, mastered by men, would elevate Italian society.

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Gao, Weiqian. „El realismo mágico en la literatura china contemporánea. Gabriel García Márquez y Mo Yan“. Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458762.

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La recepción crítica y la influencia literaria del realismo mágico en la literatura contemporánea china han permanecido sumidas durante mucho tiempo en un inmerecido olvido, pues tanto el mundo intelectual hispánico como el chino han tardado en considerar este tema un objeto digno de estudio. Con el presente proyecto procedemos, por un lado, a diseccionar, analizar y presentar la recepción crítica del realismo mágico en el mundo literario chino; y a examinar, por otro lado, cómo las novelas mágico-realistas influyen sobre la creación narrativa de los escritores chinos de la “literatura de la búsqueda de las raíces”. Procederemos, asimismo, a un ejercicio de intertextualidad relacionando las novelas de García Márquez con varias obras de Mo Yan, premio Nobel de Literatura de 2012.
Magic realism has made a continued and enormous impact on contemporary novels since the middle eighty of last century. The reason is not only because the extensive and profound characteristics of the novels but because his novels fit on the need of Chinese contemporary literature in different periods. The pioneer novels in mid – eighty learned the form from García Márquez, Juan Rulfo in order to overturn the view that the literature is the tool of Political Ideology and let the literature return to itself. Root-seeking literature was one of the most important literature ideological trends of Chinese contemporary literature in the New Period. In the process of adopting foreign current of literacy thoughts, many writers expressed that Magic realism had left a deep impression on their works. I mainly discusses what revelation the Root-seeking novels have given us after the dialogue between these two literature ideological trends.

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Naqvi, Syeda Sughra. „Social misrepresentations and their role in breeding violence : a comparative study of realism in contemporary Pakistani literature in perspectives of fundamentalism, neoliberalism, and neocolonialism“. Thesis, La Rochelle, 2019. http://www.theses.fr/2019LAROF004.

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L’Islam, les Musulmans et le Pakistan ont fait l’objet de discussions obsessionnelles ; des points de vue négatifs ayant été majoritairement adoptés dans les principaux médias et les colloques au lendemain du 11 septembre. La présente recherche est une tentative de représentation de certaines des fausses déclarations qui sont popularisées par les différentes lignes politiques dont le but est de faire d’un inconnu, un connu. La représentation décolonisée des fausses représentations est nécessaire pour comprendre ce phénomène et les idéologies qui sous-tendent les voies de la vulgarisation de ces représentations peu familières de / par le fondamentalisme et les fondamentalistes par rapport aux fausses représentations du / par le libéralisme et les libéraux. La thèse est divisée en trois sections : a) Fondements de l’Islam et fondamentalisme, b) Néolibéralisme et néocolonialisme mondialisé, c) Représentations sociales engendrant un traumatisme psychologique pour l’humanité après le 11 septembre. Ce projet met en évidence les divers aspects de la réticence du fondamentalisme dans la littérature pakistanaise contemporaine post-postcoloniale, en anglais et en ourdou, analysant comparativement les similitudes et les différences, à la fois exclusives et inclusives, de ses nombreuses ramifications. Le monde contemporain de la littérature anglaise au Pakistan et les différentes approches utilisées fournissent de la matière permettant d'élucider des variables, afin de déterminer les motivations sous-jacentes à l'œuvre dans les coulisses, plus particulièrement les écoles de pensée qui encouragent l'extrémisme de toutes sortes, et œuvrent contre la paix et l'harmonie mais favorisent la violence et le terrorisme. La littérature, dans ce contexte, est un porte-parole de l'époque. Nous analyserons les fausses représentations sociales en ayant recours aux théories de Moscovici à propos des représentations sociales, qui sont utilisées pour rendre l’inconnu familier ou bien rendre inconnu ce qui est familier. De la même manière, la théorie de Roy sur les faits dans la fiction pourrait être utilisée pour analyser la littérature pakistanaise contemporaine (des exemples sont tirés des contributions de Mohsin Hamid, Umera Ahmed et Shoaib Mansoor) en tant que porte-parole du 21ème siècle lors de l’examen de la théorie chomskienne du néocolonialisme. Pendant ce temps, le fondamentalisme ou l'islamisme sera examiné dans l'optique théorique de la ikraha fid Deen, présentée dans le Coran et les hadiths. Espérons que cette recherche soit en mesure de fournir un travail de base complet et productif qui sera utile pour diffuser un message pacifique, celui d’une approche modérée de la vie en opposition à l'extrémisme
Islam, Muslims and Pakistan have been obsessively under discussion, particularly with negative portrayals, in the mainstream media and scholastic colloquy in the post 9/11 period. This research project is an attempt to represent some of the misrepresentations which are familiarized along with political lines for making an unknown a known. The decolonised representation of such misrepresentations is needed to understand this phenomenon and the ideologies working behind the scenes for popularizing these unfamiliar representations of/by fundamentalism and fundamentalists in comparison with misrepresentations of/by liberalism and liberals. Thus, the thesis is divided into three sections; a) Fundamentals of Islam and Fundamentalism, b) Neoliberalism and Neo-global colonialism, and c) Social Misrepresentations which are breeding psychological trauma for humanity in the post 9/11 era. This project highlights the variant aspects of the reluctance of fundamentalism in post-postcolonial contemporary Pakistani literature, both in English and Urdu, analysing comparatively the similarities and variances, both exclusive and inclusive, of its extensive canvas The contemporary world of English Literature in Pakistan and the different approaches provide material for examining who is who and what is what, in order to determine the underlying motives at work behind the scenes, especially the schools of thought encouraging extremism of all kinds, working against peace and harmony in favor of violence and terrorism. Literature, in this context, is a mouthpiece of the Age. We will be analysing the social misrepresentations using Moscovici’s theories of social representations which are used to familiarise the unfamiliar or defamiliarize the familiar. Similarly, Roy’s theory of facts in fiction is utilised for analysing contemporary Pakistani literature (examples are taken from Mohsin Hamid’s and UmairaAhmed's contributions) as a mouthpiece of the twenty-first century while examining Chomskian views of neocolonialism. Meanwhile, fundamentalism or Islamism will be inspected under the theoretical lens of la ikraha fid Deen, presented in the Holy Quran and Hadith. Hopefully, the research would be able to provide a comprehensive, productive groundwork that will be helpful to spread a peaceful message with a moderate approach to life, against extremism

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Sarmento, Rosemari. „Do Cortiço à Cidade de Deus : a representação dos de baixo na literatura e no cinema“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/77136.

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Esta tese situa-se na intersecção da literatura com o cinema. O objetivo é lançar um olhar sobre os seus respectivos processos de criação e significação, considerando suas especificidades. Pois mesmo quando parte de um texto literário, o cinema diverge, ultrapassa e atravessa a linha de partida, apresentando diferentes dimensões e processos. O estudo problematiza a conexão entre arte e realidade social. Propõe uma comparação entre os romances O cortiço e Cidade de Deus e suas respectivas adaptações homônimas, buscando analisar as obras como capazes de traduzir o fenômeno social da pobreza na urbe. Ambas as obras literárias estão conformadas dentro de um projeto realista/naturalista e revelam momentos agudos de uma realidade social historicamente contextualizada em épocas distintas, a primeira pertence ao final do Brasil império e a segunda no Brasil contemporâneo. As obras fílmicas buscam o diálogo com os textos originais em seus procedimentos narrativos, dentro de suas proposições estéticas específicas à área cinematográfica, e também problematizam as questões sociais, em maior ou menor grau. A confrontação do corpora evidencia um processo de refinamento histórico de divisão da sociedade em classes econômicas e, portanto, uma engrenagem social e cultural excludente de segregação dos de baixo, em guetos, visto que estes carregam um estigma criado que os define como um outro, indesejado e potencialmente perigoso. A pesquisa verifica, ainda, dentro das fronteiras cerradas dos espaços narrativos das obras uma interessante articulação entre ordem/desordem que só irá evidenciar a lógica perversa dos contrassensos da sociedade brasileira e as desigualdades presentes nela. Portanto, este estudo demonstra nas obras, um sistema de relações concretas da configuração social do próprio Brasil.
This dissertation lies between literature and cinema. It examines two Brazilian novels O cortiço and Cidade de Deus through a comparative study between literary narratives and their corresponding filmic adaptations, raising the problem of connecting art and social reality. This study argues that both literary narratives from a naturalist/realist project are representations of urban poverty translated into a historically contextualized social phenomenon; which reveals acute moments, firstly from an imperial Brazil and then from the contemporary country it became. The films establish a dialogue with social approaches brought up by the original texts, as well as their narrative procedures, although they have kept their own specific film aesthetic propositions. Further, the confrontation of the corpora demonstrates the division process, which has historically refined this society in classes, or guettos, economically and culturally segregated; and in doing so, it has also stigmatized this group of people as undesired and potentially dangerous, the so-called os de baixo (the ones below). The analysis articulates literary and filmic narrative settings, in terms of order/disorder concepts, showing the evidence of a perverted Brazilian social logic based on its own nonsense and inequality. Thus, this study affirms the existence of a historically concrete social relation system in Brazilian romances and films corresponding to the configuration of Brazil itself.

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Bloss, Hazel Ruth. „'Die Zeit der innern Weltumseglungen': representation of the people and examination of the self in the works of Berthold Auerbach (1812-1882) and Wilhelm Heinrich Riehl (1823-1897)“. Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491575.

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Rovira, Martínez de Contrasta María Isabel. „Los aprendizajes de Benito Pérez Galdós: del periodista político al novelista en ciernes (1865-1876)“. Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458239.

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La presente tesis doctoral ha tenido como objetivo e interés primordial la recopilación, organización, sistematización cronológica y estudio exhaustivo de la prosa crítica temprana de Benito Pérez Galdós en las casi quinientas reseñas que redactó asiduamente entre 1865 y 1876 en La Nación (ciento treinta artículos entre 1865-1866 y en 1868), La Revista del Movimiento Intelectual de Europa (cuarenta apuntes entre 1865 y 1867), El Debate (doscientas setenta y ocho editoriales durante 1871) y la Revista de España (cuarenta y siete colaboraciones entre 1870 y 1876) sobre sociedad, música, teatros, literatura, religión y política. La primera y larguísima colaboración de Galdós que hemos estudiado en esta investigación es la que el joven realizó en La Nación entre 1865-1866 y en 1868 donde, además de escribir, en menor medida, sobre pintura y política, el escritor dedica la mayor parte de sus secciones a tres de sus grandes aficiones: la música, el teatro y la exhaustiva observación de la sociedad, de la que realiza perpetua crónica, describiendo para sus ávidos lectores con maquinal detalle su organización social, política y cultural, sus festejos, su conmemoraciones y sus costumbres. La extracción de este material, de un total de 130 secciones de La Nación ha sido a partir del contraste exhaustivo entre la recopilación de William H Shoemaker de 1972 Los artículos de Galdós en La Nación 1865-1866,1868 con la edición de La Nación en los años 1865-1866 y 1868 en microfilme de la Biblioteca Nacional. A continuación, hemos revisado también el segundo diario en el que Galdós colabora entre 1865 y 1867, la Revista del Movimiento Intelectual de Europa, donde el autor publica 40 apuntes de temática similar a La Nación, es decir, sobre todo relacionadas con teatros, sociedad matritense y música. La búsqueda, recopilación y comparativa de estas editoriales a partir de la edición de la Revista del movimiento intelectual de Europa en microfilme de la Biblioteca Nacional se ha realizado en minucioso contraste con la publicación de Leo Hoar Benito Pérez Galdós y la Revista del movimiento intelectual de Europa 1865-1867. La tercera publicación estudiada abarca las 278 editoriales que publica el joven durante el año 1871 en El Debate, en ocasiones firmando con su nombre, sobre todo al principio, y más tarde anónimamente, todas están relacionadas con la política, el Sexenio y sus vicisitudes. El material de esta publicación, asimismo, ha sido extraído en los años 1871-1872 en la edición en microfilme en la Hemeroteca Municipal de Madrid, y aunque muchos investigadores tienen constancia de la existencia de esta colaboración de Galdós en El Debate, es la primera vez que este material se recopila y analiza. Por último, hemos analizado también las cuarenta y siete colaboraciones que entre 1870 y 1876 Galdós realiza en la Revista de España, y que hemos extraído de la Biblioteca de la Universitat de Barcelona, donde el escritor se dedica al a comentario político al estilo de El Debate, así como, aunque en mucha menor medida, a reseñas culturales y literarias tan relevantes como el famoso manifiesto Noticias literarias.- Observaciones sobre la novela contemporánea en España. Proverbios ejemplares y Proverbios cómicos, de D. Ventura Ruiz Aguilera o su repaso a la trayectoria de Don Ramón de la Cruz. Asimismo, en la Revista de España el autor publica algunos de sus cuentos como El artículo de fondo y Un tribunal literario y las primeras ediciones de algunas de sus novelas como La sombra, El audaz y Doña Perfecta.
The aim and objective of the present thesis has been the thorough and exhaustive finding, contrasting, chronological organizing and close analysis of the early periodical articles that Benito Pérez Galdós assiduously published between 1865 and 1876 in La Nación (one hundred and thirty reviews between 1865-1866 and 1868), La Revista del Movimiento Intelectual de Europa (forty columns from the years 1865 to 1867), El Debate (two hundred seventy eight editorials in 1871) and the Revista de España (forty seven contributions between 1870 y 1876) about a ranging and heterogeneous variety of themes, such as societal issues, music, theater, literature, religion and, most relevantly, Spanish politics.

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Hentea, Marius. „Social reality and narrative form in the fiction of Henry Green“. Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/34554/.

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Social Reality and Narrative Form in the Fiction of Henry Green contests the dominant reading of Henry Green's fiction as an abstract, autonomous textual production. My thesis situates Green into a number of literary and socio-historical contexts and argues that doing so challenges a number of prevailing critical orthodoxies. I also argue that Green's fiction is formally constructed through a variety of dislocations, from displacing the centrality of plot, undermining the integrity of character, silencing the narrative voice and questioning the authenticity of the self. To relate social reality to narrative form, each of the four main chapters is dedicated to one of four substantive aspects of material reality: age, class, geography and the body. In the first chapter, I examine Green's relationship to the writing of his generation and to the concepts of age and youth. I argue that Green was deeply ambivalent towards generational belonging or the notion that identity could be supplied through one's generation. My second chapter investigates Green's treatment of social class and positions his Birmingham factory novel, Living, against 1930s theories of proletarian fiction and its canonical texts. My third chapter considers sites of authority both in the external world (geographic space) as well as within the novelistic space. The eclipsing of the narrator and the subsequent translation of the imaginative faculty to the reader is a part of Green's strategy to displace sites of authority. My final chapter looks at Green‘s treatment of the physical body and argues that disability is a central aspect of his novelistic practice. The impossibility of unity and wholeness, therefore, sheds light not only on the physicality of modern man but also on wholeness as a mental and linguistic possibility when the times are 'breaking up.'

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Griffith, Joann D. „"All Men are Builders": Architectural Structures in the Victorian Novel“. Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/316376.

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English
Ph.D.
Nineteenth-century Britain experienced a confluence of a rapidly urbanizing physical environment, radical changes in the hierarchical relationships in society as well as in the natural sciences, and a nostalgic fascination with antiquities, especially gothic architecture. The realist novels of this period reflect this tension between dramatic social restructuring and a conservative impulse to remember and maintain the world as it has been. This dissertation focuses on the word structure to unpack the implications of these opposing forces, both for our understanding of the social structures that novels reflect, and the narrative structures that novels create. To address these issues, I examine the architectural structures described in Victorian realist novels, drawing parallels with their social and narrative structures. In Charles Dickens's Little Dorrit (1855), George Eliot's Adam Bede (1859), and Thomas Hardy's The Mayor of Casterbridge (1886) and Jude the Obscure (1895), descriptions of houses and barns, churches and cathedrals, shops and factories, and courthouses and schools are thematically important because they draw our attention to the novels' interest in the social structures that underlie the fictional worlds they represent. Buildings provide spaces where members of a community may work towards a shared purpose; they also embody that community's common knowledge, values, and ideals. These novels take up the thematic concern with structure through their own formal narrative structuring work. Much like an architect builds a physical structure, novels build a narrative structure by carefully arranging patterns, sequences, proportions, and perspectives. An examination of a novel's description of a building reveals moments of self-reflexive consideration of the narratives it constructs. These are moments that interrogate the building materials of narrative and how their arrangement becomes meaningful, that consider what the narrative structure can accommodate and what it excludes, and that invite us to attend to the ways in which the act of structuring a narrative situates it in time, in relation to the past, present, and future. The choices an architect makes about ornaments and materials, the way a building integrates the surrounding environment, and the way its proportions compare to a human scale, all constitute a kind of language; moreover, the way people interact with, in, and around these built spaces suggests it is a dynamic and evolving language. Preeminent Victorian art and social critic John Ruskin's architectural treatise, The Seven Lamps of Architecture (1849) serves as a master key to interpreting the Victorian understanding of architectural language in the novels under investigation. Because Ruskin's writings pervaded mid-century artistic discourse, and because he turned his critical gaze on such a wide range of the mid-nineteenth century's most important aesthetic, social, philosophical, and ethical concerns, his work provides an invaluable bridge between the physical, social, and narrative structures in these novels. Each of Ruskin's "lamps" represents a specific architectural principle; each chapter in this project pairs a novel with a lamp with thematic and formal resonance.
Temple University--Theses

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18

Masdeu, Paola. „Övernaturliga vardagar : En studie av det övernaturliga i svensk litteratur som medel för social kritik“. Thesis, Södertörn University College, School of Gender, Culture and History, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1403.

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This essay analyses the existence of a literary tendency in Sweden the last decade, which shares many similarities with magical realism. The study includes the work of three writers: Majgull Axelsson with Aprilhäxan; John Ajvide Lindquist with Hanteringen av odöda and Låt den rätte komma in; and finally a short story of Alejandro Leiva Wegner, “Elixir”.

Focus for this work is to expose how these writers use supernatural events/people as a strategy to create a new identity and to effect social criticism, strategies that are common to magical realism.

The aim of this work is therefore to clarify generalities about magical realism as a genre and give it a place in Swedish literature and in a changing Swedish society. Furthermore this essay defines a unique term for the genre as adapted to the Swedish reader and with some characteristics of its own: “övernaturlig realism” (supernatural realism).

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Tekin, Kugu. „Parody In The Context Of Salman Rushdie“. Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611466/index.pdf.

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The aim of this dissertation is to trace the function of parody in the context of Salman Rushdie&rsquo
s magical realistic fiction. The magical realism of Rushdie&rsquo
s fiction presents a complex Third World experience which constitutes an alternative to, and challenges the Eurocentrism of western culture. The form and content of Rushdie&rsquo
s novels are so intense and rich that the whole body of his work comes to the fore, not as an outcome of the two clashing civilisations, that is East and West, but rather as an immense medley of the two cultures. While &ldquo
writing back to the empire&rdquo
, Rushdie draws on innumerable sources ranging from such grand narratives as Genesis, Iliad, Ramayana, A Thousand and One Nights, Hindu, Persian, Greek, and Norse mythologies, and local cultural traditions, to modern politics mingling fiction and reality in a broad historical perspective, so that his work becomes a synthesis of East and West, an international aesthetic plane where diversities express themselves freely. The dissertation focuses particularly on Rushdie&rsquo
s Midnight&rsquo
s Children, The Moor&rsquo
s Last Sigh,and Shalimar The Clown.
it contains an introductory chapter, a theory chapter, including two subchapters, a development chapter with three subchapters which analyse the above mentioned three novels, and a conclusion chapter. The introductory chapter presents an overview of the issues to be investigated in the subsequent chapters. The theory chapter deals with the concepts of colonialism, nationalism, and the past and the present of postcolonial literary theory with reference to its leading theorists, such as M. Foucault, E. Said, H. Bhabha, and other recent critics
this chapter also introduces magical realism by reference to a number of current definitions and approaches. The following three subchapters, which focus on the analyses of the three novels, explore how parody functions both thematically and structurally in relation to Rushdie&rsquo
s magical realism. The concluding chapter demonstrates that Rushdie&rsquo
s work creates an unrestrained plane of an international culture where multiple visions and diversities can find a room to assert themselves.

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Cifo, González Manuel. „Rodrigo Rubio: vida y obra literaria“. Doctoral thesis, Universidad de Murcia, 2007. http://hdl.handle.net/10803/10759.

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Rodrigo Rubio es un escritor al que la mayoría de los críticos lo sitúan dentro del denominado realismo social y, más concretamente, dentro de un realismo existencial de fuertes raíces cristianas. Además, su literatura posee un alto contenido autobiográfico -desde el principio hasta el final de la misma-,con una fuerte reflexión individual y unas motivaciones psicológicas bastante profundas.El propio rubio siempre se manifestó como un firme defensor de la literatura comprometida, marcada por una fuerte vocación realista y por un irrenunciable carácter testimonial. De ahí su permanente defensa de la literatura como testimonio de la vida del ser humano y de su lucha diaria, muchas veces infructuosa, por encontrar la felicidad. Porque, para Rodrigo Rubio, literatura y vida son inseparables, tal y como siempre mostró a lo largo de su obra y como se ha pretendido poner de manifiesto incluso con el mismo título de esta Tesis Doctoral.
Rodrigo Rubio is a writer whom most critics have placed within the so-called social realism, and more precisely within an existential realism, with strong christian roots.Furthermore, his literature, has, from beginning to end, a high autobiographical content, together with a strong individual reflection and deep psychological motivations.Rubio himself always stood for committed literature with a strong realistic vocation and testimonial character. Hence, his permanent defence of literature as a testimony of the life of human beings and their daily, and so often fruitless, struggle for happiness. Because, for Rodrigo Rubio, literature an life cannot be separated, as he has showed all throughout his works, and the title of this Tesis Doctoral has intended to state.

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Balinisteanu, Mihai Tudor. „Narrative, social myth and reality in contemporary Scottish and Irish women's writing : Kennedy, Lochhead, Bourke, Ni Dhuibhne and Carr“. Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/6273/.

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This thesis is concerned with narrative constructions of women's identities in texts by contemporary Scottish and Irish women writers. I focus on texts by A. L. Kennedy, Liz Lochhead, Angela Bourke, Éilís Ní Dhubhne and Marina Carr. The theoretical framework of my analysis has been inspired by these writers' concerns with the relationship between narrative and reality. An important idea derived from the study of this relationship is that one's voice often, if not always, accommodates others' voices and is modulated by the power they convey. This power, derived from traditions that naturalise legitimate subjectivity constructs, steers and disciplines narrators, characters borne in these narrators' voices, as well as to whom they speak, readers or other characters, affecting the representations of the realities they inhabit. In my thesis, I examine literary explorations of the power through which narratives voices operate to constitute identities. The vision of voice as necessarily accommodating others' voices has suggested the use of Bakhtin's theories of heteroglossia in my analyses. The idea that an other's voice speaks in one's voice has sent me to Derrida's theory of citationality and to Judith Butler's theory of discursive reiteration and subjectivity. Regarding the act of narrating as an act of citation, I examine the role of narratives in shaping identity by providing subject positions derived form a citational chain of stories. The analysis of the relationship between narrative and reality undertaken in this thesis is interdisciplinary, involving elements of narratology theory, linguistics, philosophy, anthropology and social theory. The main argument can be summarised thus: myth is a manifestation of authority in the discursive acts through which we present ourselves to ourselves and to others in social reality. These discursive acts are to an extent acts of citation that reiterate subjective identities which, through this reiteration, have become naturalised, normative and constraining. The kind of subject they constitute is produced at the expense of alternative possibilities of cultural expression.

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Rayneard, Max James Anthony. „Performing Literariness: Literature in the Event in South Africa and the United States“. Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12083.

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x, 208 p.
In this dissertation "literariness" is defined not merely as a quality of form by which texts are evaluated as literary, but as an immanent and critical sensibility by which reading, writing, speaking, learning, and teaching subjects within the literary humanities engage language in its immediate aesthetic (and thus also historical and ethical) aspect. This reorientation seeks to address the literary academy's overwhelming archival focus, which risks eliding literary endeavor as an embodied undertaking that inevitably reflects the historical contingency of its enactment. Literary endeavor in higher education is thus understood as a performance by which subjects enact not only the effect of literary texts upon themselves but also the contingencies of their socio-economic, national, cultural, and personal contexts. Subjects' responses to literature are seen as implicit identity claims that, inevitably constituted of biases, can be evaluated through the lens of post-positivist realism in terms of their ethical and pragmatic usefulness. Framing this reoriented literariness in terms of its enactment in higher education literature classrooms, this dissertation addresses its pedagogical, methodological, and personal implications. The events of the South African Truth and Reconciliation Commission (TRC) and the literature arising from it serve as a pivotal case study. The TRC Hearings, publically broadcast and pervasive in the national discourse of the time, enacted a scenario in which South Africans confronted the implications for personal and national identities of apartheid's racial abuses. The dissertation demonstrates through close reading and anecdotal evidence how J.M. Coetzee's Disgrace and Antjie Krog's Country of My Skull formally reactivate this scenario in the subject in the event of reading, while surveys of critical responses to these texts show how readers often resisted the texts' destabilizing effects. A critical account of the process that resulted in Telling, Eugene - a stage production in which U.S. military veterans tell their stories to their civilian communities - analyzes the idea of literariness in the U.S. and assesses its potential for socially engaged literary praxis.
Committee in charge: Linda Kintz, Chairperson; Suzanne Clark, Member; Michael Hames-Garcia, Member; John Schmor, Outside Member

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Davi, Tânia Nunes. „O cinema de Nelson Pereira dos Santos e Leon Hirszman na (re)leitura de Vidas secas e São Bernardo, de Graciliano Ramos“. Universidade Federal de Uberlândia, 2010. https://repositorio.ufu.br/handle/123456789/16287.

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This thesis addresses the relationship between Cinema, Literature and History from the filmic adaptations of São Bernardo and Vidas Secas - literary Graciliano Ramos brought to the screen by filmmakers Hirszman Leon (1973) and Nelson Pereira dos Santos (1963), respectively. The writer and the filmmakers, through their aesthetic and political positions, sought to build their works through discussions that pointed to the projects, world views and ideals of non-hegemonic social categories, showing a Brazil multifaceted and heterogeneous. To realize these positions we try to capture its relations with the various proposals of realism and the left over the adaptation, production and reception of the books and movies, as each of the authors not only sought to build his criticism of propositions and policies of the hegemonic social categories, as advocated in his own way, aesthetic and political positions parallel, but not necessarily identical in seeking to represent Brazil.
Esta tese aborda a relação entre Cinema, Literatura e História a partir das adaptações fílmicas de São Bernardo e Vidas Secas - obras literárias de Graciliano Ramos levadas à tela pelos cineastas Leon Hirszman (1973) e Nelson Pereira dos Santos (1963), respectivamente. O escritor e os cineastas, pelas suas posições estéticas e políticas, procuraram edificar suas obras por meio de discussões que apontassem para os projetos, visões de mundo e ideais das categorias sociais não hegemônicas, mostrando um Brasil multifacetado e heterogêneo. Para perceber essas posições procuramos captar suas relações com as variadas propostas do realismo e das esquerdas ao longo da adaptação, produção e recepção dos livros e dos filmes, pois cada um buscou construir sua crítica às proposições e políticas das categorias sociais hegemônicas, assim como defendeu, a seu modo, posições estéticas e políticas paralelas, mas não necessariamente idênticas na busca por representar o Brasil.
Doutor em História

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Zahoor, Abubaker. „Desires & Debacles“. Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1607264387584207.

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Fantina, Richard. „Charles Reade's Sensational Realism“. Scholarly Repository, 2007. http://scholarlyrepository.miami.edu/oa_dissertations/60.

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Sensation fiction, which flourished in England from the 1850s to the 1880s, was viewed by Victorian establishment figures as a threat to prevailing social values. This dissertation focuses on the work of Charles Reade, who along with Wilkie Collins and Mary Elizabeth Braddon, was among the most well-known sensation novelists. While several novels by Collins and Braddon have been rediscovered by scholars since the 1980s, Reade's fiction remains neglected. With its explicit critique of the emerging regimes of power/knowledge in the fields of medicine, criminal justice, and sexual mores, Reade's work anticipates Michel Foucault's theories elaborated a century later. Although previous readings of Victorian fiction have drawn on the ideas of Foucault in an attempt to identify sensation novels as cultural productions complicit with a developing bourgeois hegemony, I argue that these novels represent a narrative genre that challenges and resists these disciplinary constraints. In addition, Reade's work provides a rare glimpse of alternative sexualities and gender identities in nineteenth-century fiction that can be read in light of feminist and gender theory. This dissertation recovers the fiction of Charles Reade as a body of work that anticipates recent trends in literary and cultural theory and that speaks to us today with an uncanny familiarity.

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Ersoy, Ersev. „Social reality and mythic worlds : reflections on folk belief and the supernatural in James Macpherson's Ossian and Elias Lönnrot's Kalevala“. Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7842.

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This thesis investigates the representation of social reality that can be reflected by folk belief and the supernatural within mythic worlds created in epic poetry. Although the society, itself, can be regarded as the creator of its own myth, it may still be subjected to the impact of the synthesized mythic world, and this study seeks to address the roles of the society in the shaping of such mythic worlds. The research is inspired by an innovative approach, using James Macpherson’s Ossian (1760-63) and Elias Lönnrot’s Kalevala (1835-49) as epic models that benefit from mythical traditions. Through the examination and the comparison of these two epic collections, both of which seem to have a close association with social reformation and restructuring, the study explores the universality of human nature. It also reveals the extent mythic worlds may exhibit the ‘realities’ of their source-societies and how mythical tradition may become a reflection of a society’s transforming past modes of thinking. Moreover, the study devotes special attention to the influence of mythic heritage on national awakening and the construction of national identities. The research treats Macpherson as the re-inventor of Gaelic oral tradition with his Ossian, where he portrays a Romanticized image of a gallant past according to the norms of the eighteenth century. Therefore, the mythic world of the epic can be seen as a combination of an ancient heroic past and the aesthetic refinement of a polished age. In this framework, as the product of a society going through a transition period from traditional to modern, Ossian seems to reflect the society’s changing world-view, both celebrating, and mourning for a culture on the verge of extinction. Focusing on the Kalevala, the study analyzes its portrayal of Finnish folk belief. The Kalevala, like Ossian, is an attempt to recover ancient tradition, which seems to revolve around supernatural and divine elements, with hopes to establish a common social reality. It is an expression of Finnish language, belief and culture, whose production was prompted by the looming Finnish nationalism. Therefore, the evolving mode of thought represented in the mythic world of Kalevalaic poems, is expected and favoured by the society, enabling the epic to encourage a social reformation.

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Troscianko, Emily Tamarisk. „The literary science of the 'Kafkaesque'“. Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:47188ae7-a32b-41e8-b591-303b7d9367de.

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This study provides a precise definition of the term 'Kafkaesque' by enriching literary criticism with scientific theory and practice, including an experiment on readers' responses to Kafka. Dictionary definitions justify taking the term back to its textual origins in Kafka's works, and the works can fruitfully be analysed by investigating how readers engage with them through cognitive processes of imagination. Modern scientific developments posit that vision, imagination, and consciousness should be conceived of not in terms of static pictorialism – reducible to the notion of 'pictures in the head' – but in terms of enaction, i.e. as an ongoing interaction with the external world around us. Most traditional nineteenth-century Realist texts are based on pictorialist assumptions, while Kafka's texts evoke perception non-pictorially and are therefore more cognitively realistic. In his personal writings, Kafka wrestles with problems entailed by pictorialist conceptions of vision, imagination, and the function of language, and comes to enactivist solutions: evocation of perception that does not result in painting static tableaux with words. In his fictional works, Kafka correspondingly evolves a cognitively realistic way of writing to evoke fictional worlds that directly engage the cognitive processes of their readers; Der Proceß is a prime example of the 'Kafkaesque' text and reading experience, defined by being compelling yet simultaneously unsettling. Modulations in narrative perspective and evocation of emotion as enactive also contribute to the experience of the 'Kafkaesque' as compelling; yet Kafka's texts simultaneously unsettle by preventing straightforward emotional identification with the protagonists, and destabilising deep-rooted concepts of selfhood as singular and unified. The theoretical discussion of the 'Kafkaesque' experience as compelling yet unsettling is complemented and refined by an experiment testing readers' responses to a short story by Kafka. The term 'Kafkaesque realism' denotes Kafka's compelling yet unsettling non-pictorial evocation of perception of the fictional world. Kafkaesque realism falls into the broader category of 'cognitive realism', which provides a framework for analysing fictional texts more generally.

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Silva, Efraim Oscar. „João Gilberto Noll e a subversão do real (representação, deslocamentos e permanência em O quieto animal da esquina e Harmada)“. Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/4733.

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Made available in DSpace on 2016-06-02T20:11:04Z (GMT). No. of bitstreams: 1 6729.pdf: 2480849 bytes, checksum: 5fb2becff0cfcd7181fa782367134acd (MD5) Previous issue date: 2015-03-27
Universidade Federal de Minas Gerais
This master thesis discusses the real s representation on João Gilberto Noll s novels O quieto animal da esquina (1991) and Harmada (1993). Firstly, it focuses on the ways of representing the real in the classic, the modern and the contemporary novel as well as aspects from Realism and Naturalism in the Brazilian literature, emphasizing the existence of a social criticism tradition in this literature. Then, this study deals with structural questions related mainly to the narrative focus, time and space, questioning the last ones also based on some readings on anthropology, psychology and geography. This procedure intends to show that O quieto animal da esquina and Harmada keep formal and thematic features proper to the classic and the modern novel realistic representation. At the same time, they make a shift on this representation by reformulating, creating a tension and subverting themes and narrative instances in order to express, in a singular diction and throughout the time and space immobility of the represented individuals, the disaggregation and the lack of collective ideals that characterize the contemporary Brazilian society.
Esta dissertação discute a representação do real nos romances O quieto animal da esquina (1991) e Harmada (1993), de João Gilberto Noll. Atém-se, a priori, às formas da representação do real no romance clássico, no romance moderno e no romance contemporâneo, assim como em aspectos do Realismo e do Naturalismo na literatura brasileira, enfatizando a existência de uma tradição de crítica social nessa literatura. Num segundo momento, o estudo centra-se em questões de ordem estrutural suscitadas pelos dois romances, relativas principalmente a focalização, tempo e espaço, problematizando as duas últimas a partir, também, de algumas leituras da antropologia, da psicologia e da geografia. Com esse percurso pretendemos mostrar que O quieto animal da esquina e Harmada conservam traços formais e temáticos próprios da representação realista do romance clássico e do romance moderno, ao mesmo tempo em que operam um deslocamento nessa representação, reformulando, tensionando e subvertendo temas e instâncias narrativas. E o fazem para exprimir, numa dicção singular, e por meio da imobilidade espaçotemporal dos sujeitos ali representados, a desagregação e a falta de ideais coletivos que caracterizam a sociedade brasileira contemporânea.

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Lambert, Ian J. „Realism and social science“. Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.278516.

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Paquereau, Marine. „Le réalisme social américain à l'ère postmoderne : (Russell Banks, Raymond Carver, Richard Ford)“. Thesis, Dijon, 2015. http://www.theses.fr/2015DIJOL017/document.

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Cette étude se penche sur les œuvres de Russell Banks, Raymond Carver et Richard Ford, qui ont débuté leur carrière dans les années 1960-1970. À une époque où les milieux académiques s’intéressent davantage à l’autoréflexivité et aux jeux métafictionnels des écrivains postmodernes, les trois auteurs revendiquent, quant à eux, leur appartenance à la tradition réaliste. Dans « Quelques mots sur le minimalisme », John Barth suggère que le retour du réalisme social à partir des années 1970 peut être vu à la fois comme une réaction à la fiction dite « postmoderne » et comme un symptôme du malaise social et économique de l’époque. En effet, Cathedral, Continental Drift et The Sportswriter décrivent, dans un souci de vraisemblance et d’exactitude, la vie quotidienne d’Américains ordinaires malmenés par la politique de Reagan. Cette étude montre que les trois auteurs s’inscrivent dans la tradition du réalisme social, mais qu’ils sont influencés par le contexte postmoderne dans lequel ils écrivent et tiennent compte des problèmes de représentation typiques de cette période. Leurs œuvres sont donc marquées par une tension entre le respect des conventions littéraires propres à la tradition réaliste et la mise en évidence de l’artificialité de l’illusion mimétique, à une époque où la réalité elle-même est vue comme une construction linguistique
His study focuses on the works of Russell Banks, Raymond Carver and Richard Ford. They started writing during the 1960s and 1970s, at a time when the self-reflexivity and metafictional play of postmodernist writers were drawing a lot of critical attention in academic circles. However, they consider themselves to be realist writers. In “A Few Words about Minimalism,” John Barth suggested that the return to realist fiction in the mid-1970s could be both a reaction against so-called “postmodernist” fiction and a symptom of the social and economic unease of the period. Indeed, Cathedral, Continental Drift and The Sportswriter describe in accurate detail the everyday lives of ordinary American men and women during Reagan’s presidency. This study demonstrates that these authors are part of the American realist tradition, but that their strand of social realism also takes into account the postmodern context in which they write, by dealing with problems of representation that are typical of the period. Their works both use and challenge the literary conventions associated with the realist tradition, by underlining the artificiality of mimetic illusion at a time when reality itself is seen as a linguistic construct

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31

Ruan, W. „Arnold Bennett : A study in realism“. Thesis, University of Edinburgh, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373370.

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32

Lai, Wood-yan, und 黎活仁. „"Socialist realism" in China“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31231184.

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Hull, G. T. B. „Moral realism and social criticism“. Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1369567/.

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In many contexts, including multicultural societies and various international settings, ethical disputes arise between parties who do not share an ethical outlook. It can seem impossible for such disputes to be resolved rationally, as the parties in question will generally not take the same sorts of consideration to bear on the matter under dispute. If, however, it could be shown that there are ways of assessing an ethical outlook for correctness, neither merely by checking it for internal coherence, nor simply by assessing it by the standards of a different ethical outlook, this would mean there exist resources allowing at least some such disputes to be resolved rationally. In order to establish whether such resources exist it is necessary to consider what it is to have one ethical outlook rather than another. The existence and applicability of “thick ethical concepts” can form the basis for a defence of moral realism: a realist conception of ethical properties and moral reasons for action, and a cognitivist conception of the mental states which allow an individual (in good cases) to track ethical facts. A fresh understanding of the nature of intentional action which remedies difficulties with orthodox action theory provides additional support for this view. This realist view allows the critical force of two forms of social criticism from the German philosophical tradition to be reassessed. Nietzschean criticism by genealogy can undermine ethical views if their acceptance is shown to have come about in a way which renders continued acceptance irrational. Criticism of reification, pioneered by Lukács, can ground rejection of aspects of an ethical outlook if it is shown to involve systematic misapprehension of intentional actions as mere natural happenings. In both cases, the most faithful interpretation provides a rational resource for neutral arbitration between ethical outlooks in a context of pluralism.

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Kirk, Ned Charles. „Grażyna Bacewicz and social realism /“. Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11372.

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Dobozy, Tamas. „Towards a definition of dirty realism“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56533.pdf.

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Rave, Maria Eugenia B. „Magical Realism and Latin America“. Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/RaveMEB2003.pdf.

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Davies, Sian Martin. „The language of Hardy's fiction : realism and history“. Thesis, Cardiff University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359236.

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Savory, Stephen John. „Artificial realism : form and content in Elizabethan fiction“. Thesis, University of Bradford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236510.

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Forrest, David. „Social Realism : a British art cinema“. Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/10351/.

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Since the 1930s, realist cinema has maintained a consistent but ever-diversifying presence within the heart of British film culture. The broad term of social realism has come to represent numerous examples of films that reflect a range of social environments and issues, in a manner that rejects the artifice and escapism of more classically-oriented narrative models. Yet, there has been a tendency to view such films in the context of what they have to tell us about the issues and themes they invoke, rather than what they say about their art. When we think of the New Wave in France, or Neo-Realism in Italy we think of film movements which reflected their subjects with veracity and conviction, but we also see their products as cultural entities which encourage interpretation on the terms of their authorship, and which demand readings on the basis of their form. We are invited to read the films as we would approach a poem or a painting, as artefacts of social and artistic worth. Despite the continued prevalence of social realism in British cinema, there is no comparable compulsion in our own critical culture. This study seeks to address this imbalance. Beginning with the documentary movement of the 1930s and the realist cinema of wartime, I chart the history and progression of social realism in Britain, covering a wide range of directors such as Ken Loach, Mike Leigh, Alan Clarke and Shane Meadows and a number of film cycles, such as Free Cinema and the British New Wave. The key focus of my analysis lies on the aesthetic and formal constitution of the mode. I seek to highlight hitherto unrealised depths within the textual parameters of British social realism in order to propose its deserved status as a genuine and progressive national art cinema.

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Adams, Jeff. „Documentary graphic novels and social realism“. Oxford Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien Lang, 2003. http://d-nb.info/990541126/04.

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Palmieri, Vanina. „La notion d'insignifiance dans l'œuvre narrative, théâtrale et théorique de Natalia Ginzburg“. Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00932774.

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Nous nous proposons dans cette étude d'analyser l'œuvre narrative, théâtrale et théorique de l'écrivain italien Natalia Ginzburg (1916-1991) au travers de la notion d'insignifiance. Tout en mettant en évidence les ressemblances et les divergences entre ce corpus et des courants littéraires du XXe siècle qui se sont interrogés sur la question du sens de l'œuvre et du monde tels que l'Absurde et le Nouveau Roman, nous cernerons ce que recouvre d'un point de vue axiologique et d'un point de vue sémantique la notion d'insignifiance.Ce corpus produit un effet d'insignifiance grâce à un style et des procédés d'écriture qui tendent à niveler le signifiant et l'insignifiant. Notre objectif principal est de montrer que d'un point de vue axiologique, l'œuvre ne valorise pas l'insignifiant et le petit au détriment du signifiant et du grand. Grâce à " l'understatement ", l'auteur a dissimulé le signifiant (l'Histoire et Dieu) qui réémerge, non seulement intentionnellement de l'écriture, à travers des réseaux de symboles et de récurrences, mais aussi inconsciemment grâce au rythme et à la musicalité spécifiques de ce style. Dans ce système où tout fait sens, le lecteur est appelé à amplifier la portée de ce qui est dit et à expliciter les nombreux indices et références intertextuelles. Par ailleurs, si Ginzburg vise la représentation d'un réel au sein duquel tout aurait une importance égale, c'est parce que signifiant et insignifiant s'équivalent au sein d'une approche totalisatrice du réel qui relève d'une dimension métaphysique influencée par la psychanalyse jungienne et le mysticisme juif.

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Michaux, Marianne. „Entre politique et littérature: les écrivains belges du réel (1850-1880)“. Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212119.

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Howat, Tyler Paul. „Scott Pilgrim's Gaming Reality: An Introduction to Gamer Realism“. University of Dayton / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1343318875.

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Adams, Jennifer. „Magic Realism in Holocaust Literature : Troping the Traumatic Real“. Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521912.

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Lopes, Leanne. „Realism in Russian literature capturing truth and eliciting responses /“. Click here to view, 2010. http://digitalcommons.calpoly.edu/englsp/2/.

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Thesis (B.A.)--California Polytechnic State University, 2010.
Project advisor: Robert Inchausti. Title from PDF title page; viewed on Mar. 24, 2010. Includes bibliographical references. Also available on microfiche.

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Ngara, Kudzayi Munyaradzi. „Imagining the real-magical realism as a post-colonial strategy for narration of the self in Zakes Mda's Ways of dying and the Madonna of Excelsior“. Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_9422_1254822217.

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The thesis examines the role of magical realism as a postcolonial trope in Ways of Dying and The Madonna of Excelsior. It begins by stating that the author uses magical realism as an alternative strategy for self narration in the face of the dominant ideologies of colonialism (apartheid) and nationalism. Chapter One examines the absurd taxonomies of colour that were legislated under apartheid in South Africa and, using ideas of postcolonial deconstruction, locate Toloki and Niki as characters in existing in incongrous circumstances. Chapter Two shows the strategies adopted by Toloki to fashion his own reality as opposed to accepting a place within a predetermined objective reality. Chapter Three examines the examination of sex as a physical act and the gendered rolesof women. The thesis concludes by considering the place and possiblities of Mda's writing in the canon of Southern African Literature in the light of the rich heritage of elements that are magical on the sub-continent of Africa.

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Spear, Keith. „A genetic model of duality in Latin American magical realism /“. View online, 1995. http://repository.eiu.edu/theses/docs/32211998781347.pdf.

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Rourke, Warren Jeremy. „K. Sello Duiker's realism: form, critique, and floating kingdoms“. Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/27551.

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Before drawing together composite elements from his works of novelistic art, as well as his life in writing, the intention of this thesis is to argue that Duiker's realism is an 'authentic' one. Furthermore, Duiker's 'commitment' as an authentic literary realist is to 'articulate' an oppositional world outlook that I am codifying as 'alter-native'. The alter-nativism is expressed not only by the 'interplay' of the 'lumpen' protagonists of the novels but by Duiker himself in the extra-generic marginalia to his short literary career. In order to give 'value' to the contention of this thesis as a whole I will utilize a number of theorists working critically with the relation between language and consciousness, and therefore, as I argue, the 'zero point' of social being.

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Mathews, Peter David 1975. „Strategies of realism : realist fiction and postmodern theory“. Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.

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Brindley, Nicola. „Writing complexity : the American novel and systems realism“. Thesis, Keele University, 2014. http://eprints.keele.ac.uk/3216/.

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Although the relationship between literature and science has been a major focus of research in the last few decades, the influence of complex systems science on recent American fiction has not yet been comprehensively documented. I argue that a significant body of that fiction is systems-aware and thus represents the world as a network of complex systems. In the first section of the thesis, I claim that the origin of systems fiction can be found in the nineteenth-century social novel, which displayed significant knowledge of system function. Despite the narrative challenges posed by the complex, nonlinear structure of systems, contemporary authors somewhat surprisingly turn to a broadly traditional form of realism rather than experimental literary techniques. Motivated by the desire for social engagement, systems realism conceptualises systems as fundamentally ordered and thus narratable, though it acknowledges that this order is frequently inaccessible. In the second section, I engage in a close reading of systems-aware fiction and explore the extent to which novels incorporate the principles and discourse of systems science. I suggest that these novels seek to understand social concerns through analogy and the creation of fictional models which foreground structural homologies between systems. In the third and final section, I argue that systems-awareness is vital to an understanding of recent ‘post-postmodern’ paradigms, and I demonstrate this through an exploration of emerging trends in fiction which are shaped by systems thinking. In particular, I focus upon the emergence of environmental concerns in recent American writing. To explore the extent to which authors have perceived reality as systemic and have engaged with the representational challenges presented by complex systems provides us with new ways of thinking about the novel as a form. For these reasons I suggest that systems realism is central to the contemporary history of the novel.

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