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Karam Ahmadova, Latifa. "REALISM IN NINETEENTH-CENTURY ENGLISH LITERATURE." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 117–20. http://dx.doi.org/10.36719/2663-4619/61/117-120.
Повний текст джерелаАнотація:
In England, realism was formed very quickly, because it appeared immediately after the Enlightenment, and its formation occurred almost simultaneously with the development of Romanticism, which did not hinder the success of the new literary movement. The peculiarity of English literature is that in it romanticism and realism coexisted and enriched each other. Examples include the works of two writers, Elizabeth Gaskell and Charlotte Bronte. However, the discovery and confirmation of realism in English literature is primarily associated with the legacy of Charles Dickens (1812-1870) and William Makepeace Thackeray (1811-1863). The works of Charles Dickens differ not only in the strengthening of the real social moment, but also in the previous realist literature. Dickens has a profoundly negative effect on bourgeois reality. Key words: England, realism, literary trend, bourgeois society, utopia, unjust life, artistic description
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Ananyeva, S. V., and A. K. Kalieva. "From Social Realism to Magic Realism." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 51–56. http://dx.doi.org/10.62119/cils.16.2023.7521.
Повний текст джерелаАнотація:
Entire layers of fiction in retrospective light might escape the attention of modern literary criticism. Russian speaking writers and poets living in Kazakhstan introduce elements of Kazakh culture into their work: these are details of Kazakh life, song culture, and the bright imagery inherent in Kazakh literature and its unique artistic flavor. Regional Russian literature, connected by roots with Slavic literature, contributed to the development and mutual enrichment of literary ties between Kazakhstan and Russia. Already by the beginning of the 1920s, two directions in the approach to the Kazakh theme emerged: a contemplative attitude towards the historical past of the Kazakh people, the desire to idealize antiquity in a traditionally romantic sense, and a progressive perception and coverage of everything connected with the life of the Kazakhs.
Russian-language literature in Kazakhstan has gone from socialist realism to magical realism. It is closely connected with the reality, history and traditions of the ethnic groups of Kazakhstan. Historical and revolutionary themes were developed in the spirit of the dominant ideology. The range of material covered included the period of collectivization before the development of virgin lands and the problems of the scientific and technological revolution. Magical realism gives literary texts a unique originality.
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Susilawati, Elis, Ismah Rahayu, Akifah Humaira Salsabila, and Ahmad Bahtiar. "Realisme Sosial dalam Potret Seorang Komunis Karya Sabar Anantaguna." Stilistika: Jurnal Pendidikan Bahasa dan Sastra 15, no. 1 (January 31, 2022): 122. http://dx.doi.org/10.30651/st.v15i1.8706.
Повний текст джерелаАнотація:
Social Realism in Potret Seorang Komunis by Sabar Anantaguna ABSTRAKPuisi Potret Seorang Komunis karya Sabar Anantaguna telah mendapatkan bentuk dan pengucapan yang tepat sehingga menjadi prestasi yang bagus dalam sastra realisme sosialis karena tidak terlepas dari latar belakang dan ideologi pengarang yang merupakan bagian dari Lekra. Penelitian ini bertujuan untuk membahas prinsip realisme sosial yang menjadi pandangan para pengarang Lekra. Metode analisis yang digunakan dalam penelitian ini adalah metode penelitian deskriptif kualitatif dan teknik interpretatif. Dalam pengolahan data dilakukan tahap pendeskripsian dan penganalisisan. Penelitian ini menggunakan teori sosiologi sastra, teori realisme sosial dan teori struktural. Hasil dari penelitian Realisme Sosial dalam Potret Seorang Komunis Karya sabar Anantaguna terbukti bahwa prinsip realisme sosial yang menjadi pandangan para pengarang Lekra yaitu Lekra memiliki berbagai macam cara yang dilakukan dengan maksud mempertahankan kekuatan komunis, salah satunya melakukan berbagai teror kepada setiap golongan untuk bergabung dengan Lekra. Kata kunci: komunis, puisi, realisme sosial, lekra ABSTRACTThe poem portrait of a communist written by Sabar Anantaguna has obtained the right form and pronunciation. Therefore, it becomes a good achievement in social realism literature because it cannot be separated from the author background and ideology who is part of Lekra This study aims to discuss the social realism principles that becomes the views of the Lekra authors. The method used in this research is descriptif qualitative and note taking techniques. In processing data, the stages of description and data analysis are carried out. This study used sociology literature research, realism social teory and structural teory. The result of the research on social realism in the portrait of a communist by Sabar Anantaguna proves that realism social principle becomes the views of Lekra author, namely Lekra, had various ways that were carried out to maintain communist power, one of which carried out various terrors to every groups in order to join LekraKeyword: communist, poem, social realism, Lekra
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LILI, Tong. "Theory of social realism in modern Chinese literature history: practice and development." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 70–75. http://dx.doi.org/10.17721/1728-242x.2020.26.70-75.
Повний текст джерелаАнотація:
The aim of this paper is to show a way of development of the theory of social realism in China and to reveal an extent of influence of soviet theory of social realism to the literary process in this country in XX century. The article is descriptive by its plan. The object of study is the theory of social realism, and the subject of study is transformations of this theory in Chinese context. The research is based on the next model of periodization of the process of development of the mentioned theory in China: 1) 1933 – 1953 years, when the theory of realism was borrowed and started to gain ground in China; 2) 1953 – 1958 years, when Chinese literary critics had reconsidered the literature of "May 4th" Movement (1919) from the social realism point of view; 3) 1958 – 1980 years, when "cultural revolution" took place and the term "social realism" had got out of use from Chinese literary critic; and 4) 1980 year – till now, when revival of interest to the classic form of realism as the method of writing occurred. In addition to this, most important events or contentious issues for each mentioned period were underlined in the paper. In particular, it was recognized, that the most important event for Chinese literary circles during the first period was the Mao Zedong`s speech in Yan`an city in 1942; because since then, the theory of socialist realism had officially become the key method of literary writings in China, with works of soviet literature, based on it, as a main pattern. As for the second period, it is stated, that considering the main representative of the "May 4th" literature Lu Xun as a social realist is a matter of opinion, lacked sufficient arguments. Speaking about the third period, it is underlined, that the shift from the social realism to the mix of revolutionary romanticism and revolutionary realism occurred in method orientation during this period, with the last setting dominated till the end of the "cultural revolution". About fourth period it is stressed, that the interest of writers returned to the classical realism as a method of writing during this period. Then, the next features of the theory of socialist realism in the Chinese context were determined as a result of this research: an intention to estimate the described reality, clearly explicate the essence of the victory of socialist revolution and propagate the spirit of fight for the better future among the readers. Thus, it is noted in conclusions to the article, that socialist realism in China in the XX century went through raise and decline of theoretical interest during the process of adaptation to the new context, and finally gave way to the classical realism. So, the new wave of interest to the letter, in the field of theory in particular, is expected in future.
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Manhas, Sumedha. "Realism through 21st Century Eyes." International Journal of English Literature and Social Sciences 8, no. 4 (2023): 282–89. http://dx.doi.org/10.22161/ijels.84.46.
Повний текст джерелаАнотація:
Since the mid-19th century, a new form of literature took birth that rejected artificiality and presented the conventional in fresh yet insightful ways. Realist writers took inspiration from works of artists such as Gustave Courbet who approached the present realities of contemporary society and its social, economic, and political aspects. They aimed to portray their characters and circumstances that could be relatable to the reader, rather than relying on romanticized portrayals. This shift in literary representation aligned with Courbet's belief in presenting the unvarnished truth, devoid of any embellishment which paved the way for an unfiltered representation of reality in various artistic forms. These writers employed detailed observations and incorporated elements such as social customs, dialects, etc to provide a more authentic representation and enrich a reader’s experience. Realist literature exposes social injustices and inequalities while championing the importance of individual perspectives and depicting nuanced human conditions. Through a more socially engaged form of storytelling, it allows subsequent generations of writers to delve into unexplored areas and find their stories. Through this study, I identify the message and societal settings of various years by understanding the theme of stories written by famous realist writers, unveiling the hidden metaphors, symbols and social questions that it raises. Along with addressing the significance of realism, this paper also elaborates upon how the movement catalyzed a change in narration techniques and theme dynamics. This paper accentuates the existing relevance of realism within the tapestry of literature.
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Potolsky, Matthew. "Decadence and Realism." Victorian Literature and Culture 49, no. 4 (2021): 563–82. http://dx.doi.org/10.1017/s1060150320000248.
Повний текст джерелаАнотація:
This essay proposes a new understanding of the widely recognized disdain for realism and the realist novel among decadent writers, a disdain most critics have interpreted as a protomodernist celebration of artifice. Focusing on Oscar Wilde's dialogue “The Decay of Lying,” the essay argues instead that decadent antirealism is antimodern, embodying a repudiation of contemporary society. Decadent writers regard realism not as hidebound and traditional, as twentieth-century theorists would have it, but as terrifyingly modern. Wilde looks back to neoclassical theories of mimesis and classical Republican political theory to imagine a different, older world, one in which art improves upon brute reality and in which the artist stands apart from the social forces that realist novels make central to their literary universes.
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Garagyezova, Elnara. "Literature Movements in Modern Azerbaijani Literature: After Socialist Realism." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 287–90. http://dx.doi.org/10.62119/cils.16.2023.7560.
Повний текст джерелаАнотація:
Social realism entered literary studies as a trend distinguished by its spatial limitation and political-authoritarian origin among the literary trends of the 20th century. The political authoritarian origin has led to the trend becoming one of the main attributes of the ideology of a certain, closed political regime and being associated with that regime. However, since the movement of social realism originated from a political source, not a literary one, it was created on the basis of a plan, in the form of a project, and the end of the regime resulted in the sudden deletion of the movement from the literary agenda before it completely passed the extinction phase.
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Randall Knoper. "Literature for Social Change: From Realism to Modernism." MFS Modern Fiction Studies 54, no. 2 (2008): 413–22. http://dx.doi.org/10.1353/mfs.0.0001.
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Andalas, Maharani Intan. "NARASI REALISME MAGIS DALAM PUISI “GONG” KARYA NIRWAN DEWANTO." GENTA BAHTERA: Jurnal Ilmiah Kebahasaan dan Kesastraan 3, no. 2 (December 1, 2017): 147–59. http://dx.doi.org/10.47269/gb.v3i2.12.
Повний текст джерелаАнотація:
AbstrakPengaruh kesusastraan global berupa realisme magis ditemukan dalam sastra Indonesia, baik dalam prosa maupun puisi. Salah satu indikasi karya realisme magis adalah dihadirkannya mitos dalam konteks masa kini. Masalah yang dibahas dalam penelitian ini adalah bagaimana yang magis dan yang nyata dinarasikan berdasarkan elemen-elemen yang menjadi karakteristik realisme magis dalam puisi “Gong” serta hubungan antarelemen dan kadar realisme magis di dalamnya. Penelitian ini menggunakan teori naratif realisme magis Wendy B. Faris. Metode penelitian didasarkan pada teori berupa penentuan data dan pengumpulan data yang meliputi klasifikasi data menjadi dua kategori utama, yaitu data magis dan data riil. Dalam hasil dan pembahasan, dibuktikan bahwa puisi “Gong” mengandung narasi realisme magis atas mitos Calon Arang melalui lima karakteristik realisme magis yang terdapat di dalamnya. Selain itu, terdapat hubungan relasional di antara elemen yang menjadi karakteristik tersebut. Kadar realisme magis dilihat dari tokoh dan peristiwa dapat dikatakan cukup kuat. Puisi ini menggarisbawahi isu perempuan dan akhir patriaki. Isu tersebut berkait dengan konteks posmodernisme. Penggunaan mitos dalam puisi memperlihatkan cara pandang posmodernisme yang tidak terlepas dari Jakarta sebagai konteks sosial penyair. Kata kunci: mitos, narasi, realisme, magis, karakteristik AbstractThe impact of global literature of magical realism is found in Indonesia literature in both prose and poetry. One indication of the work of magical realism is the representation of myth in the contemporary context. The problem discussed in this research are the narration of the magic and the real in Gong poem and the connection between elements, also the level of magical realism in it. This research used narrative theory of magical realism by Wendy B Faris. This research method was based on magical realism theory in the form of data determination and data collection which included the classification into two categories namely magical data and real data. In result and discussion proved that Gong poem contained a narrative of magical realism upon Calon Arang myth through five characteristic of magical realism in it beside the relation among the elements. Magical realism level seen from character and events was strong enough. This poem underlines the issues of women and the end of patriarchy. The issues are related with postmodernism context. The myths in poem shows postmodernism point of view that can’t be separate from Jakarta as social context. Keywords: myth, narrative, magical, realism, characteristic
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Kendra, Milan. "LITERARY REALISM IN THE SHAPING OF SLOVAK CULTURE." Journal of Education Culture and Society 12, no. 2 (September 25, 2021): 455–68. http://dx.doi.org/10.15503/jecs2021.2.455.468.
Повний текст джерелаАнотація:
Aim. The aim of the study is to clarify the internal complexity of the Slovak literary realist discourse and its diverse relations to the heterogeneous artistic, cultural and ideological discourses of the last third of the 19th century. Attention is focused on the appropriation and adaptation of stimuli from other social systems, as well as on the specific literary operations that modify literary realism as an artistic discourse constructing an intelligible world in a cultural sense. Methods. As a theoretical concept, realism is defined as a type of representation or representation technique associated with a set of textual conventions, complex referential and self-referential figures. As a literary-historical discourse and event situated in a particular moment of history, realism is governed by period-specific principles (operating in the mechanism of culture) of selection, evaluating and connecting the phenomena of reality. Only with this dichotomy the multiplicity of paradoxes, syncretism and heterogeneous character of Slovak literary realism can be captured. The theory of social systems (N. Luhmann) allows for a more complex view of realist literature as an autopoietic system in the context of modern society as a system of communications differentiated into a network of separate social subsystems interrelated by the medium of language. Finally, the theory of fictional worlds proposes selective and formative operations that explicate the construction of realist fictional world and the stratification of its functions (B. Fořt). Results. Among the configurational relations of Slovak literary realism, the concept of ideal realism is highlighted as a model of literary aesthetics that flexibly interacted with the discourse of national revival to provide an adequate expression of contemporary Slovak cultural and national interests. Two literary-aesthetic modifications of ideal realism (creative and voluntarist, originated by Svetozár Hurban Vajanský, and deterministic, represented in the prose works of Martin Kukučín) are analysed in detail in order to show the inner complexity of the literary-realist discourse and to manifest its semantic multidimensionality in the 1880s.
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Abdul Aziz, Sohaimi, and Rohaya Md Ali. "Adaptation of Hikayat Hang Tuah in Children's Literature." Malay Literature 25, no. 2 (December 8, 2012): 261–85. http://dx.doi.org/10.37052/ml.25(2)no6.
Повний текст джерелаАнотація:
Hang Tuah is a character in the epic Hikayat Hang Tuah which has become the pride of Malay Literature. The epic, and especially the protagonist of the epic, Hang Tuah, have been much discussed. This is also the case where children’s literature is concerned, as the Hikayat Hang Tuah has attracted the attention of Malaysian authors to produce adaptations of stories from this epic. The stories linked to the character of Hang Tuah contain many elements of fantasy which makes them suitable for adaptation as children’s literature. Establishing what types of adaptations have been made of these stories forms the core of this study. Also, the acceptance of Hang Tuah as a hero of the Malays has been challenged by movements, especially in social realism. As a result, the character of Hang Jebat has become accepted as a heroic figure instead. However, whether or not social realism has influenced adaptations done for children, and whether there has been a shift in the figure of hero as a result of social realism are still unanswered questions which this study addresses. This study has found that adaptations of stories about Hang Tuah for children are mainly partial adaptations, and that the stories chosen for adaptation are especially those containing strong elements of fantasy. Illustrations are also an element in these partial adaptations. The study has found no trace of the influence of social realism in the adaptations. Hang Tuah is still depicted as a heroic figure while Hang Jebat continues to be depicted as the traitor. Keywords: children’s literature, Hang Tuah, adaptations, social realism, illustrations
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Howard, June, and Amy Kaplan. "The Social Construction of American Realism." American Literature 62, no. 1 (March 1990): 123. http://dx.doi.org/10.2307/2926799.
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Elder-Vass, Dave. "Of Babies and Bathwater. A Review of Tuukka Kaidesoja Naturalizing Critical Realist Social Ontology." Journal of Social Ontology 1, no. 2 (September 1, 2015): 327–31. http://dx.doi.org/10.1515/jso-2014-0029.
Повний текст джерелаАнотація:
AbstractTuukka Kaidesoja’s new book is a welcome addition to the literature on critical realism. He shows good judgement in defending Roy Bhaskar’s argument for causal powers while criticising its framing as a transcendental argument. In criticising Bhaskar’s concept of a real-but-not-actual ontological domain, however, he discards an essential element of a realist ontology, even a naturalised one: a recognition of the transfactual aspect of causal power.
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Galgani, Jaime. "Recepción de la narrativa social europea en Chile (1880-1920)." Literatura y Lingüística, no. 22 (May 27, 2015): 15. http://dx.doi.org/10.29344/0717621x.22.120.
Повний текст джерелаАнотація:
ResumenDurante la década 1880-1890, se dieron fenómenos importantes que impulsaron el cambio de paradigma en el mercado del consumo literario y en la producción narrativa. Uno de ellos fue la llegada, lectura y recepción –en revistas y cenáculos– de la obra de escritores europeos vinculados al realismo y al naturalismo principalmente. Dichas escuelas, creadoras de una estética narrativa propia, son apropiadas en Chile de tal manera que generaron un fenómeno único de producción literaria que tiene su motivación fundamental en la cuestión social como motor del relato.Palabras clave: novela social, cuestión social, naturalismo, realismo, recepción, apropiación AbstractThroughout the 1880-1890 decade, a series of important events occurred that promoted a paradigm shift in the market of literary consumption and narrative production. One of those was the arrival, reading and reception -in magazines and inner circles- of the work of European authors linked mainly to realism and naturalism. These schools, creators of a unique aesthetics narrative, are appropriated here in Chile in such a way that they caused a distinctive phenomenon of literary production that finds a fundamental motivation in social aspects as the driven-force of story.Key words: social novel, social aspects, naturalism, realism, reception, appropriation
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Huang, Huayi. "Reflections from Research Practice." Exchanges: The Interdisciplinary Research Journal 10, no. 1 (October 27, 2022): 57–93. http://dx.doi.org/10.31273/eirj.v10i1.815.
Повний текст джерелаАнотація:
Scientific and Critical Realism attracts increasing attention as a new paradigm of explanation, for many empirical knowledge disciplines. This new approach to explaining our social and material worlds is underpinned by its ‘depth ontology’, encompassing the reality of our senses to the more meta-physical. In this article we introduce and explore this ‘depth ontology’, through rich illustration of these alternative ideas about reality in context of our everyday and early career research experiences. We explain and clarify the realist compromise - between its positivist and constructivist ancestry. We then trace the flow of these philosophical premises into conceptual variation evident around the realist sense of ‘mechanism’, in current evaluation research literature. To further clarify its possible meanings, this synthesis contextualises past and current realist thinking in light of historical ideas of change from Aristotle and Plato, as improvement and degeneration. This article offers a new view on realism and its foundations then, to aid readers’ own understandings and explorations of the natural and social reasons for existence and its changes, sitting in the depths of the universe of the realist.
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Rodríguez Chávez, Iván. "El tungsteno como novela antiimperialista." Archivo Vallejo 1, no. 1 (November 29, 2018): 33. http://dx.doi.org/10.34092/av.v1i1.18.
Повний текст джерелаАнотація:
En este artículo se estudia El tungsteno como literatura política analizando su coherencia entre la intención de denuncia y propaganda con la estructura y lenguaje que le imprimen una entidad estética autónoma en relación con toda la producción de Vallejo y que puede ser ubicada dentro de las clasificaciones convencionales como una novela de tesis, con características del realismo social. Representa su capacidad expresiva y comunicativa, diseñando una diversidad de estilos que se inscriben dentro de sus ideales de libertad creativa y compromiso como escritor.ABSTRACTThis paper explores El tungsteno (‘The Tungsten’) as political literature; it analyzes the coherence between the attempt to complain and divulge with the structure and language that make it an autonomous aesthetic entity in relation to all its production placing it inside of conventional classifications as a thesis novel with characteristics of social realism. It represents its expressive and communicative ability, designing a diversity of styles which fall within the idea of creative freedom and commitment as a writer.Keywords: Thesis novel, anti–imperialism, social realism, Indians, officials, professionals, tradesmen, Corporation, State.
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Chilton, Myles. "Authenticity and Atwood’s ‘Scientific Turn’." Humanities 11, no. 6 (October 29, 2022): 134. http://dx.doi.org/10.3390/h11060134.
Повний текст джерелаАнотація:
Margaret Atwood’s science/speculative dystopian MaddAddam trilogy—Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013)—opens up questions about how genre-mixing indexes and probes interrelated notions of authenticity. This focus is prompted by the simple question of why Atwood, having established worldwide renown for realist novels of socio-historical authenticity, switched to blending realism with science/speculative fiction. Through analyzing how the trilogy departs from realism, while never truly embracing SF, the paper argues that while the realist novel may offer the strongest representations of authentic psychological states, larger questions of epistemic authority and the state of our world demand a literature that authenticates knowledge. The MaddAddam trilogy challenges the notion that realism’s social, existential and moral concerns are more authentic when supported with a scientific explanatory logic. Authenticity is thus found in a negotiation between Truth and whether to trust in the locations (social and geographical, literary and literal) of knowledge.
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Hwang, Hyeryung. "Revisiting the Realism/Modernism Debate: Marxist Thought and the Ethics of Representation." Criticism and Theory Society of Korea 29, no. 1 (February 29, 2024): 293–315. http://dx.doi.org/10.19116/theory.2024.29.1.293.
Повний текст джерелаАнотація:
In Utopian Generations: The Political Horizon of Twentieth-Century Literature (2005), Nicholas Brown remarks on the difference between realism and modernism as one that expresses a conflict between “a responsibility to historical truth” and “a fidelity to the formal energies released by the emergence of a form of subjectivity liberated (or alienated) from historical consciousness” (182). This raises several issues that might be useful for us to develop since, despite the emergence of diverse critical lines of thought since the development of postwar critical theory, realism and modernism have continued to affect the intricately interconnected modes of philosophical and political attitudes towards the relation between aesthetics and politics. Marxist thinkers, Georg Lukács, Theodor Adorno, and Fredric Jameson, among others, explored the dichotomy of realism and modernism in terms of the dialectic of form and content. While they shared that there is an essentially inextricable relationship between literature and the underlying contradictions of our society, how they described the aesthetic expression of social contradictions was distinct, leaving the important question unanswered: “what does it mean to be ‘real’?” In this paper, I revisit the realism-modernism debate to explore this fundamental antagonism to see how these thinkers help clarify the following issues: what is realist form, and what are its features? How does realism negotiate the history of aesthetic forms? Are “formal energies,” as Brown puts it, by themselves an attempt to be free of “historical consciousness” or ones that, as form, highlight historical consciousness? And finally, how does realist form make political action possible? These questions also help us see what it means that the aesthetic choices of an older realism have been persistently replicated after modernism in the global periphery.
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Jasim, Dr Mohammed N. "A Look at Realism and its Reflection In the poetry of Contemporary Poets in Iran and Iraq." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 3 (September 3, 2019): 25–52. http://dx.doi.org/10.36473/ujhss.v58i3.910.
Повний текст джерелаАнотація:
Realism attempts to discovering and expressing reality and replacing reality by imagination, dreaming, and legends, the realist writer uses his genius and modernity instead of a fictitious one in observing and expressing details. The school of realism is one of the most fundamental art schools that emerged in France in the mid-nineteenth century and expanded rapidly. Avoiding the imagination and inner inspirations of the romantics and addressing the realities of the universe outsidewere the most basic principles of this school that poets, writers and artists adopted and followed. In Iran and Iraq, poets and writers focused on social issues and the decline and backwardness of their own countries.The literature of each nation reflects the political and social conditions of the nation. Given that the socioeconomic conditions of Iran and Iraq have been affected by the same events in contemporary times, the thoughts and the literary themes of these two literatures are largely similar. Among the prominent contemporary poets of Iran and Iraq are: Nima Youshij and Siavash Kasraei in Iran, Badr Shakir al-Sayyab and Abdul Wahhab al-Bayati in Iraq, pointed out that intense tendencies towards freedom and support of workers and farmers have brought the situation to the attention of the country. This studyis limited to studying four poets (Nima Youshij, Siavash Kasraei, Badr shaker al-Sayyab and Abdul Wahhab al-Bayati). By analyzing realism in the poetry of those four poets, each writer believes in particular realism, describing and expressing the social, political, and the describing the nature from the language of each poet in his own way. In his realistic description, each poet expresses a socio-political dimension more prominently
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Tanner, Tony, and Amy Kaplan. "The Social Construction of American Realism." Modern Language Review 86, no. 3 (July 1991): 678. http://dx.doi.org/10.2307/3731031.
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Menton, Seymour, and Maria-Elena Angulo. "Magic Realism. Social Context and Discourse." Hispanic Review 65, no. 2 (1997): 256. http://dx.doi.org/10.2307/474423.
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Menke, Richard. "Telegraphic Realism: Henry James's In the Cage." PMLA/Publications of the Modern Language Association of America 115, no. 5 (October 2000): 975–90. http://dx.doi.org/10.2307/463265.
Повний текст джерелаАнотація:
In setting his 1898 tale In the Cage in a telegraph office, Henry James was adapting and investigating a metaphor that earlier novelists had used for the workings of fiction. As invoked by writers such as Elizabeth Gaskell and Charles Dickens, the idealized image of the electric telegraph hints at some of the formal and ideological properties of Victorian realism. With In the Cage James proves to be more alert than such predecessors not only to the social and technological mechanics of telegraphy but also to the significance of mediation—in telegraphy as well as in realist fiction. Analyzing the conjunction this essay calls “telegraphic realism” indicates the ways in which a medium's imaginative possibilities may change over time and suggests the connections between the histories of media and of literature.
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Vidal, Fernando. "Accuracy, Authenticity, Fidelity: Aesthetic Realism, the “Deficit Model,” and the Public Understanding of Science." Science in Context 31, no. 1 (March 2018): 129–53. http://dx.doi.org/10.1017/s0269889718000078.
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Argument“Deficit model” designates an outlook on the public understanding and communication of science that emphasizes scientific illiteracy and the need to educate the public. Though criticized, it is still widespread, especially among scientists. Its persistence is due not only to factors ranging from scientists’ training to policy design, but also to the continuance of realism as an aesthetic criterion. This article examines the link between realism and the deficit model through discussions of neurology and psychiatry in fiction film, as well as through debates about historical movies and the cinematic adaptation of literature. It shows that different values and criteria tend to dominate the realist stance in different domains:accuracyfor movies concerning neurology and psychiatry,authenticityfor the historical film, andfidelityfor adaptations of literature. Finally, contrary to the deficit model, it argues that the cinema is better characterized by a surplus of meaning than by informational shortcomings.
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Nabers, Deak. "The Novel and the Police Power." Nineteenth-Century Literature 64, no. 1 (June 1, 2009): 76–107. http://dx.doi.org/10.1525/ncl.2009.64.1.76.
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The realist novel has long been understood in terms of its representation of the diffusion of political agency into social and economic practices. This essay claims that realism, at least as it emerged in the work of late-nineteenth-century American writers such as William Dean Howells, does not record this process of diffusion so much as anatomize it, and that novels like A Hazard of New Fortunes (1890) participated in a widespread and multivalent effort, in American law and literature alike, to specify the proper boundaries of the state's authority in relation other increasingly visible forms of social and economic coercion.
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Rosiek, Jerry Lee, and Jimmy Snyder. "Narrative Inquiry and New Materialism: Stories as (Not Necessarily Benign) Agents." Qualitative Inquiry 26, no. 10 (August 10, 2018): 1151–62. http://dx.doi.org/10.1177/1077800418784326.
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Agential realism—the idea that it makes sense to view the world as being composed of various forms of protean nonhuman agency—has been a topic of discussion for many social science scholars in recent years. This increase of interest in agent ontologies can be attributed to the new feminist materialist movement in the philosophy of science literature. However, agent ontologies also are found in Indigenous studies literature and in Peircean pragmatism. These latter sources are also a part of the current methodological conversation about nonhuman agency. This article explores the connections between agential realist philosophy and social science research that employs narrative forms of analysis and representation. The goal is to assist narrative researchers in avoiding oversimplification by tracing out different strands in these literatures and mapping out points of connection and disconnection in detail. Intersections that hold the promise of complementary development are highlighted.
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Tan, Li Wen Jessica. "Unfinished Revolutions." Prism 18, no. 2 (October 1, 2021): 479–500. http://dx.doi.org/10.1215/25783491-9290688.
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Abstract This article examines Wei Beihua's modernist works, which have receded into the shadows of Sinophone Malayan (Mahua) literary history, in relation to Indonesian poet Chairil Anwar, to excavate a neglected route of transculturation at the height of Southeast Asia's nationalist movements during the 1950s. Unlike Anwar's modernist poems that thrive in Indonesia, Wei Beihua's works were considered outliers during a period when realist literature was deemed an effective tool for social mobilization in postwar Malaya. Nonetheless, it is critical for us to recognize that Wei Beihua did not reject realism or underestimate the role of literature in nation building. This article argues that Wei Beihua's idea of modernism is premised on an artist's affective and self-reflexive engagement with realism, which gives rise to a dialectical tension. The tension between his advocacy of an artist's individualism, which is inspired by Anwar, and the impetus of responding to nationalism manifests in his meta-fictional short stories that reflect on the varying motivations behind art creation. His works offer a productive perspective to reconsider the modernist artist's role during revolution and “the limits of realism” of revolutionary works when art was deemed integral to nation building in postwar Southeast Asia.
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Smethurst, James Edward. "Rethinking Social Realism: African American Art and Literature, 1930-1953 (review)." MFS Modern Fiction Studies 52, no. 3 (2006): 725–27. http://dx.doi.org/10.1353/mfs.2006.0075.
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Syromiatnikov, Oleg. "DOSTOEVSKY’S REALISM: CONTINUATION OF THE DISPUTE." Проблемы исторической поэтики 21, no. 1 (February 2023): 140–61. http://dx.doi.org/10.15393/j9.art.2023.12042.
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The aim of the article is to determine the connection between F. M. Dostoevsky’s creative work with the phenomenon denoted in the modern literary studies by the terms of “spiritual realism,” “Christian realism,” “religious realism,” “symbolic realism,” etc. The writer worked in the genre of realism, he called himself a realist, and it is easy to notice the features of social, psychological, philosophical and even political realism in his works. However, at the same time, there was always something else in them that was more significant and added unique originality to the writer’s works. Many modern researchers believe that the foundations of this phenomenon lie in the common cultural European Christian tradition. Having studied various research approaches with the method of comparative analysis, author of the article comes to the conclusion that the most accurate term denoting the features of Dostoevsky’s artistic method is “Orthodox realism.” The writer himself called his method “complete realism,” “realism in the highest sense,” absolutely rejecting the label of a writer-psychologist. This circumstance has attracted the attention of researchers more than once. While studying their points of view and analyzing Dostoevsky’s own views on the goals and objectives of artistic creativity, the author of the article concludes that “realism in the highest sense” is based on the principle of transforming the Orthodox view of the world into artistic imagery. Many features of this principle can be seen throughout Russian literature, but it was Dostoevsky who brought those features together, developed and strengthened the most productive of them, removed certain incidental and unsuccessful ones and created Orthodox realism as a full-fledged artistic method. Based on it, the novels of 1866–1890s and “The Writer’s Diary” were written.
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Syromyatnikov, Oleg I. "Orthodox Realism in the Works by Fyodor Dostoevsky." Вестник Пермского университета. Российская и зарубежная филология 15, no. 2 (2023): 131–40. http://dx.doi.org/10.17072/2073-6681-2023-2-131-140.
Повний текст джерелаАнотація:
The article aims to define the artistic method of F.M. Dostoevsky in the light of new ideas about the ideological content and poetics of the writer’s works. As is known, Dostoevsky worked in the gen-re of realism, he called himself a realist, and it is easy to notice the features of social, psychological, philo-sophical, and even political realism in his writings. At the same time, there was always something else in them, something more significant and adding unique originality to the writer’s works. A number of modern researchers (I.B. Avanesyan, A.A.Alekseev, V.A.Voropaev, M.M.Dunaev, V.N.Zakharov, Yu.V.Le-bedev, A.M.Lyubomudrov, L.I.Saraskina, K.A.Stepanyan, A.N.Uzhankov, and others) consider this phenomenon to be grounded in the cultural European Christian tradition. The results of the study of Dostoev-sky’s works by means of historical-cultural and comparative-historical methods generally confirm this as-sumption, but it needs significant clarification. Using the comparative typological method, the author of the article explores various points of view on Dostoevsky’s poetics, systematizes the results obtained on the ba-sis of an original methodological approach, and comes to the conclusion that the most precise term convey-ing the features of the writer’s artistic method is ‘Orthodox realism’.It is known that Dostoevsky called his method ‘complete realism’, ‘realism in the highest sense’, ab-solutely rejecting the label of a writer-psychologist. This circumstance has repeatedly attracted the attention of researchers. While studying various concepts and analyzing Dostoevsky’s own views on the goals and objectives of artistic creativity, the author of the article comes to the conclusion that ‘realism in the highest sense’ is based on the principle of transforming the Orthodox view of the world into artistic imagery –‘Or-thodox realism’. It has been the main principle of Russian literature since its appearance, having countless embodiments in the works of Russian writers. Dostoevsky creatively rethought the experience of European and Russian Christian literature and raised the method of Orthodox realism to an unattainable height.
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Misiri, Laureta. "Myth and Antimyth in the Fictions of Socialist Realism in Albania." European Journal of Language and Literature 2, no. 1 (August 30, 2015): 95. http://dx.doi.org/10.26417/ejls.v2i1.p95-98.
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The process of formation of socialist realism in literary creativity goes hand in hand with the crystallization of social awareness "down", within the psychology of the masses and "up", with the strengthening ideological party institutes of state. Endless discourses among the circles of artists on this plane, so competent is the new artistic unity as "the soc-realistic method" that obtained the status of state doctrine. In 1936 the Soviet government undertook measures to implement the undisputed total soc-realistic method all the arts in the USSR. Socialist realism becomes the dominant term in the science of Soviet literature and art sciences from the thirties to mark "basic approach" which "requires the artist to introduce the concrete historical truth of reality in its revolutionary development", so the literature had to be created with the task of educating the workers in the spirit of socialism. The notion aesthetic "realism" was related to defining "socialist", brought the practice of literature and arts submission to ideology. Demands of using the socialist realism techniques in fact became an obstacle, an anxiety to halt creativity that for years was avoid against the spiritual life of the people, so the writers created in the majority mediokre works of conformist who became propaganda trumpets. In the late ‘80s realism becomes literary and historical term, but in the embryonic stage of many characteristics, the soc-realism literature is determined as "heroic realism", "monumental", "social", "biased" and as if the category of “folk" is the basic principle of a work of art where the mythical watches in the mirror its other part of the medal.
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Piekarska, Agnieszka. "Struggle of Masurians with Polish Identity After the Second World War. Socialist Realist Literature Describing the nationality verification and surveying campaign." Prace Literaturoznawcze, no. 7 (February 7, 2020): 185–206. http://dx.doi.org/10.31648/pl.4718.
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This article presents the history of Masuria created by the propaganda of socialist realism. Itsaim is to show how writers presented the nationality-based verification campaign and opinion pollsin the area of former East Prussia. The author attempts to prove that social realist writers describedthe above-mentioned action as “discovering” Polish identity by the inhabitants of Masuria. In orderto do that, four stories included in the anthology Ziemia serdecznie znajoma, published in 1954, areanalysed to show that strong pressure was exerted on the Masurians to confirm their Polish nationality.
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Stepanov, Andrei D. "The transitional era in literature and the term realism (1840–1850s)." Vestnik of Saint Petersburg University. Language and Literature 19, no. 3 (2022): 497–514. http://dx.doi.org/10.21638/spbu09.2022.306.
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The article describes main milestones of the emergence and approval of the literary term realism. The term was filled with new content in French literature and criticism in the 1840s, and in 1849 first appeared in Russia in the article by Pavel Annenkov. The appearance of the term contributed to the transfer to Russian soil of the entire associative halo of the Realistic school, as it was understood in France at that time. The study of lagging autoreflection allows one to put forward the thesis about the atheoretical nature of realism. The means of realistic self-knowledge were not treatises, but critical articles on modern literature, where the concept of realism served as a means of journalistic polemics. The writers ranked among the great realists today did not classify themselves as such. Realists were considered anti-romantic-minded authors of low origin (raznochintsy), depicting familiar details of low reality. Subsequently, the fundamental thesis of the social determination of characters and artistic typification as asign of realistic art, which was subsequently consolidated, remained peripheral to the autoreflection of realism at the first stage of its development. All this determines the complexity of the conceptualization of this literary trend. In Russia the situation is more complicated because of the still-persisting influence of Soviet literary criticism, which sought to extend the unhistorically understood realism to the entire history of literature and turn it into a telos of literary development. Overcoming this approach and returning to the historical comprehension of realism is one of the urgent tasks of the history of literature.
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Angelosanto, Matthew. "Legal Realism and the Predictability of Judicial Decisions." Interdisciplinary Studies in Society, Law, and Politics 2, no. 3 (2023): 4–14. http://dx.doi.org/10.61838/kman.isslp.2.3.2.
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This review article explores the profound implications of legal realism on the predictability of judicial decisions, challenging the conventional notion that legal outcomes can be precisely anticipated through the application of statutes and precedents alone. Legal realism, advocating for a more nuanced understanding of the law, emphasizes the significance of external, social, and psychological factors in shaping judicial behavior. Through a comprehensive analysis of the literature, this article explores the origins and development of legal realism, its theoretical underpinnings, and the debates surrounding its contrast with legal formalism. It further examines the challenges in predicting judicial decisions, highlighting the influence of external factors, the intricacies of legal reasoning and discretion, and the inherent complexity and uncertainty of the law. The implications of legal realism extend to legal education, practice, policy, and reform, advocating for an approach that integrates practical skills, embraces interdisciplinary insights, and fosters a reflective and context-aware practice of law. The review concludes with a discussion on future directions for research and exploration within the legal realist framework, underscoring the importance of empirical studies, technological advancements, and interdisciplinary approaches in enriching our understanding of the law and promoting justice and fairness. This article contributes to the ongoing dialogue on the impact of legal realism, offering insights that are essential for scholars, practitioners, and policymakers in navigating the complexities of modern legal systems.
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C, Keerthana. "Realism in Aagayathuku Adutha Veedu Poem Collection." International Research Journal of Tamil 4, S-7 (July 28, 2022): 126–31. http://dx.doi.org/10.34256/irjt22s719.
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Among the languages that have survived the flood of time, Tamil is a language that is alive and well. There are thousands of literatures and grammar in the Tamil language that deal with humanities. Various works are published in the world of literature from Sangam literature to contemporary literature. Literature of various kinds reflects the life of human society. The creativity and personality of the creators are evident in the work. A community is an area where people live together. The current trend is to highlight the hardships and injustices caused to the people who live and work in society in their literature. This society and justice explains the social woes where justice is denied, crimes are concealed and domination prevails. The trend of the society that wants to recover from slavery and come out is also explored. The theme of inequality is to emphasize that the best culture is to live with equality without discrimination of caste, religion, high or low. It is the government that leads the people, the government that gives pain to the people by doing wrong, and the state of taking power by beating each other for the position, holding the seat and taking power is Realism. This article also examines the Realism of the literary world where the proud literary men are singing their praises.
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Parker, Ben. "The Order of Forms: Realism, Formalism, and Social Space." Genre 53, no. 3 (December 1, 2020): 265–70. http://dx.doi.org/10.1215/00166928-8847240.
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Jordan, Barry. "At the Margins of Social Realism: The Early Goytisolo." Symposium: A Quarterly Journal in Modern Literatures 44, no. 2 (June 1990): 88–101. http://dx.doi.org/10.1080/00397709.1990.10733702.
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Dalley, Hamish. "The Meaning of Settler Realism: (De)Mystifying Frontiers in the Postcolonial Historical Novel." Novel 51, no. 3 (November 1, 2018): 461–81. http://dx.doi.org/10.1215/00295132-7086499.
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Abstract Dominant theorizations of settler colonialism identify it as a social form characterized by a problem with historical narration: because the existence of settler communities depends on the dispossession of indigenous peoples, settlers find themselves trapped by the need both to confront and to disavow these origins. How might this problem affect the aesthetics of the realist novel? This article argues that the historical novels produced in places like Australia and New Zealand constitute a distinctive variant of literary realism inflected by the ideological tensions of settler colonialism. Approaching the novel from the perspective of settler colonialism offers new ways to consider classic theories of realism and, in particular, reframes Georg Lukács's concept of reification—and the critical distinction between realism and naturalism he derived from it—as an unexpectedly useful tool for analyzing postcolonial literatures. Doing so, however, requires us to jettison Lukács's progressive historicism in favor of a model of literary history shaped by uneven temporalities and a fundamental disjunction between the historical perspectives of settler and nonsettler communities—thus complicating our narratives of the development of the novel genre. This argument is illustrated through an extended analysis of two of the most significant young novelists to engage recently with issues of settler colonial history: Eleanor Catton of New Zealand and Rohan Wilson of Australia.
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Widijanto, Tjahjono. "JAGAD ALUS MISTIS JAWA DALAM CERPEN-CERPEN DANARTO DAN FANTASI MAGIS TERNATE DALAM NOVEL CALA IBI KARYA NUKILA AMAL." JENTERA: Jurnal Kajian Sastra 7, no. 1 (June 30, 2018): 102. http://dx.doi.org/10.26499/jentera.v7i1.682.
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Abstrak: Artikel ini mengkaji kumpulan cerpen Godlob karya Danarto dan novel Cala Ibi karya Nukila Amal dari sudut pandang realisme magis. Realisme magis dipahami sebagai gaya estetetik yang mengandung unsur-unsur magis bercampur aduk dengan realitas. Dalam realisme magis wilayah mistis dan realitas empiris diperlakukan sejajar karena yang fantasi dan supranatural mengakar pada realitas kultural dan historis. Kajian dalam tulisan ini berdasarkan pandangan bahwa teks sastra pasti akan terpengaruh oleh kultur masyarakat dan pengarangnya. Muatan makna yang terdapat di dalam karya sastra akan dipengaruhi dan ditentukan oleh kosmologi budaya, nila-nilai, norma, konvensi sosial budaya atau bahkan ideologi pengarangnya. Metode dalam tulisan ini menggunakan metode kualitatif deskriptif, yakni prosedur penelitian yang menghasilkan data-data deskriptif berupa kata-kata atau kalimat tertulis yang menunjukkan kadar realisme magis dalam cerpen-cerpen Danarto yang terkumpul dalam kumpulan cerpen Godlob dan dalam novel Cala Ibi karya Nukila Amal. Dalam kumpulan crpen Godlob karya Danarto maupun novel Cala Ibi Nukila Amal dapat ditemukan ciri-ciri realisme magis, yakni elemen yang tidak dapat direduksi, dunia fenomenal, keraguan-keraguan yang menggoyahkan, penggabuangan antara yang magis fantasi dengan realitas dan rusaknya batas, ruang, waktu dan identitas. Dalam cerpen-cerpen Danarto, realisme magis berlandaskan mistisisme Jawa berupa konsep-konsep sangkan paraning dumadi, mulih-mulanira, dan manunggaling kawula-gusti, sedangkan dalam novel Cala Ibi, realisme magis berdasarkan mitos-mitos historis Ternate, dan sufisme Islam dengan konsep wahdatul wujud. Abstract: These article investigate the short story collections of Godlob by danarto and novel Cala Ibi by Nukila Amal from from point of view magical realism. Magical realism is being understood as an aesthetic style which is consist of magical elements that mixed by reality. In magical realism, the mistic and empirical reality treated parallely because of the fantasy and supranatural which is rooted to cultural and historical reality. The study of these writing based on a view that literature writing will be affected and determined cultural cosmology, values, norm, cultural social converence or even the writer ideology. The metode in these writing using descriptive qualitative metode, that is research procedure which is produced descriptive datas contain word`s or `written sentences pointed Godlob and the novel Cala Ibi by Nukila Amal can be found in the magical realism: elements that cannot be reducted, fenomenal world, faltering doubts, merging between magical fantasy with reality and the damage limit, space, time and identity. In Danarto’s short story, magical realism based on Javanese mistism such as concept sangkan paraning dumadi,mulih mulanira and manunggaling kawula gusti. While in the novel Cala Ibi, magical realism based on Ternate historical myths and Islamic sufism with wihdatul wujud comcept.
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Zagidullina, Daniya. "Tatar literature at the turn of the XX–XXI centuries: transformation of realism." Przegląd Wschodnioeuropejski 9, no. 1 (June 1, 2018): 309–20. http://dx.doi.org/10.31648/pw.3441.
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The scientific novelty of work consists in the appeal to modern Tatar literary process which remains almost not investigated. The choice for the analysis of works of the Tatar literature has been caused, first of all, by the novelty of their esthetic concept. Relevant texts of the Tatar prose writers in the development plan for national art of literature are considered, the main vectors of the movement of historico-literary process are traced. As a result of the conducted research, the art and esthetic nature of the realism in modern Tatar prose incorporating elements of other art systems is established. Content and volume of the concepts ‘literary direction’, ‘current’, ‘post-realism’, ‘post-colonial literature’, ‘classical realism’ are specified in relation to the modern national historico-literary process.
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Contea, Bogdan, and Iulia Pietraru. "The Post-Communist Novel of Transition as Realism of Transition. Thematic Precedents in Romanian and East-Central European Literature." Studia Universitatis Babeș-Bolyai Philologia 69, no. 2 (June 27, 2024): 207–28. http://dx.doi.org/10.24193/subbphilo.2024.2.12.
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The Post-Communist Novel of Transition as Realism of Transition. Thematic Precedents in Romanian and East-Central European Literature. The present study aims to analyze how certain narrative formulas circulate within the world literary system – one but unequal (Moretti 2004, WReC 2015) – starting from the case of the novel of post-communist transition, specific to many Eastern European literatures. The Romanian literature abounds in such novels, which take various forms according to the different literary paradigms from which they have emerged. Thus, we consider that post-communist Romanian literature, or at least its social-political regime of relevance, is a symptomatic case of what the authors of Combined and uneven development: Towards a new theory of world-literature (WReC) call “(semi-)peripheral irrealism”. According to this study, the literature produced in peripheries and semi-peripheries is often formally dominated by a series of practices identified as specific to modernism, which arise, determined by the condition of the semi-periphery, in the unique and uneven system of world-literature, in which fiction becomes the narration that mediates lived experience in the “palimpsestic, combinatory and contradictory ‘order’ of peripheral experience.” (WReC). Nevertheless, a new direction of contemporary prose is being traced recently in order to rethink/ reproblematize the past and the way it can be reflected in literature. A series of recent novels such as Bogdan Coșa’s How Close the Cold Rains Are (2020) and Mihai Duțescu’s Beech Sponges (2021), as well as others, give rise to a new aesthetic formula of the post-communist novel of transition through the ways in which they operate with realism. We therefore propose to investigate the recent history of the phenomenon of fictional representation of the Romanian transition in relation to similar phenomena in East-Central Europe, while also analyzing the specifics of “the realism of transition” (as we will call this new literary category, in the footsteps of Mihnea Bâlici). Keywords: the novel of transition, (semi-)peripheral literature, peripheral realism, post-communism, the realism of transition
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Corbett, Mary Jean. "The order of forms: realism, formalism, and social space." Nineteenth-Century Contexts 42, no. 3 (May 26, 2020): 369–70. http://dx.doi.org/10.1080/08905495.2020.1775335.
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Lichtblau, Myron I. "Social Realism in the Argentine Narrative de David William Foster." Revista Iberoamericana 53, no. 141 (December 20, 1987): 1053–54. http://dx.doi.org/10.5195/reviberoamer.1987.4415.
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Schiaffini, Patricia, and Phuntshog Tashi. "Realism, Humor, and Social Commitment: An Interview with Phuntshog Tashi." World Literature Today 78, no. 2 (2004): 67. http://dx.doi.org/10.2307/40158417.
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Di Martino, Loredana. "Between “New Realism” and “Weak Thought”: Umberto Eco’s “Negative Realism” and the Discourse of Late Postmodern Impegno." Quaderni d'italianistica 33, no. 2 (February 9, 2013): 189–218. http://dx.doi.org/10.33137/q.i..v33i2.19424.
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The recent theory of a return of realism has sparked a lively and somewhat heated debate among contemporary italian thinkers, generating a split between the supporters of the philosophy of weak thought, and those who argue for an overcoming of postmodernism and the development of a new philosophy of realism. This article explores Umberto Eco’s contribution to this debate, focusing both on Eco’s theory of “negative realism” and on his latest historiographic metafiction. I argue that while Eco’s recent theory further distances the author from the philosophy of weak thought, it does not call, as does Maurizio Ferraris’s philosophy of new realism, for an overcoming of postmodernism. Instead, following the outward shift that is typical of late postmodern impegno, Eco’s later work creates a critical idiom that more clearly uses postmodernist self-awareness as a strategy to promote self-empowerment and social emancipation.
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Gong, Huiwen, and Robert Hassink. "Context sensitivity and economic-geographic (re)theorising." Cambridge Journal of Regions, Economy and Society 13, no. 3 (September 15, 2020): 475–90. http://dx.doi.org/10.1093/cjres/rsaa021.
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Abstract Drawing upon critical realism and the literature on theorising in social sciences, this article contributes to the understanding of theorising in economic geography by highlighting the role of context throughout the theory development process. By critically reviewing two key concepts in economic geography—related variety and knowledge bases—from a critical realist theory development perspective, scholars’ sensitivity to local context through the whole theorising process is examined. We argue that the particular strength of economic geography with regard to advancing theory lies in the continuous application of concepts and theories (that is, generalities) within new contexts (that is, confrontation with new particularities).
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Wonham, Henry B. "Postcritical Howells: American Realism and Liberal Guilt." American Literature 92, no. 2 (June 1, 2020): 229–55. http://dx.doi.org/10.1215/00029831-8267720.
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Abstract This essay explores the concept of liberal guilt in William Dean Howells’s fiction, focusing especially on his 1888 novel Annie Kilburn. Genealogies of liberal guilt rarely mention Howells, and yet no American writer has more painstakingly elaborated the embarrassing predicament of middle-class complicity in social arrangements that entail the widespread suffering of others. I provide a summary of theoretical positions on liberal guilt as a structure of feeling that entails what Richard Rorty calls “doubt about [one’s] own sensitivity to the pain and humiliation of others, doubt that present institutional arrangements are adequate to deal with this pain and humiliation.” Howells felt these doubts profoundly, and yet he understood liberal guilt as a productive emotional and intellectual predicament. Put simply, Howells viewed liberal guilt, like realism itself, as an attitude of resigned acceptance of persistent social injustices but an attitude capable of animating, rather than dissipating, liberal commitments and public agendas.
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Gruber, David R. "Three Forms of Neurorealism: Explaining the Persistence of the “Uncritically Real” in Popular Neuroscience News." Written Communication 34, no. 2 (April 2017): 189–223. http://dx.doi.org/10.1177/0741088317699899.
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Neuro-realism is a widely cited concept describing a textual phenomenon in popular science news wherein brain research uncritically validates or invalidates the “realness” of particular beliefs or practices. Currently, no research on neuro-realism examines the variable rhetorical roles of such statements, that is, how they support specialized arguments or enhance social functions across genres of public communication. This article details the nuances of neuro-realism, arguing that neuro-realism is much more than a singular textual phenomenon but a flexible rhetorical vehicle manifesting in at least three forms: commonsense, judicial, and rational. Each form serves a larger argumentative purpose, and each can be consistently linked to a popular news subgenre, illuminating how neuro-realism’s stunning lack of criticality proves permissible and reproducible in popular science publications.
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JACQUELIN, ALICE. "Réalismes déclinistes du polar français contemporain : Nicolas Mathieu, Colin Niel, Antonin Varenne." Australian Journal of French Studies 58, no. 2 (July 1, 2021): 137–50. http://dx.doi.org/10.3828/ajfs.2021.12.
Повний текст джерелаАнотація:
The detective novel has long been described as a form of “authentic” realistic literature (Collovald et Neveu). However, this article analyzes how three contemporary French crime novels—Aux animaux la guerre by Nicolas Mathieu (2014), Seules les bêtes by Colin Niel (2017) and Battues by Antonin Varenne (2015)—challenge and reappropriate conventions of realism. The three country noir novels follow in the lineage of two important traditions of realism, nineteenth-century French classical realism (Dubois) and the social realism of the 1970s and 1980s “néo-polar” (Desnain). Yet rather than anchoring the novels in familiar territory, the authors blur topographical references, create a polyphonic narrative structure and set a horrific tone to provide symbolic and political commentary. The novels thus borrow from magic realism to depict a declining rural and working-class world.
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Cai, Keru. "The Spatiality of Poverty in Modern Chinese Realism." Comparative Literature 75, no. 3 (September 1, 2023): 327–47. http://dx.doi.org/10.1215/00104124-10475445.
Повний текст джерелаАнотація:
Abstract Early twentieth-century Chinese realist depictions of indoor space, such as the crowded tenement house and the penniless writer’s abode, enabled the portrayal of the physical and psychological exigencies of poverty. This set of narrative concerns arose in a period when Chinese writers were preoccupied with the alleged material and cultural poverty of China in comparison to the West. To remedy this purported backwardness, Chinese writers appropriated from foreign literatures, especially Russian realism, narrative themes and techniques such as the use of metonymy in the depiction of spatiality, the figure of the impoverished flâneur-like urban perambulator, and the very topic of poverty itself. This gave rise to innovative forms of modern Chinese narrative, tracing the spatial, material, and bodily experience of poverty in painstaking detail. In particular, I examine how Yu Dafu elaborates on literary elements from Russia in his 1924 story “Nights of Spring Fever,” which deploys the metonymic confines of impoverished, narrow spaces in order to explore wider topics of social class and transcultural encounter.
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Woods, Derek. "Genre at Earth Magnitude: A Theory of Climate Fiction." New Literary History 54, no. 2 (March 2023): 1143–67. http://dx.doi.org/10.1353/nlh.2023.a907162.
Повний текст джерелаАнотація:
Abstract: What critics and publishers now call climate fiction is a growing genre that captures significant critical attention. This essay theorizes the relation between two of the genre's features, one formal and one political, in the scale frame they address: the planetary scale of climate, or what many scientists call the Earth system. The archive that articulates these features consists of a popular, digital discourse about climate fiction, much of which appeared since Hurricane Sandy. Instead of looking at individual works or narrating their history, I read this popular "metagenre" to draw out its implicit theory of the genre. According to the metagenre, climate fiction's abstract features consist of a didactic purpose and a normative form. Climate fiction's purpose, whatever its social effects, is ultimately to contribute to planetary climate stability. Second, the genre's definitive form is (or should be) extrapolative realism. Extrapolative realist narrative builds on scientific consensus to imagine plausible futures. The striking thing about climate fiction is that its purpose and form exist in a contradictory or inversely proportional relationship. If the genre fulfills its goal by contributing to the equilibrium of the climate, then its verisimilitude will diminish. If the climate continues to destabilize, then the genre's realism will have been vindicated at the expense of its purpose. Climate fiction is unique because it promises extrapolative realism in the content of individual novels and films but does so in the constitutive and paradoxical presence of a goal that would prevent such future climates from materializing. The point of analyzing climate fiction's constitutive paradox between purpose and realism is not to revel in irony, leave the final word to ideology critique, or dismiss the popular aesthetics of climate fiction. Rather, this paradox can be generalized to the worldview or grand narrative of the Anthropocene: the contradiction between climate fiction's purpose and form sheds light on a more general temporal structure bound up with technocracy and scientific legitimation.