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In post-1989 Hungary, as the superstructure of a wellestablished censorship rapidly collapsed, a huge wave of formerly restricted information refreshed the stagnant water of literary and social culture. Nevertheless, the mainstream of contemporary highbrow belles-lettres began to take a rather apolitical approach towards literary production. Realism as an objectivist literary style and referential mode of representation was felt, after 1989, as too ideological, and thus lost its credibility along with the grand narrative of state socialism. A postmodern canon was soon established and popularized, based on formal experimentation and on the non-referential nature of the literary work. Despite the fact that postmodernism generally rejected realist fiction, Hungarian post-communist mainstream writers felt compelled to address the memory of the communist past. This paper aims to investigate major ethical and aesthetical problems of telling the truth via fiction, focusing on seminal books like The Union Jack, Kaddish for an Unborn Child, and Dossier K. by Imre Kertész; as well as Celestial Harmonies and Javított kiadás (Revised Edition) by Péter Esterházy. Last but not least, the article will analyse the compelling piece Egy történet (A/One Story), written by both the aforementioned authors. [ABSTRACT FROM AUTHOR]

This paper examines how the Victorian ghost-story genre troubles realist visions of memory as a store of immutable past experiences. Analyses of ghost stories by Ellen Wood, Amelia B. Edwards, Dinah Mulock, and George MacDonald reveal that they portray memory as constructed, biased, and fallible. Through first-person and frame narratives, these stories illustrate how the act of recollection falsifies memories by reshaping them to better fit affective narrative arcs, thus depicting a form of nostalgic memory that foregrounds feeling at the cost of accuracy. Yet, even as these ghost stories highlight the impossibility of truly accurate recollection, their focus on traumatic events emphasizes the felt imperative to accurately recall and communicate emotional experiences. [ABSTRACT FROM AUTHOR]

This analysis situates Charlotte Brontë's narrative representation of performance venues and stagecraft in Villette (1853) within the architectural and social histories of nineteenth-century British theater. Emphasis on the spatial elements of theatrical venues and the spectacular lighting and stage effects afforded by these structures contributes to critical examinations of the novel's many instances of performance. The role played by theaters in the production of national identity, consumer culture, and conventional femininity highlights their social dynamics as experienced by Lucy Snowe, providing semiotically rich sites of cultural critique. Lucy's alienation from her fellow audience members disrupts the projections of cultural unity and collectivity fostered by nineteenth-century theaters, just as recasting stage effects as gothic tropes disrupts the potential marriage plot. Ultimately, Villette's narrative representations of theatrical realism critique both the limitations of mid-century literary realism and the inhospitality of public spaces to single, middle-class women who resist the conventional role prescribed by their gender and class. [ABSTRACT FROM AUTHOR]

The article explores dwarfs as representation of the elements of grotesque realism in George R.R. Martin's "A Song of Ice and Fire." Topics discussed are aspects of violence or degradation as preconditions for recovery and healing, apex of Targaryen power and artificiality of hierarchies, instances of Clutean thinning such as Rhaenyra's capture of the King's Landing, and pattern of death and rebirth implied by Bakhtinian grotesquery.

This paper probes into the inner recess of an individual who is forced to become a murderer by chance. The protagonist Raskolnikov is tormented by his deed and guilt bursts like a volcano. When he confesses his crime, he gains a new life. The descriptions of inner emotions are psychologically realistic and true. The guilt-ridden mind of the criminal, experiences mental torture. This deed drags him to the edge of madness. His tormented inner conscience forces him to confess his crime. Sonya appears as an angel in his life and offers him the cross. This provides him the strength to confess his crime and leads him to redemption. He becomes a new man with budding hopes and moves from one world to another. [ABSTRACT FROM AUTHOR]

This paper is an appraisal of how Bernard Shaw, as an intellectualist, being religious in the board sense, formulated a personal philosophy of creative evolution based on secular theories and how Shaw focused on social, democratic and personal problems in his early plays and later he introduced themes such as religion, youth and age, labour and capital, etc. After a deep analysis of all his plays, this paper explains or depicts how Shaw was a practical mystic who saw no remedy in economic socialism or anything else other than developing ones spiritual life. [ABSTRACT FROM AUTHOR]

Copyright of Brecht Yearbook is the property of Camden House Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Brecht Yearbook is the property of Camden House Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the book "The Mistress Of Spices" by Chitra Banerjee Divakaruni, an award-winning author and poet is presented. It outlines a blend of prose and poetry which is cloaked in fantasy and the prologue, with its strong poetic overtone. It explores the realism at the start of the novel; and ends on a positives note-the familiar immigrant tale of dreams, desire, pain and struggle that ends with hope; and also explains the immigrant life.

This article examines the representation of clouds in Adalbert Stifter's (1805–68) literary writing. His ubiquitous representations of clouds signify the poetic challenges to represent empirical reality of natural phenomena (such as weather phenomena) within the literary medium. The article connects his representation of clouds with scholarly discourses of meteorology during the nineteenth century and offers as context observations by the meteorologist Andreas von Baumgartner (1793–1865). Baumgartner worked as a Professor of Natural Sciences at the University of Vienna and was a friend of Stifter's. Taking Baumgartner's epistemological ambiguities about the weather as a point of departure, the article demonstrates how Stifter's novellaKalkstein(1853) not only displays similar insecurities, but also how the text makes use of them to reflect the possibilities of poetic representation within the mode of literary realism. [ABSTRACT FROM AUTHOR]

Persian fiction has undergone changes during recent decades in a way that at times some paradoxical and exaggerating comments have been put forth regarding some writers and consequently readers have been left perplexed. One of these authors is Sadegh Choubak about whose writing style much has been said and written. Naturalism, realism, symbolism, Freudianism, existentialism, etc., are the features and isms that have been attributed to this great contemporary novelist of Iran. In between, Choubak's being naturalistic has been proposed am among some critics. This article attempts to answer some problems regarding Choubak's being naturalistic in some literary circles through a comparative study of Choubak's writing style and Emil Zola the principle representative of the naturalism school. In this regard, it studies the features of the works of these two authors and compares them with one another. [ABSTRACT FROM AUTHOR]

The article discusses poem "War and Carnage" and mentions a letter to editor titled "Polar Drift: Not Sure" by Ambrose Bierce. Book "Ambrose Bierce: An Annotated Bibliography of Primary Sources" by David E. Schultz and S. T. Joshi is also mentioned. Topics discussed include journalism and literary realism.

John Dos Passos as a modernist writer entertains the reader during telling his stories. In an excellent way he uses camera-eye technique to tell what he grasps in reality. Passos more than a realist novelist shows characters and urban life. In The Three Soldiers, Passos was an ambulance driver in the First World War and mirrors the reality. He is picturing characters feeling, attitudes, flee, wound and ambitions. In Manhattan Transfer, Passos lives the city and reveals his experiences about urban life. He considers city as protagonist and takes its pictures and changes during thirty years. He tells every details of the city like statue of liberty, flag, streets and mechanical inventions. As a result, real expressions react with the soul of the receiver and drive him/her to continue reading his works. This paper argues the use of camera-eye technique in Passos's two novels The Three Soldiers and Manhattan Transfer. [ABSTRACT FROM AUTHOR]

An essay is presented on the question raised about genre and realism in association with the novels of author Anthony Trollope. It discusses the paradoxes of realism in the work of Trollope and the elements of his sustained consideration of narrative technique in informal venues other than in essays and novels.

A literary criticism of the book "Martin Eden" by Jack London is presented. It is noted that London has focused on the American sea literature and has dramatized the physical degradation of workers by highlighting their turmoil. It outlines the characters of the novel and discusses the importance of the characters in the book. The historic tension between realism and romanticism is also discussed.

The article talks about author Rebecca Harding Davis who has written 275 short stories, novels, juvenile stories and journalistic essays. It is noted that romantic irony was a part of all literary works written by authors of American Romanticism, which odds with realism. Topics include literary movements, transcendentalism in literature, and the variations between nightmare and a fairytale happy ending.

This article deals with a new reading of the photographically illustrated edition of Vittorini's Conversazione in Sicilia (1953, photographs by Luigi Cocenzi). The aim of this article is not to close-read the very original word and image relationships in the novel but to expand on the meaning and function of the iconography within the broader cultural and intermedial context of Conversazione in Sicilia. We will explicitly situate Vittorini's book and its reception within the wider European context of print culture, visual culture, and intermediality, and, more particularly, within the intricate network of relations between literature and photography. A special emphasis will be put on the complex stances of Neo-Realist authors toward modern visual culture. [ABSTRACT FROM AUTHOR]

This article examines and theorises the emergence of an aesthetic of Dalit poetry that it terms ‘traumatic materialism’. It resists the tendency to treat Dalit poetry as social documentary, and instead unravels an aesthetic that builds on the realist mode but moves beyond it. Studying two main themes in Dalit poems, corporeal trauma and labour, the article proposes that traumatic materialism forces us to move beyond the realist mode of recording the eye-witnessing of corporeal pain in everyday Dalit lives to ‘bearing witness’ to something unspeakable and not quite visible, which is the pain’s subtext. [ABSTRACT FROM PUBLISHER]

What do nonfictional journalism and the fictional novelistic tradition have in common? And which one can be said to emulate the other? Is journalism closer to representing reality than the "twice-removed", fictional copy of it is? Such questions are addressed by the American school of "neo-journalists" in an attempt to challenge contemporary forms of literary representation and to justify the existence and advantages presented by a mode of factual reporting that shares its rhetorical devices and narrative techniques with the most enduring fictional genre, the novel. [ABSTRACT FROM AUTHOR]

Fontane's mastery of literary landscapes comes to the fore in Frau Jenny Treibel (1892). Landscapes in Frau Jenny Treibel may be divided, as in Irrungen, Wirrungen, into those of obligation and those of inclination. The landscapes of obligation are the central Berlin locales associated with the two key families-the Schmidts and the Treibels-while the landscapes of inclination are those encountered on excursions away from central Berlin-Leopold Treibel's ride alongside the Spree to Treptow, and the group excursion to Halensee and the Grunewaldsee. The central Berlin landscape wins out, but the abiding landscapes are those of Treptow, Halensee, and the Grunewaldsee, where Leopold and Corinna dream of a love that will never succeed. [ABSTRACT FROM AUTHOR]

This interview with British writer Blake Morrison concentrates on his fiction and poetry. Themes that link his diverse body of work are traced, such as crime and self-revelation. Morrison's fiction is placed within a realist context, aided by discussions of the importance of character, and the 'state in the nation' novel, contrasted with the idea of the unreliable narrator of postmodern fiction, which is also present. The interview discusses the writer's influences-such as American fiction-and his interest in point of view. [ABSTRACT FROM AUTHOR]

The idea of fiction as possible worlds, derived from Leibnizian metaphysics, stimulates investigation of the alethical dimension, the philosophy and the nature of heterorepresentational fiction, and the strained relationship between the fictional and actual worlds. The claim that fictional worlds may exist undermines the philosophy of fiction and basically relies on some form of speculative reasoning that seems to stretch the professional reader's imagination a little too far. All creative writers tightly or loosely construe reality to such an extent that it would be impossible to write a story exempt from any reality-inspired element. But, by mimicking reality, fiction is implicitly dissociating itself from it and therefore anyone taking literary representations at face value would be misled by and misunderstanding the paradox of fiction. [ABSTRACT FROM AUTHOR]

A literary criticism is presented of the 1889 American fictional book "A Hazard of New Fortunes," by William Dean (W.D.) Howells. Particular focus is given to the book's realistic portrayal of sacrifice, including the mutilation of book's character U.S. veteran Berthold Lindau's body resulting from his participation in the U.S. Civil War.

A literary criticism is presented on the 1889 American novel "A Hazard of New Fortunes," by William Dean (W.D.) Howells. Particular focus is given to the realistic aspects of the novel, including in regard to the observations of reality and perceptions of the real. An overview of the author's use of a narrator in "A Hazard of New Fortunes" is provided.

Copyright of Cervantes is the property of Cervantes Society of America and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Katalanistik is the property of Zeitschrift fur Katalanistik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An essay is presented on the essay "Reflections on Writing" by Henry Miller, within the context of Miller's own literary criticism. Topics include Miller's biographical precedent stated to illuminate the parameters of a writer's medium, problematizing realism in literature by way of the issue of transference and art, and the process of writing, for Miller, appears to be signified as mechanical.

A literary criticism of the book "A Hazard of New Fortunes" by W. D. Howells is presented. It explores the importance of the novel's setting in New York City. Topics considered include social classes, the New Woman movement, realism in literature, and autobiographical influences on fictional incidents within the novel.

Don Quixote is universally regarded as an emblematic text in the history of the novel. Yet while some scholars have argued that it is a modern novel in its own right and not a romance, others have objected to this theory. When considering the extent to which Don Quixote can or cannot be regarded a modern novel, the question of realism has dominated scholarly research. This article questions the validity of applying Auerbachs theories on realism to the study of Don Quixote. It argues that whilst realism in Don Quixote may not match the models of nineteenth-century French naturalist novelists, it does prefigure the form of realism later developed in the modernist novel. The article also reviews the textual evidence that highlights the fact that Cervantes was consciously and wilfully experimenting with the concept realism with the purpose of writing a prose fiction that departed from the romance. [ABSTRACT FROM AUTHOR]

Kenji Nakagami was a representative of the Japanese magic realism writer. "Tribal people" (etas) family background and family contradictions and blood relationship constituting the root of his literary, he used his magic realism narrative constructed the "way" of reality and fantasy literature; In his masterpiece "the one thousand years of joy," upper nutrilite times uses the myth and dreams, violence and sex, "marginalization" and "personalization" of narrative ethics, competence and digestion of traditional historical rationality and the grand narrative authority. [ABSTRACT FROM AUTHOR]

The article presents a criticism of the 1867 U.S. novel "Miss Ravenel's Conversion from Secession to Loyalty" by John W. De Forest. It focuses on the themes of evolutionary realism in the novel, which is based in part on the author's experiences in the American Civil War, as well as De Forest's portrayals of race following the end of the Civil War.

This article challenges the established reading of Atti impuri and Amado mio, Pasolini's early unfinished novels about young homosexual love, as diaristic. Previous accounts of the Friulan novels have largely ignored the fact that their final redactions were drawn up in Rome, where the author had fled from Friuli in January 1950 in the wake of a sexually tinged scandal. The present analysis suggests that the novels' relationship to their setting should be read as nostalgic, and compares them to the poetic works on Friuli that Pasolini wrote in Rome in the early 1950s. This poetics of absence provides the backdrop for a reflection on the practice of realist authorship that engages with contemporary neorealist narrative from a position of paradoxical outsiderhood. [ABSTRACT FROM AUTHOR]

The essay purports to recover The Various Lives of Marcus Igoe (1928), a uniquely experimental novel by Brinsley MacNamara. The author's first novel, The Valley of the Squinting Windows (1918), was met with notorious hostility which determined the nature of his subsequent work as a writer of fiction. The resulting search for an adequate technique to embody a critique of rural Ireland found its peak in The Various Lives, which represents not only a resolute break with the conventions of Victorian fiction, but also a speculative alternative to the modernism of James Joyce. Above all, the novel is chiefly a serious metafictional meditation upon the adequacy of literary representation. Its meta-narrative nature prefigures the later experimentalism of Flann O'Brien and Samuel Beckett, from which it fundamentally differs, however: while O'Brien puts an emphasis on playfulness and comedy and Beckett embraces the inexpressibility of the self as a condition to be responded to by further attempts at innovative expression, MacNamara retreats back to rural realism. As a result, Marcus Igoe's life remains a failure, and his self lingers on as almost entirely void. It is argued that the reason for MacNamara's arrival at this artistic cul-de-sac is his refusal to relinquish the priority that he gave to the fight against what he saw as the philistinism of post-Revival Ireland. [ABSTRACT FROM AUTHOR]

This article attempts to rethink the realist mode adapted by Satyajit Ray in his cinematic works by trying to posit its chief features vis-à-vis the history of fine arts in Bengal. While Ray's realism has been connected to diverse styles like Classical Hollywood Cinema, Jean Renoir's realism and Italian Neorealism and has been associated with the literary realism of Bengal more readily, his aesthetic has been rarely studied in relation to the fine arts practiced at Santiniketan, where he stayed during his formative years since 1940s. This essay takes his 1972 documentary--The Inner Eye-- portraying Benodebehari Mukhopadhay (1904-80), his teacher at Santiniketan, as an exemplary text and claims that this short film collaterally presents the discursive terrain of Ray's own aesthetics too, with the director situating himself in a well-defined trajectory of artistic engagement with proximate reality via his mentor's art. Looking back from this vantage point, the essay tries to show how Mukhopadhyay's aesthetic can be located as a conscious shift from the preceding nationalist-spiritual ethos of the 'Bengal School' of art which again defined itself as distanced from Raja Ravi Varma's brand of 'surrogate realism'. Modes of engaging with, or dissociating from, the phenomenal real have been the moot point at every point of these departures. The essay also tries to read Benodebehari's writings on Abanindranath Tagore and Nandalal Bose to understand how he elaborates his own aesthetic ground via an appraisal of his predecessors' practice and pedagogy, the method Satyajit Ray follows in his documentary. [ABSTRACT FROM AUTHOR]

The article focuses on the realistic genesis of the works of Gianni Pacinotti (Gipi) and the continuation of the poetics of neorealism in Italian graphic novels. It mentions the narrative ownership in the works of Gipi, the differentiation between the narrative image and narrative text underscoring the diegesis of the story, the characters who recount it and the way it is retold. It also notes self-awareness of form in the text and image of the narrative using the deixis technique.

A literary criticism of the book "Twilight in Delhi" by Muslim novelist, translator, poet and critic Ahmad Ali is presented. The novel chronicles the decline of Muslims of India in the 20th century. The author used the novel's protagonist, a Muslim businessman in Delhi, as a representative of a whole Muslim culture in the country. Realism and sex are discussed as another important themes of the novel.

A literary criticism of the essay "The Ideology of Modernism" by Georg Lukács is presented. It examines the position and critique of Lukács concerning the ideology that governs the formal criteria of modernist literature and his defense on the realist tradition of literature. It discusses the problem in Lukács' defense of realism, particularly his failure to acknowledge the manner in which a mode of literary engagement is subjected to aesthetic and historical transformation.