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The article discusses the Gothic novel as the historic fiction. Topics include discusses the literature experimentation and explore the relationship between the past and present; demonstration of the novels lacked the historical realism for further historical fictions; and information on Gothic conventions, including graveyards, moldering manuscripts, and longburied secrets with the past.

The article provides an overview of the life and work of Russian author Leo Tolstoy. He published the novels "War and Peace" and "Anna Karenina," as well as shorter novellas and stories. Tolsty was influenced by the movements of Romanticism and realism. The competition between Tolsty and fellow Russian novelist Fyodor Dostoevsky in the 19th century is explored.

A reprint of "Estranged and Degraded Worlds: The Grotesque Aesthetics of Tolstoy's Resurrection" by Ani Kokobobo, that was originally published in the "Tolstoy Studies Journal," is presented. The article explores the extension of the Russian author's writing from pure realism to almost hyperrealism through the portrayal of the grotesque. The portrayal of human sexuality and prostitution in the novel "Resurrection" is also discussed.

The article explores the political fiction literary genre, discussing its history, characteristics, and major works. It examines how many works in the category are realistic, fable-like, or metafictional. Noted authors covered in the article include Robert Stone, Joseph Conrad, and Arthur Koestler.

This chapter considers Winterson's most recent work in the light of the debate about her complex relation to postmodernism. It shows how since 2000 Winterson both stretches the postmodern aesthetic to its limits and appears to draw back from its more relativistic and ahistorical implications through a resuscitation of concepts such as history and love. The chapter concludes that it remains to be seen whether narrative realism will make a sustained return to Winterson's work in the twenty-first century. [ABSTRACT FROM AUTHOR]

A chapter from the book "Myths of Europe" is presented. It analyzes the scriptural typology used by novelist George Eliot for his incarnation of ideas. The distinction between myth and legend are the two principal ideas of Eliot that will prove most important to her fiction. It notes that Eliot's value of myths and expression of ideas is that they can be regarded as images, or sign, which will allow her to integrate those ideas into her realist text.

The article focuses on the writing of dialogue in early English prose fiction. Most of the modern prose fiction, such as the works of George Gascoigne and Thomas Deloney, moved away from the taste for romance and instead adopted a conversationalist style that mirror the natural flow of ordinary talk. It touted realism in dialogue writing.

The article suggests that many images of reading fit with related images in realist and naturalist fiction. The author mentions about several novelists that include Edith Wharton and Frank Norris who took note of cultural debates about the reading habit and the growth of the reading public. She focuses on two ways in which novelists engaged such issues within their work. Works of some naturalist writers were also described in the essay.

The article focuses the on book "High Fidelity" by Nick Hornby. It outlines the genre of the novel as bildungsroman and realism; novel of education, how the novel tracked the central character's story from childhood to adulthood and their quest of identity, how this form is also seen in the book "David Copperfield" by Charles Dickens.

Chapter one of the book "Deadly Musings: Violence and Verbal Form in American Fiction," by Michael Kowalewski is presented. It mentions that the uses of novel in realistic violence would not be easily separated from the imaginative means. It highlights the significance of an explaining commentator as the central feature of realism.

Chapter 5 of the book "Jules Verne: Narratives of Modernity" is presented. It examines the interface between realism, utopianism and science fiction which are found in the novels of French author Jules Verne. It focuses on various formal, thematic and ideological aspects of different genres in his literary works. It explores the convergence between Verne's fiction works and his contemporaries in terms of narrative structure.

The article discusses the English novel and the realism. Realism was simply taken for granted as the aesthetic norm for the novel. Such discussions implicitly identified the scope of 'realism' with the scope of 'the novel'; the term 'realism' functioned primarily as a term of praise rather than as a tool of analysis. While each of these qualities does have some importance in realism, none of itself explains the realist convention. A fuller estimate of English narrative realism as a cultural achievement begins with this recognition: that verisimilitude, like any other aesthetic convention, is an abstraction. The 'life-likeness' of realism depends upon a particular set of rules for the disposition of concreteness and detail, as well as of value and questions of ultimate concern. Because the realistic convention distracts attention from its artificiality it may be in fact one of the most artificial of all conventions. In any case, verisimilitude, or realism, or the illusion of lifelikeness, is no simple or natural expression; on the contrary, it is a highly artificial and highly achieved effect. A familiar and immediately accessible instance of spatial realism is the technique of single-point perspective that co-ordinated pictorial space so as to produce a common horizon for all potential perspectives.

The article focuses on the realism in literature in the nineteenth century. Realism is a term that gained currency on the continent of Europe about the middle of the nineteenth century, to denote a new mutation in the development of prose fiction. It was not, at that stage, a recognizable movement, as Romanticism had been, and it was only by analyzing the kind of writing attempted by its major proponents that critics were able to give the term a definite meaning. Since the realistic mode affected almost every aspect of prose fiction, it is difficult even today to reduce it to a simple, all-encompassing formula. Not all the major European realists adhered to every one of these guidelines, and such prescriptions as can be deduced never formed a program to be put into operation by a group of writers. But with hindsight one can see that, broadly speaking, there were certain overriding objectives that the major European realists had set their sights on, and that these differed in many respects from what their contemporaries in Great Britain and the United States were aiming for. More commonly, the realist selected a single life and made it the subject of the novel, offering the reader a humdrum story moving inexorably to a predictable ending. A major problem facing the realists was that of making such drab and depressing material sufficiently absorbing, while dispensing with such artificial aids as suspense, mystery and excitement.

A conclusion of the book "From Bohemia to the Barricades: Erich Mühsam and the Development of a Revolutionary Drama" by David A. Shepherd is presented. It mentions that the dramas of Erich Mühsam were a clash between modernism and the nineteenth century realist tradition. It adds that Mühsam was honored for his revolutionary idealism, giving up his fortunes for the sake of the revolution.

This article presents a definition of the term REALISM. Following Hegel's Ästhetik (1835-38), one may apply the term r. to any literary work that represents a world of social life in which an individual is capable of acting with autonomous motivation. This concept of mimetic narration reveals a strong heritage of speculative idealism, esp. of the kind developed in Schelling's philosophy of identity between subjective consciousness and objective factuality: literary theory is meant to retain the possibility of harmonious order against the experience that the world has become ever more complicated if not chaotic.

A definition of the term "neorealism or urban realism" is presented. It refers to the assumption by African American authors that man is a social being who ought not to be separated from the social and historical context, in which he finds his significance and develops his potential as individual. It is noted that urban realism is defined by urban settings that offer critical or poetic readings of the world of the city dweller.

An introduction is presented in which the editor discusses various short stories within the book including realism, pathos, and imagination.

The article profiles poet James Elroy Flecker. It states that Flecker likes classical reaction against realism in verse, verbal craftmanship, and has a passion for technical perfection but he opposed any art which are emotional. It mentions that his verse were more personal and romantic as the advent of war began. Moreover, among his literary works include "The Golden Journey to Samarkand" and "The Old Ships."