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This essay examines Jane Austen's occasional but potent attention to singular moments that seem to stand outside of the usual flow of time. Signaled by her use of phrases such as 'the work of a moment' or 'the work of an instant', these momentous moments gain resonance when studied against the backdrop of Austen's nuanced attention to temporal representation in narrative and to the temporal dimensions of human experience. The essay argues that Austen's momentous moments ultimately function as a crucial dimension of what Amit Yahav in Feeling Time designates the 'sensibility chronotope', a perspective that asserts primacy over chronometry and chronology. Attending to these moments in the fiction further enables us to assess Austen's contribution to what would later become a distinctive feature of the nineteenth-century realist novel, the preoccupation with roads not taken and 'lives unled', as Andrew Miller argues in On Not Being Someone Else: Tales of Our Unled Lives. [ABSTRACT FROM AUTHOR]

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Copyright of Thélème is the property of Universidad Complutense de Madrid 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 Cultura Latinoamericana is the property of Universidad Catolica de Colombia 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.)

Africa's history and ecology were shaped by colonization. The European invasion of eastern nations had a significant influence on the environment. The technical advancements due to colonization have been both beneficial and detrimental to the colonized countries. The harmful consequences have prompted several researchers and African writers to conduct a critical examination of the interaction between humans and their environment in terms of race, culture, economy, power, and belonging. Ben Okri is an internationally acclaimed poet, writer, artist, and public speaker. In his trilogies The Famished Road, Songs of Enchantment, and Infinite Riches Okri has depicted the repercussions of colonization and the process of decolonization on the individual and the environment in order to understand the African reality. This paper highlights the interconnection of nature and culture which is considered as one of the main tenets of African culture and tradition. Okri employs magical realism as a literary method to emphasize the interplay between the human and natural worlds. Okri has included vivid imagery of verdant forest that has been deforested and wounded. According to the Yoruba mythology, the forest is frequently associated with magic and the supernatural world, in keeping with West African customs. Therefore, the exploitation of the natural world has led to the abandonment of traditional values which is well depicted. Further, the paper attempts to examine the effect of colonialism in eroding the spirit world and the physical world in terms of social structure and the degrading culture and its relationship with the environment. [ABSTRACT FROM AUTHOR]

James Jones’s second war trilogy, “The Thin Red Line” (1962), sketches the comic cycle of infantrymen undeterred by the relentless battles of Guadalcanal. In the name of bravery, Jones’s characters refuse to suffer by veiling their cowardice, insecurities, and anxieties under a burst of nervous laughter. In his mission to offer a verisimilar description of the Pacific struggle, Jones interrupts the bleak realism of his literary canon by carnivalesque episodes of combat festivals filled with tough humor at the act of killing and the spectacle of death. The aim behind this technique is to ridicule the tedious routine of military life, in particular, and war, in general. Most importantly, his narrative style conceals through laughter the traumas of his soldiers by offering a temporary therapy to their combat stress. Thus, “The Thin Red Line” does not only show Jones’s antiwar stance but also his endeavor to create characters who repress their anxieties to resist the pain inflicted by a higher order. [ABSTRACT FROM AUTHOR]

In Il serpente, Luigi Malerba's first novel, the writer moves from the objectifying perspective, working-class protagonists, and themes of neorealism to a subjective realism that sets aside the direct dialogue of his first book (La scoperta dell'alfabeto, a collection of brief narratives) in favor of the exterior monologue. The narrating voice of Il serpente feels compelled to relive the guilt, shame, and humiliation of his youth. He prevaricates habitually because he is anxious as to how he appears, primarily to himself: he is caught between the need to express himself and the fear of being punished for having done so. The changes in narrative strategy, along with the psychological plausibility of the narrative and Malerba's analysis of Italy's 'grey zone', populated by those who did not actively participate in the civil war following the fall of Fascism, make Il serpente worthy of our close attention. [ABSTRACT FROM AUTHOR]

By concluding her study with Kafka's anti-realist novel, Weitzman emphasizes the broader aesthetic claims that exceed the confines of realism. Reading Holz's I Papa Hamlet i (1889) and his little known I Die Blechschmiede i (1902) together, Weitzman shows how the previously hidden leitmotif of obscenity in realism becomes crystal clear in naturalism. Even though Benn's writing comes closest to what we today commonly understand as obscenity, Weitzman reads his poetry as "fake" naturalism (136), simply evoking truth rather than the plain objectivity that naturalism purports to proffer. [Extracted from the article]

Time and space are of foremost importance in the dramatic economy of medieval epic poems because they serve the important function of situating the reader spatially and chronologically. In the Cantar de Mio Cid, the poet places particular emphasis on the theme of time, enumerating the years, months, weeks, and days for his reader to present his narrative as a verisimilar, if not historic, chronicle. This study seeks to interrogate the time that elapses from the beginning of the poem to the end, arguing that the poet's penchant for relative chronological precision betrays an effort to convey his story as historical fact. His ability to weave fiction and reality has greatly contributed to the Cantar's timelessness, one that renders it relevant even in our modern society. The representation of time helps create the illusion of realism, helping to humanize Rodrigo Díaz and heightening the dramatic impact of the poem. [ABSTRACT FROM AUTHOR]

Over the course of the book's six chapters, organized in a diachronic arc that extends from Stifter to Kafka, Weitzman lucidly and meticulously unpacks these claims, showing how literary realism might well be the quintessential poetic form organized around the "suspicion of the material world" (8) as well as the drive to administer and control it. The final three chapters of the book provide opportunities to examine the extensions and aftereffects of realism's attempts to mediate reality. And yet, as Fontane's novella suggests, sublimation is only premised on the continuous reenactment of violence and reemergence of reified matter. [Extracted from the article]

V. S. Naipaul's career as a novelist, travel writer, and journalist presents a case study for exploring the links between realist form and the global imagination as they evolve over a 60-year period. This article argues that his work is shaped by an aesthetic of "world realism" that constructs plausible models, through form and content, of the contemporary world as a totalized, structurally-differentiated system. At the same time, it examines how Naipaul's realism mediates the divisions between metropolitan and peripheral space that shape his entry into the world-literary sphere. Analysed in these terms, Naipaul's career falls into three phases, in each of which a distinctive "world-concept" emerges from the conjunction of historical and biographical events, and aesthetic contradictions. Naipaul's world realism complicates critiques in postcolonial studies that he is a puppet of imperial ideology, and unveils the latent commitment to totality underpinning the global novel. World realism reflects an under-theorized conjunction of aesthetics and the global imaginary that unlocks an alternative history of the modern novel produced in frontier spaces. [ABSTRACT FROM AUTHOR]

The article focuses on the realism within the book "Blood on the Forge," by William Attaway and how it relates to Black Chicago Renaissance aesthetics. The author discusses the Black cultural movement in Chicago in comparison to the Harlem Renaissance and examines the Black Arts Movement that followed.

Copyright of Interdisciplinary Studies of Literature is the property of Interdisciplinary Studies of Literature Editorial Office 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.)

Insurgency, kidnap for ransom, banditry, herdsmen-farmers clash, and gruesome killing of individuals have become quotidian security realities in contemporary Nigeria. Scholarly approach to this concern has often resulted in criticism domiciled only at leadership while neglecting the role of the followership in this security predicament. This paper is therefore designed to examine the representations of the complicity of the people in insecurity using Femi Osofisan's Aringindin and the Nightwatchmen (2002)1 as a case study. The investigation combines a deliberate look at the dramaturgical devices employed by Osofisan to enhance this representation. Georg Lukacs's theory of literary realism and Achille Mbembe's model of the Postcolonial theory are adopted as the framework for the study to unravel the complicity of the people. At the same time, the method applied is the interpretive design and the socio-artistic approach to literary criticism. Osofisan deploys dramatic metaphor, aesthetics of masking, Orunmila motif, and Satire to unmask the villains who mystify efforts to address insecurity and throw the state in a nightmare. The revelations are incredible even as vigilantism is deconstructed. The play points attention to the need to carefully examine proposals on ending insecurity in Nigeria while also contributing to emerging scholarship on investigating the followers with regards to their contribution to their disillusionment. [ABSTRACT FROM AUTHOR]

The purpose of this article is to highlight how the radical foundations of law and natural law are already established in some of Javier Hervada’s early works, so that a peaceful continuity in his work in relation to these foundations is perceptible. For this, most of the writings from the sixties of last century have been used, the principles of which are developed in later works. The metaphysical and theological bases of Hervadian thought thus determine a concrete anthropology in which law, in its unitary and integral conception, fulfills a capital function. [ABSTRACT FROM AUTHOR]

Rooted in Italian neorealism, Marxist theory, and centuries of Christian art and music, Pier Paolo Pasolini's Il Vangelo secondo Matteo reactivates the Gospel against the backdrop of Italian Marxism and social life in the mid-twentieth century. Through a hermeneutical reflection, this paper argues for the film as a central moment in the mediation and reception of the Christian story. Pasolini's transgressive and poetic cinema partakes in and expands a hermeneutical dynamic at the core of the Christian story. The film's documentary style, political subtexts, and eclectic setting highlight how the Christian story is a lived historical experience and thus does not transcend the social or historical circumstances of its telling and retelling. In a reciprocal encounter, both film and Gospel reveal the Christian story's multiple textuality. Taking this as its cue, this article explores how Pasolini's Matthew reveals the role of cinema as a site of hermeneutical and Christological reflection. [ABSTRACT FROM AUTHOR]

Copyright of Historia 396 is the property of Pontificia Universidad Catolica de Valparaiso, Instituto de Historia 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.)

Literary realism attempts to illustrate life in texts without romanticizing ordinary experiences. Upamanyu Chatterjee's work English, August presents the people of rural India. The protagonist of the novel, Agastya, is a civil servant and he encounters the people of Madna. I propose that in the novel's postcolonial setting of rural India, the nation replicates the imperial power. The bureaucratic system in India poses as a mimicry of the imperialist rule; a masquerade of colonial modernity in India. This paper also examines the impact of colonialism on the individual's psyche. The characters face anxiety over self in various instances as bureaucrats and individuals. This paper seeks to explain the modernist method of writing in critiquing the colonial modernity in India and the objective reality that the realist writings tend to produce. This paper claims that the novel in the style of bildungsroman is a comical subversive critique generated against the narratives of the nation. [ABSTRACT FROM AUTHOR]

Based on extensive archival research, this article focuses on the key role that the professional reading of foreign fiction had in the cultural mediation that takes place within publishing houses, arguing that readers' reports should be regarded as a form of specialised discourse on literature. It provides the first historical account of the cultural agency of the most important readers of Italian fiction working for British publishers with an interest in European literature in the period 1945–1968 (Jonathan Cape, Chatto & Windus, the Hogarth Press and The Bodley Head), assessing their educational and professional background and its influence on their critical perspective. To do this, it analyses three examples of professional reading, which concern the use of categories such as 'realism' and 'neorealism'; the consideration of genre and readability (with a focus on the translation of Natalia Ginzburg's Lessico famigliare); and the assessment of the political subtext of Vasco Pratolini's trilogy Una storia italiana. [ABSTRACT FROM AUTHOR]

Modernism's Others explores how a transformation in traditions of realist representation laid the grounds for the emergence of the multicultural and avant-garde constructions of modern American literature. At the heart of this investigation is the way the "right to privacy" articulated at the end of the nineteenth century reshaped visions of separate spheres, differential rights, and public duties. It examines a moment at which writers placed, at the heart of literature's ethics and its epistemology, the right to not be known. Tracing the career of this idea from its roots in late nineteenth-century realism through the emerging canons of modernist and multicultural literature, this project explores the interplay between new categories of legal right, new categories of social analysis, and new measures of literary value. "Selling somebody out" slouches into American literature, more or less, on the heels of Bartley Hubbard. [ABSTRACT FROM AUTHOR]

This article explores the abiding relevance of Croce's last book in the philosophy of history, which, due its publication during the war has always been neglected. After discussing the context of Croce's antagonism to the anti-historicist tendencies of his own times, the book is interpreted as theoretical underpinning of Croce's 'ethico-political' histories by which he sought to close the gap between historical thinking and action. This he does on the basis of a sophisticated realist ontology, which is still relevant for contemporary philosophy of history. [ABSTRACT FROM AUTHOR]

If the twentieth century was that of phenomenology, the twenty-first is characterized by the rise of multiple realisms. Although one might think that this is a radical turn in contemporary philosophy, it should be remembered that, in 1943, Jean-Paul Sartre tried to establish an absolute neorealism which wanted to preserve a certain realism within phenomenology. Through a reading of Being and nothingness, the author shows that absolute neorealism enables the dichotomy between idealism and realism to be surpassed, thanks to the transphenomenality of two beings and, in addition, imposes a displacement of the descriptive and constitutive task of phenomenology towards a work of revelation. [ABSTRACT FROM AUTHOR]

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. The emphasis is placed 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 cultural operations and related principles of selecting, evaluating and connecting the phenomena forming the horizon 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 (Luhmann, 1995, 2000) allows for a more complex view of realist literature as an autopoietic system in the context of modern society, which itself is viewed 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 the realist fictional world and the stratification of its functions (Fořt, 2014). Results and conclusion. 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, developed 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. [ABSTRACT FROM AUTHOR]

In his essay, Moraru contends that Mihai Iovănel’s 2021 History of Contemporary Romanian Literature: 1990-2020 is a breakthrough in Romanian literary historiography and criticism overall. According to Moraru, the History revisits radically the terms of the Romantic contract that, in Romania and elsewhere, has typically been underwriting modern criticism. A form of critical realism and an exemplar of postmillennial Romanian literary and cultural studies, Iovănel’s book is, in Moraru’s view, not only provocative but also effectively transformative. To gauge the scope and nature of the changes advocated and enacted in the History, this article examines how Iovănel has put together what he calls the “system” of contemporary Romanian literature. Thus, Moraru is less concerned with which writers are included in the book and which are left out, seeking, instead, answers to a series of questions concerning primarily Iovănel’s cultural-materialist and transnational studies-informed methodology. Along the same theoretical, historical, and political lines, Moraru discusses the project’s makeup as well as the strength of the case the History makes for the need to have another look at a range of pre- and post-1990 literary movements, directions, styles, and authors, principally at postmodernism and its competition and successors in the twenty-first century. [ABSTRACT FROM AUTHOR]

Copyright of Scripta is the property of Scripta 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.)

Putu Shanty was one of Bali's leading intellectuals in the middle of the twentieth century, but he has been effaced from official publications identifying cultural leaders of the island. His short stories, written in a social realist style, were intended as interventions that would influence the course of history but are also a valuable record of historical discourse. 'Anti-feudalism' was a central discursive concern of Shanty's, and while it was shared on a national level with other political leaders and writings, its implications on Bali were highly specific, involving local social contestation and attempts to redefine religion. The role of intellectuals such as Shanty demonstrates that there are significant differences between discourses of the 1950s and the early-twenty-first-century constitution of 'tradition'. [ABSTRACT FROM AUTHOR]

In 1927, just before completing the first Japanese translation of Shakespeare's Complete Works, Tsubouchi Shōyō (1859–1935) selected eight of his translations for inclusion in his own Selected Works, which were published in fifteen volumes in conclusion to his career as one of the leading exponents of cultural reform of his generation. His choice is idiosyncratic as it omits the plays that had become most popular during the period of Shakespeare's initial reception in late nineteenth-century Japan, but includes a number that were relatively unknown, such as Measure for Measure. This article suggests likely reasons for his selection before discussing the comments he makes on each play in his translation prefaces, and thus provides an overview of what Tsubouchi had come to value about Shakespeare. [ABSTRACT FROM AUTHOR]

This article investigates the specific realism deployed in To Live (1993), Yu Hua's description of the struggles of the spoiled son of a wealthy landowner transformed into a kindhearted peasant after the revolution. The analysis shows how narrative technique and Yu Hua's active interventions in his narrative affect the novel. Originally banned in China, it was later called one of the nation's most influential books. Three main themes within the novel are highlighted, that of violence and death, the role of spiritual cynicism, and the general humanism pervading the narrative. Five types of narrative operations are at play in To Live: the use of a dual voice, the invention of unique plot patterns, the mechanism of anachrony, the recourse to metalanguage, and the technique of double-voiced discourse. The ultimate purpose of this expanded realism is to make readers understand the world thanks to embodied experiences of language and not just by following a sequence of events. [ABSTRACT FROM AUTHOR]

Copyright of Odisea is the property of Revista Odisea 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.)

The study aims to approach the idyllic within the context of realistic representation not as a category represented by strictly specified group of idyllic means of expression but rather a stylistic layer in which variability of expression plays a major role. The study focuses on particular examples of authorial metalepsis and intrusions of extradiegetic narrator which undermines mimetic illusion of realistic narrative and, as a result, the inventedness of the story and the idyllic nature of the narrative are foregrounded. Several examples extracted from various genres (a travelogue, a short story, a sketch) and authors (G. K. Zechenter-Laskomerský, M. Kukučín and S. H. Vajanský) of Slovak literary realism are given to demonstrate the shifts from the realistic to the idyllic caused by the metaleptic quality of narrative embedding. The communicative value and the effect of the idyllic is determined by the technique how the narrative is integrated into the context of complex literary expression. The change of functional perspective from the realistic to the idyllic in the fiction concerned is signalled by the symptom of anachronism considered illegitimate in temporal and causal system of realistic depiction. The symptom challenges its epistemological and educational function and in the study it is evaluated as the expression of desire for transgression of relations of successiveness and equivalence, logic and causality of objective, external necessity typical of literary techniques of the period.

This essay proposes that we understand Vernon Lee's debut novel, Miss Brown (1884), as enacting a theory of literary language's constructive potency that Lee develops in her critical essays. Those critical essays offer a vibrant nineteenth-century formalism, suggesting how fiction constructs and formalizes our realities, shaping readers' mental and emotional circuits as it arranges phrases, sentences, and paragraphs. In Miss Brown, Lee crafts a prose style that meticulously tracks the protagonist's formation--the "little dramas of expectation, fulfilment and disappointment, . . . of tensions and relaxations"--rendering that formation as a drama of sentence-level structuration. The resulting "representation" of Anne Brown is interrupted with adjective-rich stretches conspicuously geared toward defining, formulating, and theorizing what is being represented, essay-like. By treating the protagonist as an occasion to foreground syntax's active building and abstracting, Miss Brown's prose partakes in the kind of literary practice that has recently been described as nonmimetic realism--realism that does more than denote and refer and reflect what is, and instead performs, meditating on form's process, to project and inform new potentialities. [ABSTRACT FROM AUTHOR]

The author argues on Argentine author Jorge Luis Borges' theory and conceptions of realism in American literature. Topics include a comparison between American and Argentine literature, comments on Borges' 1952 essay on American novelist Nathaniel Hawthorne, and the author's views on Borges' interest in magic as reflected in his new narrative on Hawthorne.

The most advanced forms of modernist and poststructuralist critique have been highly skeptical of the realist claims made by many 17th and 18th century novels as well as the more programmatic realism of 19th century. Yet from painting and novels to photography and virtual reality, countless techniques and technologies of representation have been developed to give readers or spectators an experience that is realistic. Indeed, "realistic" is almost always a positive epithet. This article seeks to explain the continued allure of realist fictional narratives by analyzing the four cardinal modes that compose them: mimesis, form, fictionality, and the reader. Each of these modes is necessary, and in their balanced cooperation are sufficient, to account for the analytical scope and affective engagement achieved by realist fictional narrative. [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.

The article focuses on Canadian fiction such as Leon Rooke's"The House on Major Street" which explodes auto fiction's self-focus. It mentions that Boyagoda's second novel, "Beggar's Feast" tended towards realism while "Original Prin" resumes the earlier, more adventurous style. It also mentions that multiculturalism approaching Christian chauvinism while at the same time exposing Islamic chauvinism.