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Se rebaten dos tipos de críticas sobre Cuentos de barro (1933), de Salarrué: se cuestionan interpretaciones que identifican a los personajes con los indígenas y los negros reales de El Salvador en las décadas de 1920 y 1930; por otra parte, se disputan las críticas académicas que, a pesar de reconocer el ingrediente inventivo en las representaciones de los personajes, califican la ficción de un acto engañoso. Con el análisis de «El negro», con atención en el discurso metafórico, el realismo de Salarrué es más complejo que el realismo concebido como una copia fiel del mundo real. The study refutes two types of criticism about Cuentos de barro (1933), by Salarrué. It questions interpretations identifying the characters with real indigenous and black people in El Salvador in the 1920s and 1930s. Moreover, it argues against academic criticism which, in spite of acknowledging the non-realistic traits of the characters, describes the fiction as misleading. Through the analysis of “El negro”, with attention to the metaphoric discourse, Salarrué’s realism is viewed as more complex than realism conceived of as a faithful copy of the real world.

The article offers information on the development of literary realism in the book "The Historical Novel" by Georg Lukács. Topics discussed include contradiction between capitalism and indigenous lifeway; understanding of the links between the novel and historical consciousness; and settler colonialism when realism is not universally achievable.

This contribution situates Gérard de Nerval's visionary prose and his reports from the Parisian nightlife in a different history of European realism, one that begins around 1800 with the programmatic linking of 'idealistic' and 'realistic' positions in philosophy and literature and which can been shown, for example, by looking at texts and (linguistic) images from Jean Paul, E. T. A. Hoffmann, and Gustave Courbet. [ABSTRACT FROM AUTHOR]

The first realist artists, suchas Courbet, Champfleury, Duranty or Buchon (also called "realists of sincerity"), theorized the concept of realism as an aesthetic, social and politic revolution, and they considered realism as the only way to speak of and to the people. Their attitude towards art and literature was close to what Sartre would later call "engagement." However, even if this movement seemed ideally positioned to create a truly "engaged literature,"realist artists never managed to bring their theoretical intentions to full fruition in their works. This failure could be due to their inability to create a new language that could reach the people, or to "become" common people themselves, as Sartre would say. Or it might simply stem from their basic concept of "sincerity," an ethical impossibility to speak of an unknown world. This limited engagement led them in fact to a dead end. (In French) [ABSTRACT FROM AUTHOR]

Among literary-theoretical concepts, mimesis has one of the longest histories, dating back to Plato and Aristotle. In the twentieth century, discussion of mimesis resulted in a number of highly influential contributions, including Eric Auerbach's Mimesis and Paul Ricoeur's Time and Narrative. In this article, we use Ricoeur's tripartite model of mimesis as a catalyst for a dialogue between unnatural and cognitive approaches to narrative. In the first part, we argue that, as a form of simulation (and not just passive imitation), mimesis is best conceptualized in terms of readers' mental modeling of narrative texts. We build on work in cognitive psychology and psycholinguistics to show how readers understand narrative by building situation models derived from their everyday, embodied experience. However, as unnatural narratology emphasizes, not all narratives are consistent with real-world experience. Thus, in the second part of the essay, we examine and discuss the strategies through which readers can accommodate physical and logical impossibilities in narrative by adapting their situation models. In the final part of the article, we turn to D. M. Thomas's The White Hotel, a prototypically "unnatural" novel in that the protagonist's experience is caused by future events rather than by past ones. Our discussion of this novel shows situation models and interpretive strategies at work, exemplifying our claims and grounding them in a textual example. Through this combination of cognitive models and unnatural theory, we develop a framework for understanding mimesis that moves beyond dichotomies between "natural" and "unnatural" stories. [ABSTRACT FROM AUTHOR]

The article presents information on Joseph Conrad's writings about eroticism with reference to his novel, "The Rescue." The author says that Conrad presents a combination of romance and realism in this book. Katherine Isob Baxter says that the book traps one man in a conflict of loyalties between West and East.

The article provides information on the letters of French novelist, Gustave Flaubert leading exponent of literary realism in France. Topics include archaeologist of novelistic project bringing together the materials needed to resurrect a vanished city and civilization, documentary sources of "Salammbo" and physiognomy.

Before 1918, Slovaks were a nation without borders, and they would therefore assert their identity mainly through language and literature. The writers from the end of the 19th century (M. Kukučín, B. Slančíková Timrava, L. Nádaši-Jégé, J. Gregor Tajovský, J. Jesenský) had to defend their positions under the difficult conditions of harsh magyarisation. Their situation changed after 1918 and this article observes how they reacted to this complicated post-war situation in terms of genres and themes, for example, in co-existence with literary and avantgarde directions. The values that the realistic authors promoted before the war became surprisingly developed under the changed political conditions. Each of them was able not only to attract readers' attention, but also to reflect on and critically depict the deformations of the new era. [ABSTRACT FROM AUTHOR]

This article focusses on the making of Magnani’s star image during the immediate postwar years (1945–1948). It appraises Magnani’s place within the institutional discourse of Neorealism and unpacks some of the meanings behind a notion that has been frequently associated with Magnani: authenticity. By examining Magnani’s costumes in Roma città aperta (Rome, Open City) (Rossellini, 1945) and in a number of popular comedies of the immediate postwar period alongside some of the clothes worn by the actress in her off-screen appearances, the article traces the distinctive unfolding of a ‘star narrative’ that seems especially concerned with points of origins and essences. The article demonstrates that this unfolding manifests itself through the opening of a space of absence in which, counter-intuitively, the ‘inauthentic’ appears repeatedly confronted. [ABSTRACT FROM AUTHOR]

In this article, we propose a reading of the historical relevance of Roberto Rossellini’s Roma città aperta (Rome, Open City) (Rossellini, 1945) in relation to one of the lesser-studied characters: Marina Mari (played by Maria Michi). The character of Marina has been subjected to critical negative responses centred on her narrative function, the betrayal of the Resistance movement or the ‘corrupt’ persona of the actress. We argue that Marina, in fact, embodies the convergence of a series of gender, genre, social and historic dynamics that have exceptional symbolic relevance for Italian cinematic and social history. We begin with an overview of the connection between Rome, Open City and the antifascist, re-foundational rhetoric that emerged after the Second World War, which ‘preserved’ Italian national identity by assigning culpability to the Germans alone. Following this, through a careful re-reading of her narrative function and visual representation, we demonstrate the radicalness of Marina’s sexual and social identity. [ABSTRACT FROM AUTHOR]

Among the most iconic images in world cinema, the final shot of Roberto Rossellini’s Roma città aperta (Rome, Open City) (1945) has inspired an effusion of critical commentary but little critical consensus, instead giving rise to opposing interpretations. I argue that the shot, in which the camera pans to follow a band of children as they march on a hillside overlooking the city of Rome, was shaped by a post-war dispute over the fate of Italian children after Fascism. Re-educating and re-claiming these children was felt to be one of the most pressing tasks facing Italy after the war, and I argue that it was this task that Rossellini and his collaborators sought to represent and even to undertake in their film. Thanks to their efforts, the final shot of Rome, Open City facilitated both a compelling confrontation with Italy’s Fascist past and a convincing – if far from straightforward – vision of its post-war future. [ABSTRACT FROM AUTHOR]

The article reconstructs how Roberto Rossellini’s Roma città aperta (Rome, Open City) (1945) film looked to its earliest reviewers and critics in 1945–47, before it became identified as the founding film of Neorealism, and how it has come to look since the 1970s, since the critical paradigm centred on the concept of Neorealism started to come apart. By focusing attention on how the film was received before the rise and after the fall of that paradigm, we can see how the category of Neorealism served to isolate and privilege one particular set of aesthetic properties and interpretive-evaluative categories (raw, authentic, quasi-documentary) while deflecting attention from others (melodrama, spectacle of violence). It also directed attention away from the film’s political functions, notably that of rehabilitating Italy and Italians after two decades of fascism. These functions were perceived in some (not all) of the early reviews, both American and Italian, but they have become more visible to recent viewers and critics. [ABSTRACT FROM AUTHOR]

In the years between the end of the Second World War and 1968, Roma città aperta (Rome, Open City) (Rossellini, 1945) became a key point of reference in a number of French cultural, aesthetic and political debates. This article analyses the film’s reception across popular audiences and cultured elites, making use of historical sources beyond specialist film journals (such as articles from the generalist press, promotional booklets, educational sheets, box office records) that help to contextualize the film’s shifting cultural significance. Three moments in particular are taken into account: Rome, Open City’s presentation at the Cannes Film Festival and its theatrical release (1946–47), during which its perceived ‘truth’ was indicated as its foremost quality; the diminished visibility of the film in the 1950s within the framework of the institutionalization of the politique des auteurs; and the reactivation of the memory of the Resistance in the period leading up to the events of May 1968. [ABSTRACT FROM AUTHOR]

This paper is interested in the role and space ‘conservative’ poetical realist literature was granted in the German Empire’s 19th century public discourse around environmental pollution and its impact on social inequality. Wilhelm Raabe’s novel Pfister’s Mill serves as a case study, as this literary work discusses the unwanted side effects of the young nation state’s transformation from an agricultural to an industrial society based on a contemporaneous legal incident. [ABSTRACT FROM AUTHOR]

Plots of realist novels often conform with Aristotle’s view that literary works should exclude contingent events and relate what is ‘probable or necessary’. Authors such as Eliot and Zola claim to produce social-historical knowledge based on the plot’s mirroring of extra-textual causality. In such realism, chance events contribute (as in Hardy) to unitary meaning. Woolf is among the modernist inaugurators of a plot-free text that accommodates the ‘disconnected and incoherent’. Georges Perec’s Life a User’s Manual pursues this aim via formal devices (Oulipian ‘constraints’) that supplant plot as a structural basis, creating a paradoxically underdetermined space in which contingency can appear. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "First Love" by Ivan Turgenev is presented. It outlines the characters and explores their symbolic significance. It examines the concept of the dominance of European realism and the social imaginary of Russian realism in the story. An overview of the story is also given.

Review: Anna Barcz, Realizm ekologiczny. Od ekokrytyki do zookrytyki w literaturze polskiej [Ecological Realism: From Ecocriticism to Zoocriticism in Polish Literature], Wydawnictwo Śląsk, Katowice 2016 [ABSTRACT FROM AUTHOR]

Artistic practice is applied as a tool of experimental research that acquires, as a necessary and decisive component, the identification of the organizational nature of the context on which it acts. The artistic frame allows the exceptional chance of developing experimentation within the spaces of everyday life, acting on its own operational rules. In response to the analysis of the context, an 'organizational analogue' is conceived and presented as a work of art. The 'Analogous' is not a representation or a performance, but rather the assumption, via linguistic mimesis, of a pre-extant object, to the shape of which a change is activated. The product is evaluated on the border of the language through which it interacts, allowing the components of the environment to negotiate its pertinence. An experimental approach based on which within the context one can find a game of which to identify the field, the rules and the players. An organizational artistic practice of playing that has juridical, economic and identity implications. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

The Italian reform of psychiatric health care, which in 1978 brought about the closure of psychiatric hospitals, was the culmination of a process that entailed numerous initiatives to reform the asylum from within, along with public campaigns to involve the general population. This article provides a close reading of one of the most controversial contributions to these campaigns: the photobook Morire di classe. The aim of this study is threefold: first to interpret Morire di classe with reference to the political philosophy of Franco Basaglia, the foremost proponent of the reform; second, to place Morire di classe within the history of Italian visual culture, at a watershed moment marked by the neorealist phototext, the current of concerned photography in Italy, and postmodernism; third, to debunk a number of criticisms that have been recently been leveled at the photobook. This article argues that Morire di classe anticipated strategies of the later postmodern impegno, insofar as it involves its audiences in the construction of meaning rather than imparting a ‘moral lesson'. [ABSTRACT FROM AUTHOR]

Although the short story is regarded as a minor genre in many literary traditions, it is arguably a major one in Australian literature, which, more specifically, was long dominated by the realist short story. Deriving from the colonial "yarns", the so-called "hard-luck stories" were indeed felt to be characterized by a realism that was in turn seen to result from the archetypal dryness of Australia itself. While the contemporary Australian writer Murray Bail has repeatedly questioned the realistic quality of his homeland's literature, he has also sought to broaden the subgenre to which it has often been reduced, namely bush realism. With "Camouflage" (1998), Bail appropriates the hard-luck story to convey a marginal perspective. This article shows how this strategy of revision allows him to contest both the archetypality of bush realism and the stereotypical perceptions of the Australian landscape, thereby problematizing the highly controversial relationship between place and literature. [ABSTRACT FROM AUTHOR]

This article studies the keys of symbolic representation of the social order of Mexico that the writer and jurist Emilio Rabasa Estebanell constructed by means of the codes of literary narrative. This con cern completely overflowed the domain of specifically legal, parliamentary, and journalistic writings. In this sense, in this work the novel is considered to be part of a complex atmosphere of writings, speeches, debates, and symbolic representations, beyond which it can not be fully interpreted. In support of the legal (rational, universal, abstract) constitution of the Mexican nation, Emilio Rabasa constantly referred to the intellectual instruments and procedures of narrativity in order to reduce a problematic reality-sometimes chaotic with respect to the liberal mentality's certainties and ideals-in the proper sense of the instruments and resources belonging to the literate order. This writing emphasizes an eagerness to describe, explain and, ultimately, understand, from the enunciation horizon of liberalism, the powerful popular traditions of Mexico. As a result, Rabasa came to narratively pose the emergence of the people as a social actor that would change Mexico's symbolic order, as it was established by the discourses of political modernity. This process is studied in La Guerra de Tres Años (1891). [ABSTRACT FROM AUTHOR]

The article explores the literary friendship between novelist Margaret Mitchell and book reviewer Herschel Brickell during the release of the novel "Gone With the Wind." Brickell endorsed the novel and positioned Mitchell in the center of the American South's literary realism during the late 1930s. He defended Mitchell from criticism that the novel glorifies slavery.

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.)

Copyright of Romanesques is the property of Classiques Garnier 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 article focuses on the discovery of ignored or forgotten works of literature especially in the context of African American literature. It discusses Donna M. Campbell's definition of naturalism as Campbell also extended her genre to literary journalism, memoir and film industry, realism referred in the novel "Hedged In" written by Elizabeth Stuart Phelps.