Literary realism

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Literary realism is part of the realist art movement beginning with mid nineteenth-century French literature and extending to the late nineteenth and early twentieth-century. Literary realism, in contrast to idealism, attempts to represent familiar things as they are.[1] Realist authors chose to depict everyday and banal activities and experiences, instead of using a romanticized or similarly stylized presentation. Literary critic Ian Watt, however, dates the origins of realism in United Kingdom to the early 18th-century novel.[2] Subsequent related developments in the arts are naturalism, social realism, and in the 1930s, socialist realism.

Background[edit]

Broadly defined as "the faithful representation of reality",[3] realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements.

Realism has been prevalent in the arts at many periods, and is in large part a matter of technique and training, and the avoidance of stylization. In the visual arts, illusionistic realism is the accurate depiction of lifeforms, perspective, and the details of light and colour. Realist works of art may emphasize the ugly or sordid, such as works of social realism, regionalism, or Kitchen sink realism.

There have been various realism movements in the arts, such as the opera style of verismo, literary realism, theatrical realism and Italian neorealist cinema. The realism art movement in painting began in France in the 1850s, after the 1848 Revolution.[4] The realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century.

Realism as a movement in literature was based on "objective reality", and focused on showing everyday, quotidian activities and life, primarily among the middle or lower class society, without romantic idealization or dramatization.[5] It may be regarded as the general attempt to depict subjects as they are considered to exist in third person objective reality, without embellishment or interpretation and "in accordance with secular, empirical rules."[6] As such, the approach inherently implies a belief that such reality is ontologically independent of man's conceptual schemes, linguistic practices and beliefs, and thus can be known (or knowable) to the artist, who can in turn represent this 'reality' faithfully. As literary critic Ian Watt states in The Rise of the Novel, modern realism "begins from the position that truth can be discovered by the individual through the senses" and as such "it has its origins in Descartes and Locke, and received its first full formulation by Thomas Reid in the middle of the eighteenth century."[7]

In the late 18th-century Romanticism was a revolt against the aristocratic social and political norms of the previous Age of Reason and a reaction against the scientific rationalization of nature found in the dominant philosophy of the 18th-century,[8] as well as a reaction to the Industrial Revolution.[9] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[10] education[11] and the natural sciences.[12]

19th-century realism was in its turn a reaction to Romanticism, and for this reason it is also commonly derogatorily referred as traditional or "bourgeois realism".[13] However, not all writers of Victorian literature produced works of realism.[14] The rigidities, conventions, and other limitations of Victorian realism, prompted in their turn the revolt of modernism. Starting around 1900, the driving motive of modernist literature was the criticism of the 19th-century bourgeois social order and world view, which was countered with an antirationalist, antirealist and antibourgeois program.[13][15][16]

Social realism[edit]

See also: Social novel

Social Realism is an international art movement that includes the work of painters, printmakers, photographers and filmmakers who draw attention to the everyday conditions of the working classes and the poor, and who are critical of the social structures that maintain these conditions. While the movement's artistic styles vary from nation to nation, it almost always uses a form of descriptive or critical realism.[17]

Kitchen sink realism (or kitchen sink drama) is a term coined to describe a British cultural movement that developed in the late 1950s and early 1960s in theatre, art, novels, film and television plays, which used a style of social realism. Its protagonists usually could be described as angry young men. and it often depicted the domestic situations of working-class Britons living in cramped rented accommodation and spending their off-hours drinking in grimy pubs, to explore social issues and political controversies.

The films, plays and novels employing this style are set frequently in poorer industrial areas in the North of England, and use the rough-hewn speaking accents and slang heard in those regions. The film It Always Rains on Sunday (1947) is a precursor of the genre, and the John Osborne play Look Back in Anger (1956) is thought of as the first of the genre. The gritty love-triangle of Look Back in Anger, for example, takes place in a cramped, one-room flat in the English Midlands. The conventions of the genre have continued into the 2000s, finding expression in such television shows as Coronation Street and EastEnders.[18]

In art, "Kitchen Sink School" was a term used by critic David Sylvester to describe painters who depicted social realist–type scenes of domestic life.[19]

Socialist realism[edit]

Socialist realism is the official Soviet art form that was institutionalized by Joseph Stalin in 1934 and was later adopted by allied Communist parties worldwide.[17] This form of realism held that successful art depicts and glorifies the proletariat's struggle toward socialist progress. The Statute of the Union of Soviet Writers in 1934 stated that socialist realism

is the basic method of Soviet literature and literary criticism. It demands of the artist the truthful, historically concrete representation of reality in its revolutionary development. Moreover, the truthfulness and historical concreteness of the artistic representation of reality must be linked with the task of ideological transformation and education of workers in the spirit of socialism.[20]

Naturalism[edit]

Naturalism was a literary movement or tendency from the 1880s to 1930s that used detailed realism to suggest that social conditions, heredity, and environment had inescapable force in shaping human character. It was a mainly unorganized literary movement that sought to depict believable everyday reality, as opposed to such movements as Romanticism or Surrealism, in which subjects may receive highly symbolic, idealistic or even supernatural treatment.

Naturalism was an outgrowth of literary realism, a prominent literary movement in mid-19th-century France and elsewhere. Naturalistic writers were influenced by Charles Darwin's theory of evolution.[21] Whereas realism seeks only to describe subjects as they really are, naturalism also attempts to determine "scientifically" the underlying forces (e.g., the environment or heredity) influencing the actions of its subjects.[citation needed] Naturalistic works often include supposed sordid subject matter, for example, Émile Zola's frank treatment of sexuality, as well as a pervasive pessimism. Naturalistic works tend to focus on the darker aspects of life, including poverty, racism, violence, prejudice, disease, corruption, prostitution, and filth. As a result, naturalistic writers were frequently criticized for focusing too much on human vice and misery.[citation needed]

The novel[edit]

United Kingdom[edit]

Ian Watt in The Rise of the Novel (1957) saw the novel as originating in the early 18th-century and he argued that the novel's 'novelty' was its 'formal realism': the idea 'that the novel is a full and authentic report of human experience'.[2] His examples are novelists Daniel Defoe, Samuel Richardson and Henry Fielding. Watt argued that the novel's concern with realistically described relations between ordinary individuals, ran parallel to the more general development of philosophical realism, middle-class economic individualism and Puritan individualism. He also claims that the form addressed the interests and capacities of the new middle-class reading public and the new book trade evolving in response to them. As tradesmen themselves, Defoe and Richardson had only to 'consult their own standards' to know that their work would appeal to a large audience.[22]

Later in the 19th-century George Eliot's (1819 – 1880) Middlemarch: A Study of Provincial Life (1871-2), described by novelists Martin Amis and Julian Barnes as the greatest novel in the English language, is a work of realism.[23] [24] Through the voices and opinions of different characters the reader become aware of important issues of the day, including the Reform Bill, of 1832, the beginnings of the railways, and the state of contemporary medical science. Middlemarch also shows the deeply reactionary mindset within a settled community facing the prospect of what to many is unwelcome social, political and technological change.

While George Gissing (1857-1903), author of New Grub Street (1891), amongst many other works, has traditionally been viewed as a naturalist, mainly influenced by Émile Zola,[25] Jacob Korg has suggested that George Eliot was a greater influence.[26]

Other novelists, such as Arnold Bennett (1867-19310 and Anglo-Irishman George Moore (1852-1933) consciously imitated the French realists.[27] Bennett's most famous works are the Clayhanger trilogy (1910–18) and The Old Wives' Tale (1908). These books draw on his experience of life in the Staffordshire Potteries, an industrial area encompassing the six towns that now make up Stoke-on-Trent in Staffordshire, England. George Moore, whose most famous work is Esther Waters (1894), was also influenced by the naturalism of Zola.[28]

American realism[edit]

William Dean Howells (1837 – 1920) was the first American author to bring a realist aesthetic to the literature of the United States.[citation needed] His stories Boston upper crust life set in the 1850s are highly regarded among scholars of American fiction.[citation needed] His most popular novel, The Rise of Silas Lapham (1885), depicts a man who, ironically, falls from materialistic fortune by his own mistakes. Other early American realists include Samuel Clemens (1835–1910), better known by his pen name of Mark Twain, author of The Adventures of Huckleberry Finn (1884),[29][30] Stephen Crane (1871–1900), and Horatio Alger, Jr. (1832–1899).

Twain's style, based on vigorous, realistic, colloquial American speech, gave American writers a new appreciation of their national voice. Twain was the first major author to come from the interior of the country, and he captured its distinctive, humorous slang and iconoclasm. For Twain and other American writers of the late 19th century, realism was not merely a literary technique: It was a way of speaking truth and exploding worn-out conventions. Crane was primarily a journalist who also wrote fiction, essays, poetry, and plays, Crane saw life at its rawest, in slums and on battlefields. His haunting Civil War novel, The Red Badge of Courage, was published to great acclaim in 1895, but he barely had time to bask in the attention before he died, at 28, having neglected his health. He has enjoyed continued success ever since—as a champion of the common man, a realist, and a symbolist. Crane's Maggie: A Girl of the Streets (1893), is one of the best, if not the earliest, naturalistic American novel. It is the harrowing story of a poor, sensitive young girl whose uneducated, alcoholic parents utterly fail her. In love, and eager to escape her violent home life, she allows herself to be seduced into living with a young man, who soon deserts her. When her self-righteous mother rejects her, Maggie becomes a prostitute to survive, but soon commits suicide out of despair. Crane's earthy subject matter and his objective, scientific style, devoid of moralizing, earmark Maggie as a naturalist work.[31] Horatio Alger, Jr. (1832–1899) was a prolific 19th-century American author whose principal output was formulaic rags-to-riches juvenile novels that followed the adventures of bootblacks, newsboys, peddlers, buskers, and other impoverished children in their rise from humble backgrounds to lives of respectable middle-class security and comfort. His novels, of which Ragged Dick is a typical example, were hugely popular in their day.

Other later American realists are: John Steinbeck, Frank Norris, Theodore Dreiser, Upton Sinclair, Jack London, Edith Wharton and Henry James.

Europe[edit]

Honoré de Balzac (1799–1850) is the most prominent representative of 19th century realism in fiction through the inclusion of specific detail and recurring characters.[32][33][34] His La Comédie humaine, a vast collection of nearly 100 novels, was the most ambitious scheme ever devised by a writer of fiction—nothing less than a complete contemporary history of his countrymen. Realism is also an important aspect of the works of Alexandre Dumas, fils (1824 – 1895).

Many of the novels in this period, including Balzac's, were published in newspapers in serial form, and the immensely popular realist "roman feuilleton" tended to specialize in portraying the hidden side of urban life (crime, police spies, criminal slang), as in the novels of Eugène Sue. Similar tendencies appeared in the theatrical melodramas of the period and, in an even more lurid and gruesome light, in the Grand Guignol at the end of the century.

Gustave Flaubert's (1821–1880) acclaimed novels Madame Bovary (1857), which reveals the tragic consequences of romanticism on the wife of a provincial doctor, and Sentimental Education (1869) represent perhaps the highest stages in the development of French realism. Flaubert also wrote other works in an entirely different style and his romanticism is apparent in the fantastic The Temptation of Saint Anthony (final version published 1874) and the baroque and exotic scenes of ancient Carthage in Salammbô (1862).

In German literature, 19th-century realism developed under the name of "Poetic Realism" or "Bourgeois Realism," and major figures include Theodor Fontane, Gustav Freytag, Gottfried Keller, Wilhelm Raabe, Adalbert Stifter, and Theodor Storm.[35]

Later realist writers included Benito Pérez Galdós, Guy de Maupassant, Anton Chekhov, José Maria de Eça de Queiroz, Machado de Assis, Bolesław Prus and, in a sense, Émile Zola, whose naturalism is often regarded as an offshoot of realism.[citation needed]

The theatre[edit]

Theatrical realism was a general movement in 19th-century theatre from the time period of 1870-1960 that developed a set of dramatic and theatrical conventions with the aim of bringing a greater fidelity of real life to texts and performances. Part of a broader artistic movement, it shared many stylistic choices with naturalism, including a focus on everyday (middle-class) drama, ordinary speech, and dull settings. Realism and naturalism diverge chiefly on the degree of choice that characters have: while naturalism believes in the overall strength of external forces over internal decisions, realism asserts the power of the individual to choose (see A Doll's House).

Russia's first professional playwright, Aleksey Pisemsky, and Leo Tolstoy (The Power of Darkness (1886)), began a tradition of psychological realism in Russia which culminated with the establishment of the Moscow Art Theatre by Constantin Stanislavski and Vladimir Nemirovich-Danchenko.[36] Their ground-breaking productions of the plays of Anton Chekhov in turn influenced Maxim Gorky and Mikhail Bulgakov. Stanislavski went on to develop his 'system', a form of actor training that is particularly suited to psychological realism.

19th-century realism is closely connected to the development of modern drama, which, as Martin Harrison explains, "is usually said to have begun in the early 1870s" with the "middle-period" work of the Norwegian dramatist Henrik Ibsen. Ibsen's realistic drama in prose has been "enormously influential."[37]

In opera, verismo refers to a post-Romantic Italian tradition that sought to incorporate the naturalism of Émile Zola and Henrik Ibsen. It included realistic – sometimes sordid or violent – depictions of contemporary everyday life, especially the life of the lower classes.

In France in addition to melodramas, popular and bourgeois theater in the mid-century turned to realism in the "well-made" bourgeois farces of Eugène Marin Labiche and the moral dramas of Émile Augier.

See also[edit]

Notes[edit]

  1. ^ "Realism" in the Oxford Dictionary
  2. ^ a b Watt, I. (1963). The Rise of the Novel: Studies in Defoe, Richardson and Fielding, Harmondsworth: Penguin, p. 32.
  3. ^ Donna M. Campbell. "Realism in American Literature". Wsu.edu. Retrieved 2014-07-15. 
  4. ^ "Metropolitan Museum of Art". Metmuseum.org. 2014-06-02. Retrieved 2014-07-15. 
  5. ^ "Realism definition of Realism in the Free Online Encyclopedia". Encyclopedia2.thefreedictionary.com. Retrieved 2014-07-15. 
  6. ^ in so far as such subjects are "explicable in terms of natural causation without resort to supernatural or divine intervention" Morris, 2003. p. 5
  7. ^ Watt, 1957, p.12
  8. ^ Casey, Christopher (October 30, 2008). ""Grecian Grandeurs and the Rude Wasting of Old Time": Britain, the Elgin Marbles, and Post-Revolutionary Hellenism". Foundations. Volume III, Number 1. Retrieved 2014-05-14. 
  9. ^ Encyclopædia Britannica. "''Romanticism''. Retrieved 30 January 2008, from Encyclopædia Britannica Online". Britannica.com. Retrieved 2010-08-24. 
  10. ^ David Levin, History as Romantic Art: Bancroft, Prescott, and Parkman (1967)
  11. ^ Gerald Lee Gutek, A history of the Western educational experience (1987) ch. 12 on Johann Heinrich Pestalozzi
  12. ^ Ashton Nichols, "Roaring Alligators and Burning Tygers: Poetry and Science from William Bartram to Charles Darwin," Proceedings of the American Philosophical Society 2005 149(3): 304–315
  13. ^ a b John Barth (1979) The Literature of Replenishment, later republished in The Friday Book' '(1984).
  14. ^ "Victorian Literature". The Literature Network. Retrieved 7 October 2013. 
  15. ^ Gerald Graff (1975) Babbitt at the Abyss: The Social Context of Postmodern. American Fiction, TriQuarterly, No. 33 (Spring 1975), pp. 307-37; reprinted in Putz and Freese, eds., Postmodernism and American Literature.
  16. ^ Gerald Graff (1973) The Myth of the Postmodernist Breakthrough, TriQuarterly, 26 (Winter, 1973) 383-417; rept in The Novel Today: Contemporary Writers on Modern Fiction Malcolm Bradbury, ed., (London: Fontana, 1977); reprinted in Proza Nowa Amerykanska, ed., Szice Krytyczne (Warsaw, Poland, 1984); reprinted in Postmodernism in American Literature: A Critical Anthology, Manfred Putz and Peter Freese, eds., (Darmstadt: Thesen Verlag, 1984), 58-81.
  17. ^ a b Todd, James G. (2009). "Social Realism". Art Terms. Museum of Modern Art. Retrieved 6 February 2013. 
  18. ^ Heilpern, John. John Osborne: The Many Lives of the Angry Young Man, New York: Knopf, 2007.
  19. ^ Walker, John. (1992) "Kitchen Sink School". Glossary of Art, Architecture & Design since 1945, 3rd. ed. Retrieved 20 January 2012.
  20. ^ On Socialist Realism" by Andrei Sinyavsky writing as Abram Tertz ISBN 0-520-04677-3, p.148.
  21. ^ Williams, Raymond. 1976. Keywords: A Vocabulary of Culture and Society. London: Fontana, 1988, p. 217. ISBN 0-00-686150-4.
  22. ^ Watt, I. (1963). The Rise of the Novel: Studies in Defoe, Richardson and Fielding, Harmondsworth: Penguin, p. 61.
  23. ^ Long, Camilla. Martin Amis and the sex war, The Times, 24 January 2010, p. 4: "They've [women] produced the greatest writer in the English language ever, George Eliot, and arguably the third greatest, Jane Austen, and certainly the greatest novel, Middlemarch."
  24. ^ Guppy, Shusha. "Interviews: Julian Barnes, The Art of Fiction No. 165". The Paris Review (Winter 2000). Retrieved 26 May 2012. 
  25. ^ Keary, C. F. (1904). "George Gissing," The Athenaeum, Vol. XVI, p. 82.
  26. ^ Bader, A.L. (1963). "New Looks at Gissing". The Antioch Review 23 (3): 392–400. 
  27. ^ The Oxford Companion to English Literature, ed. Margaret Drabble.Oxford: Oxford University Press, (1985)1996, p.824
  28. ^ Moran, Maureen, (2006), Victorian Literature And Culture p. 145. ISBN 0-8264-8883-8
  29. ^ http://matthewasprey.wordpress.com/2007/12/03/reading-notes-green-hills-of-africa-by-ernest-hemingway/
  30. ^ Hemingway, Ernest (1935). Green Hills of Africa. New York: Scribners. p. 22. 
  31. ^ Holton, Milne. Cylinder of Fiction. - The Fiction and Journalistic Writing of Stephen Crane. Baton Rouge: Louisiana State UP, 1972. 37.
  32. ^ Rogers, Samuel (1953). Balzac & The Novel. New York: Octagon Books. LCCN 75-76005.
  33. ^ Stowe, William W (983). Balzac, James, and the Realistic Novel. Princeton: Princeton University Press. ISBN 0-691-06567-5.
  34. ^ C. P. Snow (1968). The Realists: Portraits of Eight Novelists. Macmillan. ISBN 0-333-24438-9.
  35. ^ Becker, Sabine (2003). Bürgerlicher Realismus; Literatur und Kultur im bürgerlichen Zeitalter 1848-1900 (in German). Tübingen: Francke. ; McInnes, Edward and Plumpe, Gerhard, ed. (1996). Bürgerlicher Realismus und Gründerzeit 1848-1890 (in German). Munich: Carl Hanser. 
  36. ^ Brockett and Hildy (2003, 370, 372) and Benedetti (2005, 100) and (1999, 14-17).
  37. ^ Harrison (1998, 160).

Bibliography[edit]

External links[edit]