Realism in american literature essays
The content of literature is as limitless as the desire of human beings to communicate with one another. The thousands of years, perhaps hundreds of thousands, since the human species first developed speech have seen built up the almost infinite systems of relationships called . A language is not just a collection of words in an unabridged dictionary but the individual and social possession of living human beings, an inexhaustible system of equivalents, of sounds to objects and to one another. Its most primitive elements are those that express direct experiences of objective reality, and its most sophisticated are concepts on a high level of abstraction. Words are not only equivalent to things, they have varying degrees of equivalence to one another. A symbol, says the dictionary, is something that stands for something else or a sign used to represent something, “as the lion is the symbol of courage, the cross the symbol of Christianity.” In this sense all words can be called symbols, but the examples given—the lion and the cross—are really : that is, symbols that represent a complex of other symbols, and which are generally negotiable in a given society (just as money is a symbol for goods or labour). Eventually a language comes to be, among other things, a huge sea of , an endless web of interrelated symbols. As literature, especially poetry, grows more and more sophisticated, it begins to manipulate this field of suspended metaphors as a material in itself, often as an end in itself. Thus, there emerge forms of poetry (and prose, too) with endless ramifications of reference, as in and haiku, some ancient Irish and Norse verse, and much of the poetry written in western Europe since the time of Baudelaire that is called modernist. It might be supposed that, at its most extreme, this development would be objective, constructive—aligning it with the critical theories stemming from Aristotle’s Poetics. On the contrary, it is , subjective art, primarily because the writer handles such material instinctively and subjectively, approaches it as the “,” to use the term of the psychologist , rather than with deliberate rationality.
Essay on Realism and Naturalism in American Literature Stories
Analyze characters with a Strength and Weakness chart
However, Amaryll Beatrice Chanady distinguishes magical realist literature from fantasy literature ("the fantastic") based on differences between three shared dimensions: the use of (the simultaneous presence of two conflicting codes), the inclusion of events that cannot be integrated into a logical framework, and the use of authorial reticence. In fantasy, the presence of the supernatural code is perceived as problematic, something that draws special attention—where in magical realism, the presence of the supernatural is accepted. In fantasy, while authorial reticence creates a disturbing effect on the reader, it works to into the natural framework in magical realism. This integration is made possible in magical realism as the author presents the supernatural as being equally valid to the natural. There is no hierarchy between the two codes. The ghost of Melquíades in Márquez's or the baby ghost in Toni Morrison's who visit or haunt the inhabitants of their previous residence are both presented by the narrator as ordinary occurrences; the reader, therefore, accepts the marvelous as normal and common.
American Literature – Easy Peasy All-in-One High School
Fabulism traditionally refers to fables, parables, and myths, and is sometimes used in contemporary contexts for authors whose work falls within or relates to Magical Realism. is an example of a writer in the genre who uses the term .