Ever since William Dean Howells declared his "realism war" in the 1880s, literary historians have regarded the rise of "realism" and "naturalism" as the great development in American post-Civil War fiction. Yet there are many problems with this generalization. It is virtually impossible, for example, to extract from the novels and manifestoes of American writers of this period any consistent definitions of realism or naturalism as modes of literary representation. Rather than seek common traits in widely divergent "realist" and "naturalist" literary works, Michael Davitt Bell focuses here on the role that these terms played in the social and literary discourse of the 1880s and 1890s. Bell argues that in America, "realism" and "naturalism" never achieved the sort of theoretical rigor that they did in European literary debate. Instead, the function of these ideas in America was less aesthetic than ideological, promoting as "reality" a version of social normalcy based on radically anti-"literary" and heavily gendered assumptions. What effects, Bell asks, did ideas about realism and naturalism have on writers who embraced and resisted them? To answer this question, he devotes separate chapters to the work of Howells and Frank Norris (the principal American advocates of realism and naturalism in the 1880s and 1890s), Mark Twain, Henry James, Stephen Crane, Theodore Dreiser, and Sarah Orne Jewett. Bell reveals that a chief function of claiming to be a realist or a naturalist was to provide assurance that one was a "real" man rather than an "effeminate" artist. Since the 1880s, Bell asserts, all serious American fiction writers have had to contend with this problematic conception of literary realism. The true story of the transformation of American fiction after the Civil War is the history of this contention - a history of individual accommodations, evasions, holding actions, and occasional triumphs.
On the response to the strikes of 1877, see Paul Boyer, Urban Masses and Moral Order in America, 1820-1Q20 (Cambridge: Harvard University Press, 1978), pp. 125-26. 3. Boyer, Urban Masses, pp. 126-28; Henry David, The History of the ...
The Illusion of Life: American Realism as a Literary Form
Selected Essays on American Literature J Leland Miller Professor of American History Literature and Eloquence ... Michael J. Colacurcio, “Footsteps of Ann Hutchinson: The Context of The Scarlet Letter,” ELH 39 (Sept., 1973): 459–94.
The importance of Native American realism is traced through a study of the evolution of dramatic theory from the early 1890s through World War I and the uniquely American innovations in realistic drama between world wars.
John Ahearn, Ivan Albright, Thomas Anshutz, Vincent Arcilesi, Victor Arnautoff, George Ault, William Bailey, Jack Beal, Robert Bechtle, William Beckman, Charles Bell, George Bellows, Thomas Hart Benton, Albert Bierstadt, George Caleb ...
At the turn of the twentieth century, realism meant drunken laborers participating in sordid sex and violent acts. As the century progressed, however, the workers seized the pen and forcibly...
Urban realism, snow-covered streets of New York, boxing matches, children on the banks of a river, the painters of the Ash Can School preferred realistic images.
Athénaïse was not one to accept the inevitable with patient resignation, a talent born in the souls of many women; neither was she the one to accept it with philosophical resignation, like her husband. Her sensibilities were alive and ...
Brook Thomas, University Brook Thomas ... Quoted in Paul C. Nagel , This Sacred Trust ( New York : Oxford Univ . ... Field's citation of Smith is from the famous Slaughter - House Cases , 83 U.S. ( 16 Wall ) 36 , at 11o ( 1873 ) . 16.
Explores the origins, nature, and significance of American realism, and discusses specific works by such literary masters as Nathaniel Hawthorne, Henry James, and Stephen Crane.