Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.15
M. Noonan
This chapter demonstrates that the fight for greater realism in literature and life was long-lasting and transpired not on a single front but across many battlefields involving a wide variety of actors. Often, war itself was the impetus, first in the rewriting of the “facts” and significance of the Civil War and later as a means of response to the masculine bluster and bloodlust wrought by the Spanish-American War. The gender and class wars of the 1880s and 1890s were also relevant to this embattled genre, as were the effects of industrialization and immigration, which led to the massive growth of New York at this time, where so many of the newspapers and magazines promoting the various strands of realism were based. New York, war, and social issues were all entangled in the emergence of this genre, as numerous New York authors and artists sought to make sense of modern America and mold it to their own visions.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.33
Nicolas S. Witschi
The technology for and, consequently, the artistic potential of cinema emerged at the end of the nineteenth century during a period roughly contemporaneous with the careers of many prominent realist authors. Despite this concurrence, early cinema was, by and large, of relatively little interest to the creators of realist literature. However, their literary works have proven immensely popular with filmmakers. After surveying the limited but ultimately telling responses to the new medium by a number of writers from the realist period, this chapter suggests, through a concluding analysis of three distinctive works of cinema that were based on realist fiction, that the two forms ultimately share an abiding and even structuring affinity for the power of realistic representations to define and direct the reader’s or viewer’s perspective.
{"title":"Realism and the Cinematic Gaze","authors":"Nicolas S. Witschi","doi":"10.1093/oxfordhb/9780190642891.013.33","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190642891.013.33","url":null,"abstract":"The technology for and, consequently, the artistic potential of cinema emerged at the end of the nineteenth century during a period roughly contemporaneous with the careers of many prominent realist authors. Despite this concurrence, early cinema was, by and large, of relatively little interest to the creators of realist literature. However, their literary works have proven immensely popular with filmmakers. After surveying the limited but ultimately telling responses to the new medium by a number of writers from the realist period, this chapter suggests, through a concluding analysis of three distinctive works of cinema that were based on realist fiction, that the two forms ultimately share an abiding and even structuring affinity for the power of realistic representations to define and direct the reader’s or viewer’s perspective.","PeriodicalId":326705,"journal":{"name":"The Oxford Handbook of American Literary Realism","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116430929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.18
Caren J. Town
This chapter focuses on several realist and naturalist works that have been subject to censorship by librarians, editors, publishers, or the legal system. It examines censorship allegations made by authors and later by critics and biographers about Mark Twain’s Adventures of Huckleberry Finn (1884), Charlotte Perkins Gilman’s “The Yellow Wallpaper” (1892), Stephen Crane’s Maggie: A Girl of the Streets (1893) and The Red Badge of Courage (1895), Hamlin Garland’s The Rose of Dutcher’s Cooley (1895), Kate Chopin’s The Awakening (1899), Theodore Dreiser’s Sister Carrie (1901) and An American Tragedy (1925), and Upton Sinclair’s The Jungle (1906). Finally, it connects the historical context of the censorship issue to the recent debates on college campuses about speech codes and to contemporary book censorship and free-speech cases in the public schools.
{"title":"The Censorship of Realist and Naturalist Novels, Then and Now","authors":"Caren J. Town","doi":"10.1093/oxfordhb/9780190642891.013.18","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190642891.013.18","url":null,"abstract":"This chapter focuses on several realist and naturalist works that have been subject to censorship by librarians, editors, publishers, or the legal system. It examines censorship allegations made by authors and later by critics and biographers about Mark Twain’s Adventures of Huckleberry Finn (1884), Charlotte Perkins Gilman’s “The Yellow Wallpaper” (1892), Stephen Crane’s Maggie: A Girl of the Streets (1893) and The Red Badge of Courage (1895), Hamlin Garland’s The Rose of Dutcher’s Cooley (1895), Kate Chopin’s The Awakening (1899), Theodore Dreiser’s Sister Carrie (1901) and An American Tragedy (1925), and Upton Sinclair’s The Jungle (1906). Finally, it connects the historical context of the censorship issue to the recent debates on college campuses about speech codes and to contemporary book censorship and free-speech cases in the public schools.","PeriodicalId":326705,"journal":{"name":"The Oxford Handbook of American Literary Realism","volume":"108 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123023467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.17
Charles Johanningsmeier
This chapter demonstrates that the readership for American literary realism during the late nineteenth and early twentieth centuries was much more heterogeneous and extensive than previously believed. Works of realism were not read only in high-priced magazines and books by genteel audiences living in urban areas, but they were also available in a wide variety of lower-priced books and periodicals—including newspapers—that reached people from various socioeconomic classes in small towns and rural areas as well as in cities. This chapter also provides an analysis of the limitations of previous research on readers’ reception of realist fiction, as well as a detailed explanation of the new approaches that literary scholars need to adopt in order to understand the cultural labor that realist texts performed among its various audiences.
{"title":"Realism’s American Readers, 1860–1914","authors":"Charles Johanningsmeier","doi":"10.1093/oxfordhb/9780190642891.013.17","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190642891.013.17","url":null,"abstract":"This chapter demonstrates that the readership for American literary realism during the late nineteenth and early twentieth centuries was much more heterogeneous and extensive than previously believed. Works of realism were not read only in high-priced magazines and books by genteel audiences living in urban areas, but they were also available in a wide variety of lower-priced books and periodicals—including newspapers—that reached people from various socioeconomic classes in small towns and rural areas as well as in cities. This chapter also provides an analysis of the limitations of previous research on readers’ reception of realist fiction, as well as a detailed explanation of the new approaches that literary scholars need to adopt in order to understand the cultural labor that realist texts performed among its various audiences.","PeriodicalId":326705,"journal":{"name":"The Oxford Handbook of American Literary Realism","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123195664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.27
Patrick Chura
This chapter looks at the effects of capitalism and social stratification on notions of class identity in two groups of American realist novels. First, it analyzes a pair of literary responses by William Dean Howells to the 1886 Chicago Haymarket bombing as the lead-in to a discussion of realist works about voluntary downward class mobility or “vital contact.” With Howells’s A Hazard of New Fortunes as a reference point and paradigm, the chapter also explores the ideologies implicit in several novels about upward social mobility, noting how both groups of texts are ultimately guided by a genteel perspective positioned between dominant and subordinate classes. In similar ways, the novels treated in the chapter balance middle-class loyalties against identities from higher and lower on the social scale while sending messages of both complicity and subversion on the subject of capitalist class relations.
{"title":"Realism and the Middle-Class Balancing Act","authors":"Patrick Chura","doi":"10.1093/oxfordhb/9780190642891.013.27","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190642891.013.27","url":null,"abstract":"This chapter looks at the effects of capitalism and social stratification on notions of class identity in two groups of American realist novels. First, it analyzes a pair of literary responses by William Dean Howells to the 1886 Chicago Haymarket bombing as the lead-in to a discussion of realist works about voluntary downward class mobility or “vital contact.” With Howells’s A Hazard of New Fortunes as a reference point and paradigm, the chapter also explores the ideologies implicit in several novels about upward social mobility, noting how both groups of texts are ultimately guided by a genteel perspective positioned between dominant and subordinate classes. In similar ways, the novels treated in the chapter balance middle-class loyalties against identities from higher and lower on the social scale while sending messages of both complicity and subversion on the subject of capitalist class relations.","PeriodicalId":326705,"journal":{"name":"The Oxford Handbook of American Literary Realism","volume":"77 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114017065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.11
C. A. Wooley
Critical accounts of American literary realism have often focused on how realism is an intervention in, rather than a simple representation of, reality. Truth, however, remains a powerful referent for realists and a particularly complex one for postbellum African American writers whose works exemplify, but also interrogate, realism as a mode of representation. This chapter argues that linking African American writers such as Paul Laurence Dunbar and Charles Chesnutt to the realism of William Dean Howells reveals how for these writers, realism itself becomes a way to interrogate the power of stories to define what is true and to intervene in such assumptions. At the same time, these authors’ works increasingly show the limits of such interventions in relation to the intractability of racialized and racist discourse—and the racial disparities such discourse reinforces—at the turn of the twentieth century.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.37
Augusta Rohrbach
This chapter looks to the future of teaching realism with Web 2.0 technologies. After discussing the ways in which technologies of data modeling can reveal patterns for interpretation, the chapter examines how these technologies can update the social-reform agenda of realism as exemplified by William Dean Howells’s attempted intervention into the Haymarket Riot in 1886. The advent of Web 2.0 techologies offers students a way to harness the genre’s sense of social purpose to knowledge-sharing mechanisms to create a vehicle for political consciousness-raising in real time. The result is “Realism 2.0,” a realism that enables readers to engage in their world, which is less text-centric than it was for previous writers.
本章展望了使用Web 2.0技术进行现实主义教学的未来。在讨论了数据建模技术可以揭示解释模式的方式之后，本章研究了这些技术如何更新现实主义的社会改革议程，例如威廉·迪恩·豪威尔斯(William Dean Howells)试图干预1886年的干草市场骚乱。Web 2.0技术的出现为学生们提供了一种方法，可以利用这种类型的社会目的感来共享知识机制，从而创建一种实时提高政治意识的工具。其结果是“现实主义2.0”，一种使读者能够参与到他们的世界中的现实主义，这种现实主义不像以前的作家那样以文本为中心。
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.32
Peter Betjemann
Literary realism traditionally seems painterly to the degree that it features museums, galleries, and specific works or to the degree that its descriptive qualities parallel the interest of nineteenth-century artists in observed subjects. This chapter, however, connects realist literature and painting less through decorative or observational features than through certain practices of sociocultural critique. The first section, “Visuality,” focuses on a series of shared formal strategies used by writers and painters to depict unconventional women in conventional society, to orient the eye to sociological critique, and to challenge post–Civil War tendencies to sentimentalize unity and harmony. The second section, “Temporality,” focuses on different relations to time in the two mediums: painters tended to minimize narrative sequence even as writers depended on it. Close readings of Henry James’s “A Landscape-Painter” and Edith Wharton’s “The Portrait,” however, reveal that the “instantaneity” of contemporary painting served writers as a point of reference for critically interrogating the sociocultural orientation of realism itself.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.2
Sophia Forster
This chapter describes American literary realism as emerging from the efforts of a group of early postbellum women writers—Elizabeth Stoddard, Rebecca Harding Davis, Louisa May Alcott, and Elizabeth Stuart Phelps—to access the newly minted American high literary culture exemplified by the work of Nathaniel Hawthorne. The origins of realism, these writers’ texts show, lie in intertextuality. They not only revise their own and one another’s work to excise the vestiges of the popular feminine tradition of domestic sentimentalism, but they also rework Hawthorne’s canonical gothic plots and imagery in the context of a shift in literary tastes away from the romance and toward an aesthetic that values the contemporary and the everyday. Their adaptation of the Hawthornean gothic to address the patriarchal and capitalist foundations of social life yields the earliest version of American literary realism as a mode of structural social critique.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.1
R. V. Bardeleben
This chapter concentrates on European realist innovators—Björnstjerne Björnson, Ivan Turgenev, Leo Tolstoy, Fyodor Dostoevsky, Honoré de Balzac, Gustave Flaubert, Guy de Maupassant—and their effect on the formative period of American realism. It studies in detail the transatlantic development of new techniques and discusses the ways in which these new methods were reflected in the works of American authors and critics. Inspired by the theories and practice of their precursors, American writers felt liberated to introduce new narrative strategies to represent America’s rising urbanism, the struggles of the social classes, and the increase of social mobility in the industrial age. They also dealt with the emancipated “New Woman” and the changing relationship between the sexes. The guiding principles on which writers on both sides of the Atlantic agreed were truth, sincerity, and frankness.
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