Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.16
G. Thompson
This chapter examines tensions between authorship and publishing in the era of American literary realism. The publishing industry changed with the emergence of literary agents, the growing financial significance of magazines and syndication, and the increasingly influential role of publishing-house editors. All were signs of a centralizing and marketizing publishing system flexible enough to withstand changes in dominant literary genres, tastes, and fashions. With examples from the careers of well- and lesser-known realists—William Dean Howells, Mark Twain, Stephen Crane, Constance Fenimore Woolson, Charles Chesnutt—authorship remained stubbornly immune to professionalization, in part because writing is better considered as a craft than as a profession and in part because the practices creating authorship’s marketization did not require its professionalization.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.36
K. Schmidt
Starting with a critical introduction to the problematic beginnings and US-supported rise of American studies in pre– and post–WWII Germany, this chapter looks at the teaching of American realism and its development in a nation strongly influenced by US culture. Based on archival research, a statistical evaluation of annual bulletins, and information collected from fifty practitioners, the chapter offers the first quantitative and thematic analysis of course offerings at German universities (1953–2016), the first comparison of the relative importance of American realist literature in German university courses and research publications from German-speaking countries (2000–2015), and the first survey of German Americanists on methods and experiences of teaching US realism and naturalism in the Federal Republic (2017). The chapter concludes by calling for new didactic approaches to illustrate the continuing relevance of writers active in the core period of the realist tradition.
{"title":"Teaching American Realism in Germany","authors":"K. Schmidt","doi":"10.1093/oxfordhb/9780190642891.013.36","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190642891.013.36","url":null,"abstract":"Starting with a critical introduction to the problematic beginnings and US-supported rise of American studies in pre– and post–WWII Germany, this chapter looks at the teaching of American realism and its development in a nation strongly influenced by US culture. Based on archival research, a statistical evaluation of annual bulletins, and information collected from fifty practitioners, the chapter offers the first quantitative and thematic analysis of course offerings at German universities (1953–2016), the first comparison of the relative importance of American realist literature in German university courses and research publications from German-speaking countries (2000–2015), and the first survey of German Americanists on methods and experiences of teaching US realism and naturalism in the Federal Republic (2017). The chapter concludes by calling for new didactic approaches to illustrate the continuing relevance of writers active in the core period of the realist tradition.","PeriodicalId":326705,"journal":{"name":"The Oxford Handbook of American Literary Realism","volume":"41 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":"115830173","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/9780190642891.013.28
Eileen Herrmann
Realism in American drama has proved its resiliency from its inception at the end of the nineteenth century to its transformation into modern theater in the twentieth century. This chapter delineates the evolution of American realistic drama from the influence of European theater and its adaptation by American artists such as James A. Herne and Rachel Crothers. Flexible enough to admit the expressionistic techniques crafted by Susan Glaspell and Eugene O’Neill and leading to the “subjective realism” of Tennessee Williams and Arthur Miller, realism has provided a wide foundation for subsequent playwrights such as David Mamet, August Wilson, and Sam Shepard to experiment with its form and language.
{"title":"The Evolution of American Dramatic Realism","authors":"Eileen Herrmann","doi":"10.1093/oxfordhb/9780190642891.013.28","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190642891.013.28","url":null,"abstract":"Realism in American drama has proved its resiliency from its inception at the end of the nineteenth century to its transformation into modern theater in the twentieth century. This chapter delineates the evolution of American realistic drama from the influence of European theater and its adaptation by American artists such as James A. Herne and Rachel Crothers. Flexible enough to admit the expressionistic techniques crafted by Susan Glaspell and Eugene O’Neill and leading to the “subjective realism” of Tennessee Williams and Arthur Miller, realism has provided a wide foundation for subsequent playwrights such as David Mamet, August Wilson, and Sam Shepard to experiment with its form and language.","PeriodicalId":326705,"journal":{"name":"The Oxford Handbook of American Literary Realism","volume":"26 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":"125482051","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/9780190642891.013.5
Brad Evans
American realism and modernism were coevolving literary movements with roots in the second half of the nineteenth century. The critical reluctance to recognize this fact and the recasting of realism in pejorative terms were shaped by the emergence of the romance theory of the American novel in the 1920s. A wide variety of modern artists were active in the United States in the 1890s. They were especially visible in the period’s little magazines, known as “ephemeral bibelots.” The fad for these magazines was international and expressly antirealist. Concurrently, American realist writing consistently framed “new” and “modern” art as being foreign in content and style.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.3
M. Storey
This chapter employs recent approaches to the study of world literature to offer a new reading of nineteenth-century American regionalism. The huge body of texts usually included in the regional or “local-color” genre often take rural communities as both subject matter and foregrounded setting, communities that are held in a structurally “peripheral” position within the combined and uneven world economy of the late nineteenth century. This chapter argues that such a position is registered in the genre’s distinctive oscillation between realist and “irrealist” literary modes—between the professionalized and ascendant cultural standard of the core and the persistence of nonrealist generic devices and registers. Calling on two of the genre’s quintessential representatives, Hamlin Garland and Sarah Orne Jewett, the chapter ultimately makes a case for reading local-color writing as a form of (semi)peripheral realism within world literature’s expanded geographical and temporal horizons.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.34
Nathaniel Cadle
This chapter contends that foregrounding transnational approaches in classrooms provides opportunities to advocate the value of studying literary realism to students, administrators, and the broader community. Literature’s capacity to enable recognition, whether it leads to greater self-awareness or the acknowledgment of others, makes it a powerful tool for social justice, inspiring social movements and filling the emotional needs of the disempowered. Centering the teaching of realism on such authors as Charles Chesnutt, Abraham Cahan, and Sui Sin Far, who rendered the multicultural composition of the United States more legible, helps the academy’s increasingly diverse student body see themselves and one another in the long tradition of American literature. Assigning lesser-taught texts by William Dean Howells, Henry James, and other canonical authors demonstrates realism’s continued relevance, because these texts address the challenges of incorporating diversity into the body politic and the ethical implications of the United States’ global power.
本章认为，在课堂上强调跨国教学方法，为向学生、管理者和更广泛的社区宣传学习文学现实主义的价值提供了机会。文学能够使人获得认可，无论是自我意识的提高还是他人的认可，都使其成为社会正义的有力工具，激励社会运动，满足被剥夺权利者的情感需求。以查尔斯-切斯纳特（Charles Chesnutt）、亚伯拉罕-卡汉（Abraham Cahan）和隋善法（Sui Sin Far）等作家为现实主义教学的中心，这些作家使美国的多元文化构成更加清晰可见，有助于学院中日益多元化的学生群体在美国文学的悠久传统中看到自己和他人。指定威廉-迪恩-豪厄尔斯（William Dean Howells）、亨利-詹姆斯（Henry James）和其他经典作家的较少讲授的课文，证明了现实主义的持续相关性，因为这些课文涉及将多样性纳入政治体制的挑战和美国全球权力的伦理影响。
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Pub Date : 2019-09-26DOI: 10.1093/OXFORDHB/9780190642891.013.30
A. Sonstegard
This chapter sketches the scope of the golden age of illustration, surveys major publishing houses’ attitudes toward visuality, the yearly incomes of prominent artists and realist authors, and the spatial proportions that leading magazines devoted to visual, as opposed to verbal, fare. It documents many readers’ experiences with illustrations that spoiled installments’ surprises, compromised a work’s narrative authority, or comically caricatured a work’s serious characterizations. Examples from A. B. Wenzell’s frontispieces for the Scribner’s serialized House of Mirth, Joseph Hatfield’s images for “The Yellow Wallpaper,” Albert Herter’s Bras Coupé in an 1899 edition of The Grandissimes, and a Puck cartoon of African Americans interacting with an advertisement for an Uncle Tom’s Cabin stage adaptation suggest that research into realism’s graphic dimensions combines innovative scholarship and rewarding archival recuperation.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.24
Gary Totten
This chapter discusses how consumer culture affects the depiction and meaning of the natural world in the work of American realist writers. These writers illuminate the relationship between natural environments and the social expectations of consumer culture and reveal how such expectations transform natural space into what Henri Lefebvre terms “social space” implicated in the processes and power dynamics of production and consumption. The representation of nature as social space in realist works demonstrates the range of consequences such space holds for characters. Such space can both empower and oppress individuals, and rejecting or embracing it can deepen moral resolve, prompt a crisis of self, or result in one’s death. Characters’ attempts to escape social space and consumer culture also provide readers with new strategies for coping with their effects.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.25
Leslie Petty
This chapter discusses how the changing social and political landscape in late nineteenth-century America led to the figure of the New Woman and, specifically, how realist writers responded to the contemporary debate about gender exemplified by this new ideal. In the early nineteenth century, the True Woman ideal dictated gender norms of middle-class propriety, but because of the efforts of women’s rights activists—and in part because of the changes wrought by the Civil War—women gained more access to education, work, and the political arena via the suffrage movement. Widely read white novelists did not necessarily depict more politically engaged, professional women because of these changes, but they did explore the dehumanization and tragedy that attended conventional marriages. African American writers explored the role of women of color within the racial uplift movement as well as the women’s rights movement, revising the New Woman ideal to account for their black identity.
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Pub Date : 2019-09-26DOI: 10.1093/oxfordhb/9780190642891.013.8
D. Campbell
Critical to the development of realism was the issue of gender, not only in terms of realism’s rejection of the mode of sentimentalism and the genre of women’s fiction but also regarding the women who wrote realism throughout the decades when realism was a dominant literary form. Early realists such as Rebecca Harding Davis, Rose Terry Cooke, Elizabeth Stoddard, and Elizabeth Stuart Phelps protested the abuses of industrialism and the unequal gender dynamics encoded in marriage laws while promoting alternative visions of women as independent agents. Second-generation realists Constance Fenimore Woolson, Frances E. W. Harper, and Mary E. Wilkins Freeman questioned the dogma of realism as preached by William Dean Howells and Henry James, ranging beyond the limits of decorum regarding race and sexuality to do so. Early twentieth-century writers stretched the limits of realism further by incorporating elements of other forms, including New Woman, utopian, and travel narratives; immigrant and tourist fiction; Native American legends and popular westerns; and novels of region. The resulting reconsideration of women writers yields a realism that remains faithful to Howells’s ideal of the “truthful treatment of material” while ranging beyond realism’s limits by including a wide range of experiences conditioned by gender and race.
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