Use Of Realism By Short Story Writers English Literature Essay

Use Of Realism By Short Story Writers English Literature Essay J.P Stern defined realism as being: no more, and no less, than an undertaking to look all the relevant facts in the face.  [1]  Literary realism is a trend that began in nineteenth century French literature. Realist authors such as Flaubert, Maupassant and Emile Zola depicted contemporary life and society, including everyday common duties in their stories. These writers sought to represent life without any type of exaggeration and attempted to write honestly about topics and themes. They preferred this style of writing to the romanticised literature that was more popular in the beginning of the nineteenth century. Romanticism was the opposite of realism and included more imaginative stories. However, their aim was to show the reality of their society and the life and sufferings of the working class.  [2]  Maupassant and Flaubert were key influential authors in this realist movement, and I will explore how both authors implemented the realist genre in their work and how their work differed from each other. One of Maupassants most popular realist stories was Boule de Suif, which was based on a real Rouen prostitute named Adrienne Legay during the Franco-Prussian war. The tale represents the sufferings of the working class and explores the morality and ethics of a divided society. Michael Lerner states how Maupassant manages to convert what is a simple episode from the realities of 1870 into something highly critical and symbolic. It is the more humble, low life realism desired by the Naturalists.  [3]  It is true to say that this tale gives a deep and powerful meaning to the reader in the subtlest ways through the use of symbolism and description, which I will be discussing in further detail later on. There are no major literary devices used by Maupassant. Instead he conveys the directness of the situation and gives a detailed description of the characters appearance and personality A good-natured fellow, though, inoffensive and obliging, he had devoted himself with incomparable enthusiasm to organising the defence of the town.  [4]  This information gives the reader a vision of the characters. Peter Brooks writes about the use of senses when reading a realist story: realist literature is attached to the visual, to looking at things, registering their presence in the world through sight.  [5]  Maupassant especially uses the sense of sight to involve the reader in the story and play on their relationship with the characters. The reader is able to picture the character more successfully and decide whether they like the character or not. Maupassant creates a hierarchy within the coach consisting of a democrat, a prostitute, two nuns, and the rest are of a socially high status. These respectable travellers look down upon the rest of the entourage. However, the differences between these classes are forgotten when they all accept to eat food from Boule de Suif. At this point they are all on an equal footing: mouths opened and shut without pause, swallowing, chewing and gulping ravenously.  [6]  The author shows the generosity of Boule de Suif as she selflessly gives up her food for the rest of the group. We begin to forget our preconceptions of the prostitute and realise that she does have certain moral guidelines. Her personality is further portrayed as a giving human when she makes the biggest decision in the story. All of the characters in the story plan to manipulate Boule de Suif into committing an immoral act of sleeping with the enemy: Boule de Suifà ¢Ã¢â€š ¬Ã‚ ¦ felt angry with all her neighbours, ashamed o f having given way to their pleas, and defiled by the kisses of the Prussian into whose arms they had hypocritically thrown her.  [7]  The respectable characters do not take the high moral ground and support her decision not to sleep with the Prussian, it is their selfishness and immorality that take over their reasoning and force her to go against her will. Not only do they want her to give up her food, they also want her to give up her body. Michael Lerner states that For Maupassant the simple Norman peasant who throws a stone or takes a shot at the enemy is far worthier of our admiration than any of these more sophisticated types, who would prefer to sacrifice their country just as they do Boule de Suif rather than abandon or harm their commercial interests and own well-being  [8]   This statement depicts Maupassants own personal view of his bourgeois characters and emphasises the horridness of the scandal they have committed. We are shown a realist view of bourgeois human nature as selfish, arrogant and corrupt. Although Boule de Suif is a prostitute of her own accord, she is faced with a difficult decision. At first she would give herself for the pleasure of other people, whereas now she is being forced to do so; and with the enemy. Maupassant conveys the consequences of her decision in a way that makes the reader sympathise with the prostitute rather than scold her. His choice of words when trying to portray Boule de Suifs feelings are an accurate depiction of a real, victimised emotion: à ¢Ã¢â€š ¬Ã‚ ¦she found herself choking with rage and indignationà ¢Ã¢â€š ¬Ã‚ ¦.she opened her mouth to tell them what she thought of themà ¢Ã¢â€š ¬Ã‚ ¦but her exasperation was so violent that she could not utter a word.  [9]  Her utilitarian sacrifice has saved her companions from the Prussians yet her personal relationship with the hypocrites has diminished. Michael Lerner states that: Maupassant relates the fate of both France and the naive but patriotic prostitute to the selfish attitude of the bourgeois.  [10]  Lerner makes a clever statement and suggests that Maupassant was making a strong social point through his story. The realism depicted in this scene is that of manipulation and emotion. We are given an example of a high class act and a low class act and how they both differ morally and ethically. This is thought to depict the nature of both classes at the time. Maupassant s use of imagery in the carriage after the prostitutes sacrifice is alarming: she felt overwhelmed by the contempt of these respectable boors who had first sacrificed her, and then cast her aside like an unclean object for which they had no further use.  [11]  We are given an insight into her emotions and we also feel the tension within the confined space of the moving vehicle. As the prostitutes emotions mirror as our own, that of disgust and anger, Maupassant has successfully portrayed his representation of humanity with the use of realist language. Richard Fusco states that Maupassant: wanted to startle readers into recognising the pretensions of society and those within themselves.  [12]  As the rest of the characters pretend to Boule de Suif that her actions will also be in her own interest, Richard Fusco is correct in making this statement, however, the author also startles us into realising that our actions can be more consequential than heroic. Boule de Sui fs position is not created on her own accord but through the manipulation of her socially respectable superiors. Michael Lerner comments on Maupassants realism as: fairly shallow; he went through the notions of it without fully committing himself.  [13]  This comment is very disagreeable as we can see Maupassant has used very intricate realistic techniques to convey the message of the story: everybody stayed in the kitchen, engaging in endless discussions and putting forward the unlikeliest theories.  [14]  The language gives an indication of many different emotions and shows pathos, strong character representation and clarity in his writing, of life at the time. Maupassant manages to successfully portray a realistic character in his story. Maupassant had studied under Flaubert for a number of years and it was through him that he met other literary geniuses such as Emile Zola and Ivan Turgenev. All of these influences contributed to Maupassants literary ideas and it is for this reason that his style mirrors Flauberts in many ways. I will be analysing Flauberts realist story A Simple Heart, which is set in the time and country of the author of nineteenth century France. Like Maupassant, the central figure is based on a real person whom Flaubert knew. One of the similarities that both these authors hold, according to Agnes Rutherford Riddell, was symbolism. Maupassant used Boule de Suif as a symbol for the proletariat whilst Flaubert used the name Fà ©licità © in A Simple Heart as a suggestion for both the peasant womans fatalistic acquiescence in circumstances and, by contrast, the real misery of her lot.  [15]  Such symbolism helps to portray a deeper message of the reality of the story. Flaubert also used vivid, descriptive language within his stories: her dresses hung in a row under a shelf containing three dolls, some hoops, a set of dolls furniture, and the wash-basin she had used.  [16]  Like Maupassant, Flaubert creates a realistic sense of the reader being involved in the novel. However the difference between the two; is Flauberts use of more intricate detailing of surroundings and vision. Riddell argues that: Maupassant appears to avoid this kind of mistake, perhaps through noticing its effect in his masters work. On the whole, however, description through the eyes of a personage is consistent in both writersà ¢Ã¢â€š ¬Ã‚ ¦.  [17]  Both writers use description as a necessity in their work in order to give a more realistic account of their surroundings. Timothy Unwin is accurate in his belief that: It is a well-accepted fact that, in the nineteenth century, realist novelists were less interested in telling stories than they were in describing them.   [18]   In A Simple Heart, Flaubert uses the technique of an omniscient narrator to his advantage. The reader is able to view the protagonist externally and internally. Externally through the attitudes of other characters towards Fà ©licità ©: Madam Aubain told her to stop kissing them all the time and internally through Fà ©licità ©s thoughts, told to us by the narrator: which hurt her deeply.  [19]  This allows the reader to view things as she does. H. Meili Steele states that: the narrator has the ostensible traits of omniscience, such as the ability to move freely through space and time and to represent characters thoughts.  [20]  We can see that this is not the only advantage of an omniscient narrator. In terms of realist literature, the omniscient narrator acts as a device to give the reader more information on the characters and the setting. Thus resulting in a more pragmatic approach to the text. In A Simple Heart, the main character, Fà ©licità ©, is used as an instrument of symbolism for the uneducated and the poor. She is repeatedly exploited by those around her, even by the people she loves and she is always hunted by sadness and sorrow. When she is stranded by her lover à ¢Ã¢â€š ¬Ã‚ ¦she hastened to her lover. In his place she found his friends. From him she learned that was never to see Thà ©odore again, we can see how concise and straight to the point the sentences are.  [21]  This abrupt structure makes the reader sense the shock and upset of the protagonist. These are the real feelings of the protagonist shown to us through concise sentence structure and normal, everyday language: I havent had any for six months!.  [22]  This is the main focus of Flauberts realist writing. Timothy Unwin states that: Flaubert the novelist steered clear of depicting contemporary literary life in detail.  [23]  This is correct in terms of dialogue between characters howe ver, we have established that Flaubert was very intricate in the detailing of setting that the characters were placed in. Flaubert remarks on the role of religion in the story, especially that of the Roman Catholic church in nineteenth century France. Fà ©licità © is devoted to the church and visits regularly yet her devotion is not based on its beliefs: As for dogma, she did not understand, did not even attempt to understand a word of it.  [24]  Flaubert seems to be mocking the church in this sentence, implying that religion is a sanctity for the weak and poor who acquire some type of higher entity to depend on for support. Mary Orr states that: Flaubert challenges the spiritual redundancy and irrelevance of Catholic theologyà ¢Ã¢â€š ¬Ã‚ ¦, this shows how we are given an indication of Flauberts own personal views towards the Catholic church through his writing.  [25]  He shows not only the common realist thought of the time, but his own thought. Raymond Giraud comments that we have more of an insight as to Flauberts character through his stories Flaubert reveals himself, positively or negati vely, directly or indirectly, in the characters he creates.  [26]  Flauberts presence in his literature is dominant and his thoughts represent the thoughts of many of the realist writers and thinkers. We have already recognised that Maupassants descriptions involve the readers senses, yet Flauberts descriptions also involve the senses, but of the characters rather than the readers. Timothy Unwin points out that: he watches and gathers information about the characters and the narrator less from what is said about them than from catching them looking.In Un Couer Simple the tall grass at the bottom of the stream which, we are told, is like the hair of dead bodies, explains what Fà ©licità © sees and thinks. Through her eyes we understand that she mistakenly assumes Victor died drowning (he died on a land of disease).  [27]   We can conclude from this quote that the author is using description from the characters point of view to give us more information about the characters state of mind. The fact that Fà ©licità © has made a mistake in her knowledge of Victors death shows us her naivety and overall, the simple-mindedness of the uneducated and poor class that Fà ©licità © represents. Maupassant and Flauberts use of realism tends to be quite similar. Yet, there are many points where one stands out more than the other. We can conclude that Maupassant was strong in his realist representation of bourgeois behaviour, his use of symbolism and giving an informative description of the setting in his story. Whilst Flaubert is more descriptive in not only the setting of the story, but of the characters views and thoughts. Peter Brooks emphasises that: Everything, as Flaubert understands it, depends on the detail, thus, giving the reader more information on the text and allowing them to relate to the story more.  [28]  Both however, do not fall into the trap of over dramatising their realist descriptions and keep it as authentic as possible. Peter Brooks also notes how: à ¢Ã¢â€š ¬Ã‚ ¦we might ask ourselves: Why do we take pleasure in imitations and reproductions of the things of our world?  [29]  It seems very commonsensical to write about what we see, yet we take the easy approach of literature and write about fictional beings and wonders. Writing is a type of escapism, which realism does not allow, but we can see from the works of these two geniuses that realist literature is just as good and more educational than any other type of imaginary literature. The verisimilitude is a device of entertainment and Timothy Unwin argues that: Everything and everyone, in Flauberts view, had unique qualities that it was the artists duty to seek out.  [30]  Realism puts more of an emphasis onto the small details of everyday living. Flaubert and Maupassant both understand this and equip this idea in their work. The use of le mot juste in realist literature is a handy tool to depict life and surroundings most accurately. Timothy Unwin points out that This formula was valid for Flaubert, but the principle of mot juste does not imply that there is just one way of telling all stories. Rather, it suggests that each story has a privileged way of being told, through which it appears at its most persuasive.  [31]   Unwins comment here raises an interesting point. As each story has a privileged way of being told, this means that it is difficult to assume that what we read is all a precise account of reality at the time. The writer implements their own views and judgements into their work, ultimately, making their stories biased. What we must bear in mind when reading realist literature, is that the story is all someones interpretation of reality and this is the main difference between the authors. The text is a depiction of the authors reality. Our interpretation of reality is likely to be more different.

Ah Xian

Ah Xian (1960-) Throughout April 1989, large numbers of students gathered in Tian'anmen Square, in front of the Forbidden Palace in the centre of Beijing in China. They were demonstrating against political corruption and economic instability. As the crowds continued to grow, so did the displeasure of the government of the People's Republic of China. By the beginning of June, armed soldiers were sent in to suppress the protest. This they did, violently, leaving between 400 and 7000 people dead (because of the lack of freedom of the press in China at the time figures are very unreliable).Ah Xian (pronounced `ar see-arn') had friends who were jailed because of their involvement in the protests. The following year he sought political asylum in Australia. He has lived in Sydney since then, working in both Australia and China. His work can be seen as an attempt to reconcile his past and present lives; it is a visual bridge between the east (his homeland of China) and the west (Australia, w here he lives). His sculptures present a contrast between the three-dimensional busts that belong to the western portrait tradition and the two-dimensional surface which is painted with traditional, symbolic and decorative Chinese patterns.In 1997, in his backyard studio, Ah Xian began to make porcelain busts on plaster casts he made over the figures of friends and family. He then glazed these busts with traditional hand-painted Chinese designs. Since 1999 he has collaborated with Chinese artisans in Jingdezhen (the historical centre of China's fine porcelain production), who paint the traditional designs that he selects after research in pattern books. He used their expertise to decorate the three-dimensional works of the human figure in his series called China China.Ah Xian China China Bust 1999 The eyes of Ah Xian's figures are always closed. The faces are still and silent and wear no expression. In many ways figures such as Dr John Yu AC (right) remind us of the western traditio n of portrait busts begun by the Romans. We see the same head and shoulder view in the two portrait busts in the first century CE Roman sculpture in Figure 1. 48. Dr John Yu is a Sydney paediatrician (doctor who treats children). He was born in China but has lived in Australia since he was 3 years old.The inclusion of colourful children climbing on the sculpture follows the Chinese tradition of placing small children's figures around images of the Laughing Buddha and Guanyin (the god of compassion and mercy) and creates a contrast to the simple undecorated figure. They also symbolise John Yu's work with sick children. Ah Xian creating the mould on Dr Yu’s face In the works of Ah Xian's China China-Bust series, such as China China-Bust (Right), the bust is covered in oriental decorative motifs such as those used for centuries on traditional Chinese vases, plates and bowls.Each bust uses a different pattern, most of which are symbolic. They are all intricate and include real an d mythical creatures, such as the dragon and the phoenix, flowers such as the peony and the lotus, and traditional landscapes. These patterns cover the whole background of the face and figure and, like a tattoo, can be seen as a permanent mark left by culture and tradition. Sometimes the designs follow the contours of the head, sometimes they contradict them. Since 2000 Ah Xian has also worked in other traditional Chinese craft techniques such as cloisonne (pronounced `klwa zo nay'), lacquer work and jade carving.Human human-lotus, cloisonne figure 1 (Fig. 4. 72) is a life-size figure of a woman made from sections of copper sheet that have been panelbeaten by hand and covered in intricate cloisonne patterns of lotus flowers and lily pads. In 2001, in a workshop in Hebei province outside Beijing, Ah Man worked in the 700-year-old technique of cloisonne, which was applied to a full body cast. The lotus pattern covering the form symbolises peace, happiness and spiritual unfolding. Ah Xian Ah Xian (1960-) Throughout April 1989, large numbers of students gathered in Tian'anmen Square, in front of the Forbidden Palace in the centre of Beijing in China. They were demonstrating against political corruption and economic instability. As the crowds continued to grow, so did the displeasure of the government of the People's Republic of China. By the beginning of June, armed soldiers were sent in to suppress the protest. This they did, violently, leaving between 400 and 7000 people dead (because of the lack of freedom of the press in China at the time figures are very unreliable).Ah Xian (pronounced `ar see-arn') had friends who were jailed because of their involvement in the protests. The following year he sought political asylum in Australia. He has lived in Sydney since then, working in both Australia and China. His work can be seen as an attempt to reconcile his past and present lives; it is a visual bridge between the east (his homeland of China) and the west (Australia, w here he lives). His sculptures present a contrast between the three-dimensional busts that belong to the western portrait tradition and the two-dimensional surface which is painted with traditional, symbolic and decorative Chinese patterns.In 1997, in his backyard studio, Ah Xian began to make porcelain busts on plaster casts he made over the figures of friends and family. He then glazed these busts with traditional hand-painted Chinese designs. Since 1999 he has collaborated with Chinese artisans in Jingdezhen (the historical centre of China's fine porcelain production), who paint the traditional designs that he selects after research in pattern books. He used their expertise to decorate the three-dimensional works of the human figure in his series called China China.Ah Xian China China Bust 1999 The eyes of Ah Xian's figures are always closed. The faces are still and silent and wear no expression. In many ways figures such as Dr John Yu AC (right) remind us of the western traditio n of portrait busts begun by the Romans. We see the same head and shoulder view in the two portrait busts in the first century CE Roman sculpture in Figure 1. 48. Dr John Yu is a Sydney paediatrician (doctor who treats children). He was born in China but has lived in Australia since he was 3 years old.The inclusion of colourful children climbing on the sculpture follows the Chinese tradition of placing small children's figures around images of the Laughing Buddha and Guanyin (the god of compassion and mercy) and creates a contrast to the simple undecorated figure. They also symbolise John Yu's work with sick children. Ah Xian creating the mould on Dr Yu’s face In the works of Ah Xian's China China-Bust series, such as China China-Bust (Right), the bust is covered in oriental decorative motifs such as those used for centuries on traditional Chinese vases, plates and bowls.Each bust uses a different pattern, most of which are symbolic. They are all intricate and include real an d mythical creatures, such as the dragon and the phoenix, flowers such as the peony and the lotus, and traditional landscapes. These patterns cover the whole background of the face and figure and, like a tattoo, can be seen as a permanent mark left by culture and tradition. Sometimes the designs follow the contours of the head, sometimes they contradict them. Since 2000 Ah Xian has also worked in other traditional Chinese craft techniques such as cloisonne (pronounced `klwa zo nay'), lacquer work and jade carving.Human human-lotus, cloisonne figure 1 (Fig. 4. 72) is a life-size figure of a woman made from sections of copper sheet that have been panelbeaten by hand and covered in intricate cloisonne patterns of lotus flowers and lily pads. In 2001, in a workshop in Hebei province outside Beijing, Ah Man worked in the 700-year-old technique of cloisonne, which was applied to a full body cast. The lotus pattern covering the form symbolises peace, happiness and spiritual unfolding.

Do Video Games Make Violence to Children Essay

Italy has many beautiful and historic cities worth a visit. Travel to cities is best done by train as driving in Italian cities may be very difficult and the extensive Italian train system is inexpensive. Most city centers are well-suited to walking and parts of the city centers may be closed to transportation. Large Italian cities generally have good public transportation, too. Check the distances between cities with our Distance Calculator. 1. Rome – Roma Piazza del Popolo picture by James Martin Rome is the capital of modern Italy. Rome is full of history everywhere you look. It has many ancient monuments, interesting medieval churches, beautiful fountains, museums, and Renaissance palaces. Modern Rome is a bustling and lively city and has some excellent restaurants and nightlife. The Vatican and St. Peter’s are also found in Rome. 2. Venice – Venezia Basilica San Marco  © by Martha Bakerjian, licensed to About.com Venice is a unique city built on water in the middle of a lagoon. Venice is one of Italy’s most beautiful and romantic cities as well as one of the most popular for visitors to Italy. The heart of Venice is Piazza San Marco with its magnificent church. There are many museums, palaces, and churches to visit and wandering along Venice’s canals is interesting. Venice is in the northeast of Italy and historically was a bridge between East and West. 3. Florence – Firenze Ponte Vecchio  © by Martha Bakerjian, licensed to About.com Florence is one of the most important Renaissance architectural and art centers. Its Duomo and Baptistery are magnificent but crowded with tourists as is their large piazza. Florence has several interesting museums with many famous paintings and sculptures. There are also Medici palaces and gardens. Florence is in Tuscany. 4. Milan – Milano Picture of Milan Duomo  ©2006 by James Martin Milan, one of Europe’s richest cities, is known for stylish shops, galleries, and restaurants and has a faster pace of life than most Italian cities. It also has a rich artistic and cultural heritage. Its Duomo, with its beautiful marble facade, is magnificent. La Scala is one of the world’s most famous opera houses. 5. Naples – Napoli Castel dell’Ovo  © James Martin Naples is one of Italy’s most vibrant cities. It lies on the coast south of Rome and is the most important city in southern Italy. Naples has recently undergone some renovation but still retains much of its old character. It holds many historical and artistic treasures. 6. Verona Roman Arena  © Martha Bakerjian, licensed to About.com Verona is known for the story of Romeo and Juliet and for its Roman Arena, the third largest in Italy and the venue for a top opera festival. Verona has a good medieval center, Roman remains, and an interesting castle complex. It’s the fourth most visited city in Italy and well worth a stop on a northern Italy travel itinerary. 7. Turin – Torino Turin Picture  ©2006 by James Martin Turin, host of the 2006 Winter Olympics, is a major cultural hub with excellent museums, elegant shops, and good restaurants. There are also some very nice examples of baroque architecture and historic palaces. Turin has many historic cafes, artisan workshops, and arcades. Turin is in the northwest of Italy, between the Po River and the foothills of the Alps. 8. Bologna Bologna Picture  © James Martin Bologna is known for its beauty, wealth, cuisine, and left-wing politics. Its streets are lined with beautiful arcades, making it a good place to walk even in the rain. It has one of Europe’s oldest universities and a nice medieval center. There are several attractive squares, lined with buildings with nice porticoes. Bologna is the capital of the Emilia-Romagna region in northern Italy. 9. Perugia View of Perugia  © by James Martin Perugia is a very cosmopolitan city and home to two universities. It hosts a world-famous jazz festival in the summer and its University for Foreigners is a great place to learn Italian. It’s a walled city on a hilltop with great views over the valley and has several important monuments and a good central square. Its history goes back to the ninth century BC. Perugia is in the center of Italy and is the capital of the region of Umbria. 10. Genoa – Genova Genoa Duomo  © James Martin Genoa, on the northwest coast of Italy, is Italy’s principal seaport. Genoa was a 2004 European Culture Capital; money flowed into the port city made famous by Columbus and now it’s a better place than ever to visit. Genoa has a fascinating aquarium, an interesting port area, and a historic center said to be the largest medieval quarter in Europe, with a wealth of churches, palaces, and museums.

Health Care Communication Methods - 1075 Words

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