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Victorian Literature, 2002.
This paper discusses the book "Victorian Prose and Poetry," by Lionel Trilling and Harold Bloom, with a focus on compromise and realism in Victorian literature.
1,101 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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Abstract
In Victorian literature, realism followed the age of romanticism and realism quickly evolved into naturalism, practiced by many authors of the time, including Jack London, Mark Twain, Charles Dickens, Jane Austen and Sinclair Lewis. This paper introduces "Victorian Prose and Poetry" in which the authors Lionel Trilling and Harold Bloom discuss the issues of compromise and realism within Victorian literature. They show that the Victorian authors wrote realistically about life and compromised with just enough romanticism to get people to read and enjoy what they wrote.
From the Paper
"Compromise is also an important component of Victorian literature. Many Victorian writers, such as Dickens, compromised between Romanticism and Realism, trying to find a balance in their beliefs and how they portrayed them to their audience of readers. Times and culture was changing when these writers wrote, and they had to discover ways to compromise between staid Victorian culture and the modern culture that was rapidly following it. Morals were becoming less strict, and Victorian principles were being replaced with more realistic and modern beliefs. The writers at the end of the Victorian era helped illustrate the changes that were happening, and the compromises that people were making to blend the old and new belief systems."
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Literature and Social Reality, 2008.
This paper discusses the social reality of Native American assimilation through the works of Helen Hunt Jackson, Mark Twain, and Walt Whitman.
1,900 words (approx. 7.6 pages), 7 sources, APA, $ 60.95
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Abstract
This paper looks at how literature mirrors the social and psychological nuances of the culture of which it is a part. Fiction that bases itself in reality can often be unrealistic in its portrayals, local color can be exaggerated to prove a point or simply to entertain. After the Civil War, the assimilation period of Native Americans was one filled with turmoil and tragedy for this people. This paper discusses how writers of this period would often sympathetically take up their plight or ruthlessly portray them as dangerous and evil characters in their works. Some mixed the two and made social commentary without perhaps even realizing it. The paper also assesses the Age of Realism in American literature with its interwoven romanticism. The paper asserts that this conflict between the two styles also mirrors the conflict between the Native American's natural world and the oncoming civilization's world of reason. The three writer's analyzed within this paper are, Helen Hunt Jackson, Mark Twain, and Walt Whitman.
From the Paper
"Another version for Twain, and one that has some interesting social relevance, is the character of Injun Joe in Tom Sawyer. Also portrayed as evil and despicable, Injun Joe, however, is a 'half-breed' and in some sense this mixing of the two races together has an even more disastrous effects in the creation of an immoral and deadly spawn. 'Say, Huck, I know another o' them voices; it's Injun Joe.' 'That's so -- that murderin' half - breed! I'd druther they was devils a dern sight. What kin they be up to?' (Twain, 1920, p. 84). Was this Twain's intention? Perhaps not but the message is clear that these two races cannot at any level mix together. Here we have the darker side of both realism and romanticism. Certainly there were many conflagrations between Whites and Native Americans both in the early pioneering history and in the Post-Civil war period. Twain seems fixed on portraying the negative in the Native American and siding on the part of the government's imposed innate right of eminent domain upon the Native American's land. He mirrors the comments from a court decision, the United States v. Luccero in1869 as is seen in this excerpt:
"The idea that a handful of wild, half-naked, thieving, plundering, murdering savages should be dignified with the sovereign attributes of nations, enter into solemn treaties and claim a country...as theirs in fee simple, because they hunted buffalo and antelope over it might do for beautiful reading in Cooper's novels or Longfellow Hiawatha, but is unsuited to the intelligence and justice of this age, or the natural rights of mankind. (McQuade, Atwan, Banta, Kaplan, Minter, Stepto, Tichi, & Vendler, 1999, p1322).'"
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Literature and Russian Politics, 2004.
A look at why literature become such an important force for opposition to the Soviet government in the years 1953-1985.
2,425 words (approx. 9.7 pages), 9 sources, APA, $ 74.95
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Abstract
This paper examines how literature became an effective source of opposition to the regime in the U.S.S.R. because of a number of complex factors. It explores how the Russian literary tradition of forming a ?second government? dates back to the 19th century and provided inspiration to literary dissidents in the Soviet Union. It discusses how the failure of ?Socialist Realism? to sufficiently replace genuinely critical literature meant that there was a desire for a form of literature that more accurately reflected the reality of life in the U.S.S.R and how the relaxation of censorship immediately after the fall of Stalin saw literary boundaries pushed through journals and then through unofficial samizdat literature. It also looks at how when the samizdat writers began to be prosecuted the movement became one of dissidents and how these writers who defended their right to free speech against the regime became the start of the democratic movement in the U.S.S.R..
From the Paper
"Literature on the experiences of Russian people in Soviet camps had been restricted under Stalin?s regime. According to Toker, the only accounts of life in the gulags that were permitted were ?loyalist? narratives in which the protagonist remained loyal to the regime. It was notable that in his secret speech Kruschev did not denounce camps as such and merely condemned the unjustified persecution and discrediting of loyal communists. Therefore, literature on camps was still restricted under Khruschev. According to Toker, through his secret speech Khruschev had been essentially oppressing a wider truth by revealing a small amount. By showing up some of the previous regimes brutality he meant to imply that any kind of public exposal of the Stalinist regime was superfluous."
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WWI and Literature, 2004.
Takes a look at the growth in literature WWI inspired.
1,443 words (approx. 5.8 pages), 7 sources, MLA, $ 47.95
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Abstract
This paper examines some of the reasons that WWI inspired so many writers and poets around the world. It looks at the changing themes seen in WWI literature, from patriotism and pride to horror and disillusionment with the war. Some of the great authors to emerge from this period are discussed, and their works, such as "The Sun Also Rises" and "The Wasteland", are cited as examples of the intense focus on realism that resulted from the growing opposition to the war.
From the Paper
"In America, literature followed the same pattern during these years, as did the society and public opinion. Writers who had once urged the government to become part of the Great War became aware of the blunder they had committed and having realized this, turned staunchly against war. Their work in other words, was a fair reflection of society?s opinion of war. It is strange that while in previous conflicts, no literary revolution was witnessed in America, the things changed dramatically during the Great War as numerous authors and poets undertook the task of voicing society?s views and exposing the utter senselessness that surrounded war."
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Uncertainty in British Literature, 2007.
A look at the theme of uncertainty in Samuel Beckett's "Waiting for Godot", Graham Greene's "The Quiet American" and "Wide Sargasso Sea" by Jean Rhys.
1,988 words (approx. 8.0 pages), 3 sources, MLA, $ 63.95
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Abstract
The purpose of this paper is to introduce, discuss and analyze the topic of 20th century British literature. Specifically it uses Samuel Beckett's "Waiting for Godot", Graham Greene's "The Quiet American", and "Wide Sargasso Sea" by Jean Rhys to discusses how 20th century Britain produced an era of fragmentation and uncertainty. The paper looks at how each of these novels conveys the atmosphere of fragmentation and uncertainty in their own way and how each was written at a time when the entire world was uncertain and fragmented. It also discusses how each work represents different themes prevalent in 20th century British literature, such as realism, feminism, and a cynicism toward the world around them.
From the Paper
"Samuel Beckett wrote "Waiting for Godot" in the late 1940s and it was first published in 1952. The play, which is essentially about nothing, illustrates the world (and England) after the end of World War II. The country was rebuilding from the devastation of the war, but the Soviet Union was dominating Europe, and the Cold War had begun. Many people felt the world was in a type of limbo, just waiting for the U.S. or the Soviet Union to begin another world war for world domination. Europe was fragmented and uncertain, and so was England, so the play reflects that. In addition, the play represents the fragmentation of British society, with the two main characters represented the lower classes, and Pozzo the upper classes. There was still fragmentation in society even after the war, and it exists even today. "
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Greek Tragedies and Their Influence on Modern Day Literature, 2002.
A discussion on the ways in which Greek tragedies and the theory of the Greek tragic hero has survived the diverse style changes of literature since its conception.
960 words (approx. 3.8 pages), 2 sources, MLA, $ 34.95
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Abstract
The following paper examines the ways in which the idea of Greek tragedies has been embellished upon by great literary geniuses. This paper examines how Shakespeare, for example, used his tragic plays to purge his audience of their own flaws, which is precisely how Aristotle had defined the ideal tragic play. The writer examines how modern playwrights such as Sophocles, Ibsen and Tennessee Williams began to interject less idealism and more realism into their tragedies, providing a more ?real life? hero than the ideal hero as defined by the dramas in ancient Greece.
From the Paper
"As literature has evolved over time, plays have become less of a staple of only aristocracy. American literature came into existence, and with that came Tennessee Williams (one of many notable playwrights) and his superb work, ?The Glass Menagerie?. Unlike the original idea of a tragic hero that was someone of great influence and stature (though not god-like), Tennessee Williams wrote about real characters, that virtually anyone could identify with. In the play, the role of the hero is shifted between Amanda, Tom and Laura ? depending on the angle of the play at the time. Williams doesn?t focus on the characters, which doesn?t allow for much development beyond their initial two-dimensional appearance. Tom is arguably our hero, but he isn?t really all that likeable. He is mean to his mother, alienates his sister, and abandons them both. Nothing remarkably heroic there. Williams is more concerned with the outcome of the play, and Tom?s resounding guilt for his actions; as a result, Williams revolves completely around the plot. Tom, who serves as the narrator for the play, is essentially the protagonist of the play ? he is not necessarily the most important figure in the play, but he is the first one to interact with the audience, which is the definition used in the time of the Greek tragedy."
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Modern Portuguese Literature, 2005.
A discussion on three romantic, realist and neo-realist figures of modern Portuguese literature.
2,925 words (approx. 11.7 pages), 4 sources, $ 115.95
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Abstract
This paper discusses the Portuguese romantic and Brazilian realist authors of importance in Dinis and Azevedo, en route to the 20th century poet, De Oliveira's neo-realism. The paper examines them in the light of an uncertain Portuguese society of great class divisions, a parochial Church, and debate concerning a possibly democratic public. It shows the important role of bourgeios authors in pulling together old aristocratic vs. vernacular letters.
From the Paper
"Three Romantic, Realist and Contemporary Figures of Modern Portuguese Literature. Introduction This paper explores the romantic literary contributions of Julio Dinis in As Pupilas do Senhor Reitor, Aluisio Azevedo's O cortico, and the social and psychological romantic poetry of Carlos de Oliveira as found in Uma Abelha na Chuva. It is written by a student who speaks both Portuguese and English and is intended for an English reader, in order to provide an introduction to tendencies in modern Portuguese literature that may be little known. Effort has been made to situate works within the historical development of Portugal and Brazil, and with attention to the authors' backgrounds within two Portuguese-speaking cultures that were long very divided between its educated and uneducated classes."
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Gabriel Garcia Marquez and Magical Realism, 2007.
Examines Gabriel Garcia Marquez uses magical realism in his works.
853 words (approx. 3.4 pages), 6 sources, MLA, $ 30.95
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Abstract
Gabriel Garcia Marquez and his works are inextricably linked to a style of literature known as magical realism, which is a type of literature that is usually characterized by elements of the fantastic woven into the story with a serious presentation. This paper examines how Garcia Marquez uses this element in his works, such as in "One Hundred Years of Solitude" and "Leaf Storm".
From the Paper
"In his 1955 book, "Leaf Storm," Marquez set a new direction to Colombian literature by experimenting with linear time (Cohn). He suspended the forward movement of time through the experiences of the individual characters and of the town itself (Cohn). His use of time reduplicates at the level of form the historical and social situations in a town where the flow of time is no longer significant."
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Realism: Royal Politics at its Best or Worst?, 2005.
Realism is a very viable International Relations theory, as it is the way that the most powerful countries operate in today's society. This essay explains the theory of realism in depth.
2,500 words (approx. 10.0 pages), 3 sources, MLA, $ 75.95
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Abstract
Realism, one of the two schools most predominant in the study of international relations has a long and exhausting history. Unarguably, it has been the most dominant theory of world politics since the foundation of international relations. This could be for various reasons, but many argue because of the United States' persistent use of this theory in its governance. Many politicians and scholars have wrestled over the question of the limitations and insights (if any) of realism. However, realism remains very prominent today, one reason perhaps being that the value of realism as an analytical tool seems to become more relevant to policymakers in times of crises. This essay is dedicated to examining the history and debates surrounding the theory of realism, and concludes with the authors' personal opinion of the value of this theory. This paper examines all fields of realism, from classical, to modern, as well as neo-realism.
From the Paper
"Under the idea of maximal realism, when there are two equally powerful hegemons in place like was the case during the Cold War between the Soviet Union and the United States, there becomes an inherently unstable situation that is destined to collapse into a more stable state where one nation is more powerful and one is less powerful. Next, the theory of minimal realism holds that non-hegemonic states will ally against the hegemon in order to prevent their own interests from being subsumed by the hegemon's interests. Under the minimal-realism theory it is possible to have two equally powerful hegemons with whom a smaller entity may ally in turn depending on which hegemon better fits with the smaller entity's policies at the moment, creating a positive sum game for both sides, rather than a negative sum game like would be the case for maximal realism."
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Realism, Pluralism and Globalism, 2006.
A critical analysis of the relationship between realism, pluralism and globalism.
3,150 words (approx. 12.6 pages), 8 sources, $ 124.95
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Abstract
This paper examines a host of issues in order to identify the main lines of argument that writers utilize in the criticism of realism, but the core issue of the ongoing debate between realism and its critics is the foundational realist assessment that the primary task of international relations is to secure relative peace and stability. For forty years, this basic realist position has influenced every aspect of the debate between advocates of realism and their critics, for it has generated justifications and objections to nearly every aspect of realism derived from it.
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Larry Lauden's 'A Confutation of Convergent Realism', 2008.
This paper analyzes and supports Larry Lauden's article 'A Confutation of Convergent Realism' published in a 1981 issue of "Philosophy of Science".
2,150 words (approx. 8.6 pages), 2 sources, MLA, $ 67.95
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Abstract
This paper explains that Larry Lauden in his article 'A Confutation of Convergent Realism' formulates an argument against scientific realism from the perspective of pessimistic induction. The author points out that Lauden rightly states that other philosophers' suggestions that epistemological realism is an empirical hypothesis, which is authenticated by its ability to explain the workings of science, is becoming a significant problem. The paper presents Lauden's methods of attack from which he tackles this assumption of reference and demonstrates how the historical, empirical evidence simply does not exist to support the realist claims. The author concludes that Lauden's debunking of scientific realism via their epistemological dependence on reference and retention is a useful and effective method of philosophical analysis.
From the Paper
"Scientific realism is, most basically, the idea that "[m]ature scientific theories are (approximately true." Lauden delves into the meat of this basic statement by dissecting realism into bite-sized chunks that can be more easily analyzed and (in this case) refuted. While Lauden does debunk various aspects of scientific realism, one aspect of it with which he is particularly concerned is the matter of reference. Lauden lists five characteristics of convergent epistemological realism, which he has aggregated from the available resources on scientific realism."
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Realism, 2005.
A look at how the artistic form of Realism emerged as a result of the socio-economic changes brought about by Europe's industrial revolution.
1,147 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
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Abstract
This paper explains how the poverty and despondency amongst the new working class created by Europe's industrial revolution was expressed in the artistic form of Realism. The paper looks at how Realism sought to correctly portray the conditions and hardships of the poor with the hope of improving their living situations. The paper discusses some of the Realist artists of that era and describes how their works depicted the reality in the cities and countryside.
From the Paper
"To Courbet, Realism was not so much a style of painting as a philosophy. His arguments with the present French art establishment concerned subject matter, not painting technique. Juries and the public shunned the Realists' work, because the art style broke away from the official Academic art. Courbet's paintings, such as the Stone-Breakers of 1849, which featured the laboring, faceless figures of an old man and adolescent boy, was criticized severely by critics who preferred mythological or idealistic subjects."
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Realism and Modern Drama, 2008.
This paper discusses Gertrude Stein's and Bertolt Brecht's criticism of realism in drama.
1,081 words (approx. 4.3 pages), 1 source, MLA, $ 37.95
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Abstract
In this article, the writer looks at the issue of realism in drama, according to Gertrude Stein and Bertolt Brecht, in relation to Stein's play "Dr. Faustus Lights the Light" and August Strindberg's "The Ghost Sonata". The writer focuses on their views regarding realism and concludes that perhaps both Stein and Brecht are advocating alienation as a way of bridging the initial gap between the stage and the spectator in order to bring realism into sharper focus. The writer maintains that Brecht did it epically, while Stein did it psychologically.
From the Paper
"Since there is an unavoidable gap between what one experiences in real life and what one anticipates on the stage, the actual present can never be really done on stage. Therefore realism isn't really real, only a fiction of reality. What one sees in the realism of "The Ghost Sonata" is a staid, set environment rather than an acting platform. The plot is very well set out, it leads us on without giving anything away, there are expected and logical reversals (and vice versa), the characters conform to the dress and modes of the period, the characters evoke our empathy or revulsion, and there is usually a social or moral message implicit in the play. We recognize those emotions and values to which we can relate or have experienced."
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Magical Realism, 2004.
A comparative analysis of the magical realism of Isabelle Allende?s "The House of the Spirits" and Garcia Marquez?s "One Hundred Years of Solitude".
2,927 words (approx. 11.7 pages), 6 sources, MLA, $ 86.95
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Abstract
This paper examines different definitions of magical realism in literature and, in particular, compares and contrasts the magic realism aspects of Isabelle Allende?s "The House of the Spirits" and Garcia Marquez's "One Hundred Years of Solitude". The books are analyzed within the context of plot, setting, characters, style, and narrative structure. It shows how Garcia Marquez takes his themes and his use of devices to explore these themes to such exquisite heights that the comparison between the two books is really an unfair one and how there really is no comparison between the masterpiece of Garcia Marquez, and Allende?s rather one-dimensional, poor attempt at magic realism.
From the Paper
"Bell-Villada (2002) acknowledges that magic realism is not an original construct of Garcia Marquez, that, rather, it came from Kafka (Garcia Marquez continually acknowledges the great impact The Metamorphosis had on his writing), and from Faulkner, and that Garcia Marquez took the ideas from these authors, and built on them to give the world his complex, enchanting magic realist masterpiece. This view, of Bell-Villada (2002), differs from the euro-centric view of Zamora and Faris? (1995) book Magic Realism: Theory, History and Community, by putting Garcia-Marquez?s achievement in its rightful place as the masterpiece of magic realist fiction, rather than downplaying this achievement, through analysis, interpretation and presentation of worldwide, magic realist texts (such as those by Toni Morrison, and Rushdie, most of which were written post-One Hundred Years of Solitude)."
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