Realism (Literature)

The Mapping Balzac project is an online companion to Balzac’s great roman fleuve La Comédie Humaine. Mapping Balzac is a complete repertory of the characters in Balzac’s foundational series of realist novels, the places mentioned and visited, and the notable events within the novels. These references will be linked to full text of the complete Comédie Humaine in the ARTFL-FRANTEXT database. There are several kinds of information in the database: information on characters, places mentioned or visited, events in the novels, and types of relationships (networks). The final version of Mapping Balzac will let users shift between geographical maps, timelines, and network graphs.

Reading Erich Auerbach’s highly influential Mimesis: The Representation of Reality in Western Literature, it quite quickly becomes evident that Auerbach is not seeking to supply us with a universal recipe for realism in literature, if such a recipe even exists. As Edward Said writes in the introduction to Mimesis ”Auerbach offers no system, no shortcut to what he puts before us as a history of the representation of reality in Western literature” (Said xxxii). Rather, we embark on an intriguing ride through Western literature across thousands of years, in order to understand just how closely style and history are related. Through focusing on, and analysing passages of texts written by various writers throughout time, Auerbach expands into connecting the text with its historical environment. Focusing on the 13th chapter of Mimesis, ”The Weary Prince”, in which Auerbach discusses Shakespeare, I will use the ”gravedigger scene” form Shakespeare’s tragedy Hamlet, to test and analyse Auerbach’s views on realism in Mimesis.

The work entitled Literary capitalism. The images of economic abstracts in the Polish literature of the second half of the 19th century offers an analysis of capitalism based on literary historical sources. The three initial chapters focus on theoretical aspects of the entire project. In the first chapter, I have systematized various traditions of the economy of literature developing mainly in the English- and German-speaking countries. Here, I distinguish two ways of talking about economy in literature, which stem from Marxist literature studies on the analysis of ideology and class divisions in culture, and the research on the relation between economy and a literary form. Chapter Two discusses the Marxist theory adapted to the studies on the economy of literature. Here, I refer to the transition from traditional Marxism to New Marx Reading (neue Marx-Lektüre). I validate the thesis that economic categories require a discursive legitimization to sustain their being in force and the validity of real abstracts. The discursive legitimization and its criticism may have their place in economy, but also in literature and in journalistic writing. This chapter also deals with the problem of using literary texts as “sources” for historical studies, including the social and economic history, and not merely the history of discourse or mentality. The point of departure is the analysis of the classical formulations of the methodology of historiography with a view to arrive at an extended theory of the source, which can be derived from the works of Walter Benjamin. The third chapter concerns the problems of the history of the second half of the 19th century. How can the tradition of the economy of literature be employed for the studies on Polish literary capitalism? Definitely, not by means of using foreign research as ready-made patterns that can be directly transferred to Polish literature. Therefore, I trace the problems of the complex duration of capitalism in various works of the historians of literature, ideas, society, and economy. I analyse the 19th-century field of power and its ideology. Moreover, I refer to the discourse of underdevelopment and marginality. In this chapter, I also justify the choice of chronological frames of the present book. The starting point is constituted by the middle of the century – the events of Galician Slaughter and the Spring of Nations are seen as a common experience which anticipated modern social conflicts. I have demarcated the year 1900 as the end-point, thereby renouncing the analysis of the texts that approximated the revolution of 1905 which redefined the political divisions of the Polish society. Between these dates, many important events and economic processes occurred, including the industrialization supported by customs policy and the global agrarian crisis, both of which deeply changed the economic and social structure of Polish lands. The analysis of various chronological patterns allows for the identification of civilizational, economic, social, and cultural processes that occurred at an uneven pace. The complexity of both local and global chronologies renders it impossible to form a great uniform narration on the extended duration of the Polish underdevelopment or marginality, compelling instead to trace the noncontinuous character of the peripheral location. Chapter Four presents the problems of agrarian, middle-class, and industrial capitalists. The basic interpretational category constitutes “the subject of capitalist desire”. Capitalism requires of individuals to become the personifications of commodity, money, and abstraction. Literature perfectly describes the dialectal adventures of individuals embroiled in capitalist desires, as well as the oppositions between various positions that were available for contemporary capitalists, such as ascetic, merchant, speculator, industrialist, or rentier. In the fifth chapter, I discuss subordinate groups: peasants, workmen, urban mob and proletariat. Here I research the ways of discursive enslaving of individuals, as well as the chances of emancipation and class struggle. The most important process that was taking place in the second half of the 19th century as regards the structure of subordinate groups is connected with the rejection of the feudal forced labour based on physical violence and replacing it with apparent voluntary contracts between the labourer and the capitalist, yet practically based on anonymous economic violence that affects the proletarians devoid not only of capital goods, but also of their livelihood. The final three chapters have been devoted to the interpretation of the problems of economy of the most important novels of the period under investigation: The Doll by Bolesław Prus, The Promised Land by Władysław Reymont, and Homeless People by Stefan Żeromski. These novels present three kinds of psychopathology of capitalist personification which stem from the inability of continuing the parents’ traditions, either due to social advancement, or social degradation. The literature of this epoch frequently portrays spectacular falls of fathers who can no longer impose their rules on their sons – they are too weak, because economic changes deprived them of their high social status. Their place, the place of the father who insists on respecting the rules, is being occupied by the capital, which obliges the sons deprived of their fathers to become the subjects of capitalist desire and to reject the tradition of their ancestry.

This article surveys new forms of drama, performance, and spectatorship created by artists making use of the real-time microblogging website Twitter—as either a forum for performance in itself, or way to extend the boundaries of a more conventionally theatrical performance. He goes on to describe the ways in which social media “are making playwrights, performers, and spectators of us all,” and proposes a new category, "virtual realism," to describe accurate representations of aspects of life that are already virtual.

Middlemarch, in contrast to Adam Bede, represents the accomplishment of two apparently irreconcilable tasks. George Eliot succeeded in creating both a realistic novel about contemporary conditions and a Victorian romance. In her monograph The Triptych and the Cross Felicia Bonaparte is concerned with-to quote the book's subtitle-"the central mythos of George Eliot's Imagination." 1 Yet, as F. Bonaparte herself is well aware, George Eliot shows throughout her work a predilection for concrete historical settings and a keen interest in all that impinges on historical and societal reality. In unraveling this paradox, Bonaparte rejects the general line in Eliot criticism when she contends that Eliot is first and foremost a poet, that is, a writer who sees the world in essentially poetic terms even though her chosen literary medium belongs formally to the domain of prose fiction. 2 This paper will focus on Bonaparte's claims in relation to a comparative study of some of the mythical and historical references found in Adam Bede and Middlemarch A brief review of Northrop Frye's definition of "myth" will serve to provide a "history." In terms of popular usage-but only in such terms-myth and history are antithetical concepts: The Battle of Hastings really took place, Jupiter's rape of Europe did not. On a philosophical level myth and history present two ways of looking at and interpreting the same object, the succession of phenomena in time. In the historical view such phenomena compose a series of unrepeatable events, which is

Apstrakt: Tolstojev roman Ana Karenjina se ne tumači na tradicionalan način kao mimetička slika ruskog višeg društva treće polovine 19. veka, vek kao oličenje procesa sagledavanja stvarnosti kroz pripovedački postupak. Ovo dekonstruktivno čitanje romana otkriva 'pogled' (le regard) kao princip poetike realizma Tolstoja, koja se graniči sa poetikom modernizma. U članku se analiziraju ključne scene sa umetnikom Mihailovim, i sa Aninim portetom koji on slika, koje otkrivaju ovu poetiku gledanja kao fenomenološki model percepcije stvarnosti. Ključne reči: gledanje, pogled (le regard), Biće, predstavljanje stvarnosti, Lacan, Merleau-Ponty, vidljivo i nevidljivo, otkrivanje stavrnosti, granica, semiotički model značenja Tradicionalna tumačenja Tolstojevog romana Ana Karenjina mahom se koncentrišu na samu priču. Ovo je rezultiralo mnoštvom ogleda sa fokusom na pitanja kao sto su Anina moralna krivica odnosno nevinost, Tolstojev stav prema svojoj junakinji, Tolstojev portret ruskog istorijskog staleža -drugim rečima, njegov 'realizam' po klišetiranom razumevanju ove kategorije istorije književnosti. Međutim, roman je moguće čitati u dekonstrukcijskom ključu. 2 Dekonstrukcijsko čitanje seče tekst vertikalno. Ono se nadovezuje na strukturalnu analizu, s tim što ističe traženje 'dominante' (kao kod ruskih formalista) ili principa konstrukcije. Ali ovaj princip nije čisto formalnog karaktera već se svodi na princip viđenja sveta kroz strukturu teksta. Tako dekonstrukcija čita jedan tekst (umetnički) kroz drugi (teoretski), ili kroz više njih. Taj 'drugi' tekst, kroz koji se čita prvi, je kao instrumenat ili kao rentgenski aparat kroz koji se prosvetljava ili re-konstruiše prvi tekst. Ovo je postupak i starije kritike, samo što se ovaj postupak u dekonstrukciji jasno i svesno priznaje na samom početku analize, najavljuje kao pravac i tendencija (u svakom smislu ove reči) analize. Zato se pravac analize teoretiše kao prétekst ili metatext. Njega karakteriše 'pozajmljeni' jezik. Termin 'pozajmljivanje' se ovde odnosi na konceptualni model koji se koristi pri 'prosvetljavanju' primarnog teksta. Prema tome, možemo se koristiti metatekstualnim jezikom 'pozajmljenim' od Frojda ili Hegela, ili iz bilo kojeg kritičkog diskursa. Ovaj rad 'pozajmljuje' terminologiju i jezik uglavnom iz psihoanalitičkog diskursa Žaka Lakana i njemu srodnog fenomenološkog diskursa Morisa Merlo-Pontija. Čitanje Tolstojevog romana koje proishodi iz ovakve dekonstrukcijske analize po mnogo cemu se razlikuje od pravolinijskog -linearnog -čitanja. Dekonstrukcijsko čitanje ne insistira na nekakvoj 'moralnoj poruci' ili na društvenoj i istorijskoj 'istini' koja se tematizuje u delu. Ne svodi se na nabrajanje i tumačenje tema u linearnom poretku, niti na tumačenje likova romana kao 'ličnosti' koje su mimetičke kopije savremenika. Personaži romana se gledaju kao deo strukture narativnog dela, i u tom smislu se tumače kao simboli ili metafore, koje treba dekonstruktivno tumačiti kao manje strukture unutar većih struktura romana: akcije, motivacije, motiva, tacke gledišta, glasa i slično. Drugim rečima, takvo čitanje ne pokušava da odgovori na pitanje 'Šta je Tolstoj mislio?' već o čemu tekst kao struktura govori. Dekonstrukcijsko čitanje se ne svodi na neku referentnost teksta (u odnosu na sociologiju istorijske epohe, preciznost ljudskih 'tipova' ili istorijskih događaja), njegova polazana tačka nije dijahrona (šta su ljudi 'toga' doba mislili, kako su izgledali) već sinhrona (šta nama, danas, kroz naše kritične perspektive, govori struktura jednog teksta). Tako se jedan tekst, koji je nastao 1872. godine, sapostavlja sa tekstovima koji su nastali posle njega -Frojd, Merlo-Ponti, Lakan. Da li je ovakvo timačenje ne-istorično? Jeste, u smislu da nije arhivarno i antikvarnoali nije neistorijsko. Kroz sapostavljanja (sinhronizaciju) tekstova -teoretskih (sadašnjih) i estetskih (proteklog doba) -se dobija dekonstruktivno osvetljenje literarnog teksta. Cilj i konačan ishod dekonstrukcijskog čitanja jeste da se tekst transparentno predoči kao mnogostrana i višeslojna struktura, koja se prožima raznim kontekstima -istorijom, filozofijom, estetikom, etikom i sociologijom -svim onim što poseduje status 'diskursa'. Takva metoda čitanja je 'polifonijska' u smislu teorije mnogoslojevitosti diskursa Mihaila Bahtina. Predstojeća analiza Ane Karenjine oslanja se na psihoanalitičke koncepte gledanja ili 'pogleda' (le regard), jouissance [čulnog zadovoljstva], želje, procesa značenja (ili signifikacije), pojave (phenomenon, appearance), predstave ili predstavljanja stvarnosti (representation), nesvesnog i jezika. Ovaj psihoanalitički diskurs se dopunjuje teoretskim osvrtom na Tolstojev manifest Šta je umetnost? (1897-1898) 3 i na tekst Umetnost u doba tehničke reprodukcije (1936) Valtera Benjamina; ovaj poslednji je popularizovan u zapadnoj kritici kao prvi teorijski manifest koji govori o popularizaciji umetnosti i pojavi masovne kulture u dvadesetom veku. 4 Međutim, Tolstojev tekst, koji takođe uvodi pojam kulture za narod, kulture za sve -znači popularne kulture -je preduhitrio Benjaminov tekst za nekoliko decenija.

Este artículo investiga los modos mediante los cuales la experiencia, definida al modo de Walter Benjamin, es transmitida en la narración autobiográfica Memorias de un emigrante. (Imágenes y confidencias) (1957), del escritor chileno-árabe Benedicto Chuaqui Ketlún. Se analizan independientemente las dos partes del texto, y en ambas se identifica una estrategia representacional de cuño realista, la particularización. A propósito de la segunda parte, Imágenes y confidencias, se concluye que la experiencia pierde autoridad en la misma medida en que su autor, exitoso comerciante, pierde contacto con el mundo material que lo sustenta. En cuanto a la primera, Memorias de un emigrante, afirmamos que la transmisión de la experiencia del "allá entonces" de Siria pierde su autoridad en tanto la particularización, obligada a referirse a un mundo ausente, termina intentando un realismo sin materia. Si toda experiencia es inactual (Oyarzún), entonces el fracaso de Chuaqui es parte de la historia de la literatura considerada justamente como una historia de esos fracasos. pAlABrAs clAVe: migrancia, realismo, literatura chileno-árabe, memoria.

9h Accueil des participant.e.s
9h15 Introduction (Jean-Baptiste Vuillerod)

9h30-10h15 : Anne Sauvagnargues : "Vers un matérialisme gazeux. Marx, l'individu, l'histoire"

10h15-11h : Antoine Janvier : "Marx, Deleuze et la répétition historique"

11h-11h30 : pause

11h30-12h15 : Vivien Giet : "Machination minoritaire et refus. Autour du fragment sur les machines"

12h15-14h : repas

14h-14h45 : Loreline Courret : "De Marx à Deleuze : contrarier le réalisme"

14h45 - 15h30 : Camille Chamois : "L'oeil humain. Perception et socialisation dans Instincts et institutions"

15h30-16h : pause

16h-16h45 : Eric Alliez : "Marx et la philosophie de Deleuze - et de Guattari"

Στα διηγήματα "Σα θα γίνουμε άνθρωποι" του Πέτρου Πικρού (α΄ έκδοση: 1924) εντυπωσιάζει η έντονη παρουσία των απόκληρων ή ψυχικά διαταραγμένων τύπων, ακόμα και η τολμηρή ανάδειξη όψεων μιας αποκλίνουσας σεξουαλικότητας. Κεντρική θέση στο βιβλίο κατέχει η ομώνυμη νουβέλα με την ιστορία μιας πόρνης που επιχειρεί μάταια να ξεφύγει από τη μοίρα της, δραπετεύοντας από το Καφέ Αμάν "Ο Υπόγειος Παράδεισος". Οι ήρωες του Πικρού κινούνται στο περιθώριο της πόλης, στα μέρη που συστήνουν το κρυφό πρόσωπό της: πορνεία, φυλακές, στρατώνες, κακόφημα στέκια, χώροι ασφυκτικοί, χαμηλά φωτισμένοι, που εντείνουν το κλίμα του ψυχολογικού αδιεξόδου και του κοινωνικού αποκλεισμού τους.

Παρά την απόσταση που μας χωρίζει από την πρώτη του έκδοση, το βιβλίο προσελκύει τον σημερινό αναγνώστη, όχι μόνο γιατί είναι γραμμένο σε μια γλώσσα που ακούγεται ακόμα ολοζώντανη, αλλά και επειδή διαθέτει μια αφηγηματική τεχνική που καθόλου δεν μυρίζει λογοτεχνική ναφθαλίνη.

Το "Σα θα γίνουμε άνθρωποι" είναι το δεύτερο μέρος της τριλογίας του Πέτρου Πικρού "Χαμένα Κορμιά", που συμπληρώνεται με την ομώνυμη συλλογή διηγημάτων και το μυθιστόρημα "Τουμπεκί".
Στην  έκδοση περιλαμβάνεται Εισαγωγή, Ανθολόγιο κριτικών και  Χρονολόγιο βιογραφίας και εργογραφίας του Πικρού. "

The translation of Anthony Neilson's two-act in-yer-face play The Wonderful World of Dissocia into Turkish brings forth various struggles for the translator. Translation of plays has a hesitant nature; the missions of translating a literary text and translating a text written for the stage overlap each other. The translator aims to be loyal to the original "literary" text but in the case of a text that is primarily written for the stage, the responsibility of conveying the message of each sentence, by referring to the target culture if needs be, becomes a dominant one. The linguistic and textual features of above named in-yer-face play, the comic allegoric elements it includes, and the linguistic and symbolic conflict between the two acts lead the translator to a different translation experience. Yet also, the contemporary and daily usage of language, as well as the poetic cues that are constructed with a vocalic conformity make the translation process a challenging one. The aim of this article is to comment upon the difficulties, challenges and the authentic experience that the translation of this contemporary play brings forth.

This article examines the mechanics of the characters as well as the text and their application in response to a traumatic childhood experience: the destruction of the symbiotic unity of the Ego and the world. The walk the child and grandfather take together affirms this split reality as the characteristic order of things when referring to central anthropological moments: the erect posture of man, speech, work, learning and memory. According to my thesis, the plague story serves to internalise the inaccessible catastrophe at the same time: Following the model of tragedy, the plague story aims at immunising the listener by vaccinating them narratively.

Tüm sanat dalları gibi edebiyat da çağın gerçeklikle kurduğu ilişki doğrultusunda yenilenir, gelişir. Özellikle yirminci yüzyılda hızlı bir değişime giren dünya ve günlük hayat yabancılaşma, tekinsizlik gibi yeni bireysel gerçeklikleri doğururken, sanat da buna kayıtsız kalamamış, yeni akımlar ve eğilimler geliştirmiştir. Bu değişime koşut olarak gelişen Sürrealizm, Dadaizm gibi geleneksel karşıtı türlerden bahsederken, okuyucunun değişimi geri planda kalmıştır. Bu makale Yıldız Ecevit'in yeni edebiyatın çoğulculuk özelliğini vurgulayarak beş farklı yöntemle okuduğu Orhan Pamuk'u Okumak adlı yapıtından faydalanarak, okurdaki değişimin izini sürecektir. Kuşkusuz okurdaki değişim eleştirinin de değişimi, bir bakıma eleştiri yöntemlerinin çöküşü demektir.

Ο Πέτρος Πικρός στο μυθιστόρημα "Τουμπεκί", τελευταίο μέρος της τριλογίας "Χαμένα κορμιά", διερευνά και πάλι το κρυφό πρόσωπο της πόλης, οδηγώντας τον αναγνώστη στους σκοτεινούς δρόμους του κοινωνικού περιθωρίου. Ο τίτλος του έργου του δεν ορίζει απλώς την ιδιωματική γλώσσα αυτού του χώρου, αλλά και τη σχέση του με την κοινωνία της εποχής. Η λέξη "τουμπεκί" (= είδος καπνού για το ναργιλέ) στη μεταφορική σημασία της παραπέμπει στον υπόκοσμο και στη συνθηματική γλώσσα του, ενώ στόχος του συγγραφέα είναι να αναφερθεί συνολικά στο διεφθαρμένο κοινωνικό σύστημα. Το "Τουμπεκί" κατάγεται από την παράδοση του νατουραλισμού, ωστόσο οι καινοτομίες που επιχειρεί ο Πικρός ανανεώνουν την εγχώρια πεζογραφία και αναδεικνύουν θεματικές, μοτίβα, πεδία και γλωσσικά ιδιώματα που έως τότε δεν είχαν απασχολήσει σοβαρά τη λογοτεχνική συντεχνία.

Ο Πέτρος Πικρός στο "Τουμπεκί" επιτυγχάνει επίσης να δημιουργήσει αίσθηση με τη συστηματική χαρτογράφηση της ανθρωπογεωγραφίας της φυλακής, άλλα και τη δημιουργία του κεντρικού ήρωα: Ο Αράπης, αρχηγός σπείρας του αθηναϊκού υποκόσμου, ληστής, προαγωγός, έμπορος ναρκωτικών και κατά περίσταση δολοφόνος, είναι ένα ζωντανό πρόσωπο πού εμπλουτίζει τη μάλλον φτωχή παράδοση του νεοελληνικού μυθιστορήματος.

Πρόγραμμα «ΣΠΟΥΔΕΣ ΣΤΟΝ ΕΛΛΗΝΙΚΟ ΠΟΛΙΤΙΣΜΟ» ΕΛΛ213: ΝΕΟΕΛΛΗΝΙΚΗ ΛΟΓΟΤΕΧΝΙΑ I (16ος-19ος αι.)

Ακαδημαϊκή Σύμβουλος: Δρ. Δήμητρα Δημητρίου ΕΚΠΑΙΔΕΥΤΙΚΟ ΥΛΙΚΟ. «Πεζογραφία του 1880: Αλέξανδρος Παπαδιαμάντης και Γεώργιος Βιζυηνός» © 2020 Demetra Demetriou

Σημ.: Ο κάτωθι Οδηγός απάντησης βασίστηκε στο διδακτέο υλικό όπως καθορίστηκε για χρήση των φοιτητών του ΑΠΚΥ και, ως εκ τούτου, δεν αξιοποιεί όλο το εύρος της βιβλιογραφίας που καλύπτει τα εν λόγω έργα και ζητούμενα. Αφορά, επιπλέον, αποκλειστικά στο περιεχόμενο της εργασίας και όχι στα πρόσθετα υπό αξιολόγηση κριτήρια της δομικής διάρθρωσης, της παρουσίασης, της έρευνας και του χειρισμού της γραπτής γλώσσας. Σχεδιάστηκε, τέλος, με τέτοιο τρόπο ώστε να ανταποκρίνεται στην προσδιορισμένη έκταση, τους στόχους, το επίπεδο και τις ανάγκες των φοιτητών της Θεματικής Ενότητας ως βοήθημα στην εκπόνηση της μελέτης τους. Ως τέτοιο, μπορεί, επίσης, να καταστεί χρήσιμη διδακτική πρόταση για εκπαιδευτικούς δευτεροβάθμιας και τριτοβάθμιας εκπαίδευσης.

Λέξεις κλειδιά: ρεαλισμός· νατουραλισμός· ηθογραφία· Παπαδιαμάντης, Αλέξανδρος· Βιζυηνός, Γεώργιος· Η φόνισσα, «Το αμάρτημα της μητρός μου»

This paper examines the poetics of Realism through the genre of the sketch of manners as this genre is described in theory in the manifestos of Realism and used in practice by two major writers of the 19th century, Flaubert and Dostoevsky. The paper briefly examines the postulates of Realism as these appear in Les français peints par eux-mêmes [The French portrayed by the French], published in 1840 by Curmer, in Paris, together with Baudelaire's doctrine of Beauty which is taken as an elaboration on the poetics of the physiological sketch and feuilleton. With these tools, the paper examines the literary procédé of the two major Realists of the European canon. Based on a brief examination of three novels -Bouvard and Pécuchet, Madame Bovary and The Adolescent -this analysis seeks to uncover how the sketch of manners is transformed to become the vehicle for the representation of the desire of the age, which is will to power understood as self-overcoming and constituted as alienation of the self. Dostoevsky, who thought highly of Flaubert as a writer, with a more pronounced, deliberate artistic gesture than Flaubert's, puts alienation centre-stage in a new space -the space of the unconscious. In this space, Dostoevsky does not capture "living beings…and their luminous explosion in space," as Flaubert did. Dostoevsky's portraits of the time are, like Constantin Guys' sketches, impressionistic 'daubs' in black crayons, alluding to a shadowy world of the unknown which underlies all appearances. This is the world of repressed desire which is the actual domain of alienation.

The paper  is  an  attempt  at  drawing  the  relationships  between  realism  and  mise  en  abyme. Starting with Artur Sandauer’s concept, who understood the development of mise en abyme poetics as a result of the demise of realist ideas, the text discusses the connections that take place between those seemingly contradictory tendencies in the history of literature, referring to philosophy and linguistics. The proposed theses are supported by an interpretation of the poem  “Kochana  liryko”  by  Tomasz  Pułka  which  shows  how  modern  Polish  poetry  positions  itself against the possibility to experience reality in art and the very definition of art.

The realist novel seeks to depict the world as it really is. It deliberately wants to stand in “contrast to the normative childlikeness of the epic’’ (Lukács, 1971). How do realists then justify their own work? Are realist novelists and painters not artists? Émile Zola’s His Masterpiece ( L'Oeuvre) is where I shall turn to investigate the place of the artist in realism as it is conceptualized by realism. The artist standing at the center of this novel, painter Claude Lantier, feels within himself an unshakable desire to fulfill his grandiose artistic vision of realism, but the deterministic nature of reality will not allow him to actually bring it into being. In Claude Lantier’s tragic narrative one finds the inevitable end of the realist artist who has no choice but to see his visions trampled by modernism.

El presente trabajo intentará dar un primer acercamiento a la noción del límite en el novelato “La ilusión monarca” de Marcelo Cohen, incluido en El fin de lo mismo. El análisis partirá del presupuesto de que el límite es transversal al texto en su totalidad.
La representación de esa realidad se encuentra “cercada”, es decir, no es posible ver más allá de la cárcel. Esta realidad se estructura en base a tres perspectivas respecto del sujeto: el ámbito en que se mueve, al lugar en donde se proyecta y en su subjetividad.
De este modo, en el entramado textual nos encontramos con elementos resemantizados por la particular mirada de los personajes y del mismo protagonista, Sergio: cárcel, mar, horizonte y boyas. Elementos que se traducen en libertad, posibilidad, locura y muerte y se combinan en el texto logrando una construcción particular de un sujeto que está obligado a convivir con lo imposible.

Palabras clave: representación – realidad – límite – sujeto

Procurando um início de resposta perante as dificuldades de classificação do “reality-show”, o presente trabalho argumenta que, não obstante, a sua multiplicidade constitutiva, a sua diversidade de formatos e a sua natureza fluida e evasiva, é possível delimitar os seus contornos gerais do “reality-show” enquanto género televisivo. Como primeiro passo dessa tarefa, sublinha-se, neste artigo, um conjunto de influências e factores de ascendência fundamentais que contribuíram decisivamente para moldar aquilo que entendemos na contemporaneidade por programas televisivos de realidade, nomeadamente, os movimentos artísticos do Realismo e do Naturalismo, a estética documental, o jornalismo sensacionalista, e o desenvolvimento da televisão enquanto indústria.

Seit der zweiten Hälfte des 19. Jahrhunderts analysiert, kategorisiert und bewertet die Institution Literaturwissenschaft zeitgenössische Werke: eine neue Situation für die Schriftsteller und Schriftstellerinnen. Es kommt zu Allianzen, aber auch zu Auseinandersetzungen
und Abgrenzungsversuchenzwischen Beobachtern und Beobachteten, die nicht folgenlos für die literarischen
und wissenschaftlichen Texte bleiben und die dennoch in erstaunlich geringem Maße Gegenstand germanistischer
oder germanistikgeschichtlicher Aufmerksamkeit geworden sind.
Die vorliegende Arbeit schließt diese Lücke, indem sie zum einen die Interaktion zwischen Kunst und Wissenschaft
in systematischer Perspektive beleuchtet, zum anderen mit Realismus und Expressionismus zwei für das Thema einschlägige Epochen detailliert untersucht. Fallstudien zu Theodor Storm, Gottfried Keller, Walter Hasenclever,
Ernst Stadler, Kurt Pinthus und anderen zeigen, dass die komplementäre Abhängigkeit von Selbst- und
Fremdreflexivität sich in jeweils eigener, aber immer durchaus anspruchsvoller Weise verwirklicht.

The sketch of the life and works of Bohemian born German philosopher Fritz Mauthner, novellist and drama critic Fritz Mauthner (1849-1923) is followed by an analysis of his novel Der letzte Deutsche von Blatna (The Last German of Blatna, 1885; published at 1887), which draws on existing secondary literature and new knowledge of the context of the book at the time of its writing. These hintherto unexploited sources are used to defend the thesis that rather than being a documentary and propaganda novel, Mauthner´s text reflects the social and political crisis of liberalism, seen from the point of nationalist German liberal. Mauthner´s aim was to rally the social categories he saw as still "passive" on the national level to his cause, like the farm labourers and the manual workers.

Der Umgang mit der Sprache ist von zentraler Bedeutung in Theodor Fontanes Berliner Alltagsgeschichte Irrungen, Wirrungen. Das zeigt sich schon daran, dass die Personen des Romans in höherem Maße durch ihre Sprache als durch ihr äußeres Erscheinungsbild charakterisiert werden: Lenes »Unredensartlichkeit« (124) 1 ist ein weit wichtigeres Kennzeichen als ihr »aschblonde[s] Haar« (15), und auch Käthe von Sellenthin bleibt dem Leser vor allem dank ihres »Talent[s] für die Plauderei« (147) in Erinnerung -ihre Beschreibung als »[w]undervolle Flachsblondine mit Vergißmeinnicht-Augen« (55) tritt demgegenüber in den Hintergrund. 2 Es kann daher nicht verwundern, dass die Sprache der Figuren und ihre Funktion im Verweisungsgeflecht des Romans in der Forschung auf verbreitetes Interesse gestoßen sind. 3 Eine Figur hat in diesem Zusammenhang jedoch kaum Beachtung gefunden; die Frage, wie es um Botho von Rienäckers Verhältnis zu und seinen Umgang mit Sprache bestellt ist, ist bisher nur beiläufig behandelt worden. Das ist umso erstaunlicher, wenn man bedenkt, dass gerade die Beziehung zwischen Botho und Lene nicht nur durch den gesellschaftlichen, sondern auch durch den korrespondierenden sprachlichen Gegensatz gekennzeichnet ist: Der Stil der Klubs und Salons, wo man »die Kunst des gefälligen Nichtssagens mit einer wahren Meisterschaft« (134) beherrscht »[u]nd ja […] gerade so viel [gilt] wie nein « (28), trifft hier auf den Stolz, »alles grad heraus zu sagen und keine Flausen zu machen und nichts zu vergrößern und nichts zu verkleinern« (152). Weil aber Botho von Rienäcker kein typischer Vertreter seines Standes ist, sondern, wie in manchem, auch in sprachlicher Hinsicht »seinen eignen Weg geht« (56), lässt sich diese Beziehung unter sprachlichem Gesichtspunkt nicht sinnvoll analysieren, solange Bothos ganz spezifischer Umgang mit Sprache nicht untersucht worden ist.

This paper discusses The Virgin in the Garden's negotiations of time and temporality as realised through and within the novel's intricate temporal narrative framework. It argues that The Virgin in the Garden represents both an internalising appropriation and an externalising articulation of what Paul Ricoeur (1984, 52) calls the 'interwoven reference' of time and narrative, that is, an articulation of a process of twofold transgression: fiction's entanglement in the realised potential of the past on the one hand, and history's eruption into the fiction of an unrealised potential of historical existence on the other hand. At the point of intersection of these two movements of transgression, Ricoeur (1984: 3) sees what he calls 'human time, a time in which the representation of time past through history merges with its fictional variations. A mapping of The Virgin in the Garden's articulation of the complex constitutive processes of 'human time' not only sheds further light on Byatt's lifelong engagement with the theoretical entanglements of representational fiction, but also functions as the very primer of the historical canvas the Frederica Quartet as a whole projects and against the backdrop of which questions of Byatt's realist allegiance can be fruitfully explored. The Virgin in the Garden, Byatt's third novel and the first in a series that would eventually form the tetralogy now collectively known as the Quartet, was published in 1978, when Byatt was still a relatively unknown quantity in British literary circles. Her first two novels, The Shadow of the Sun (1964) and The Game (1967), as well as her 1965 critical study of Iris Murdoch, Degrees of Freedom, and her 1970 volume Wordsworth and Coleridge in their Time, had been well received, but Byatt's relatively slim output, evenly split as it was at that point between fiction and scholarship, was still overshadowed by that of her more prolific younger sister, novelist Margaret Drabble, and tended to be billed as most likely appealing to a relatively niche and decidedly highbrow market. As Byatt herself put it in a 2001 interview with Philip Hensher (47): 1

This work aimed to analyze the relationship between art and politics, based on the aesthetic conception of the triumph of realism, originally indicated by Friedrich Engels. For this, the theoretical categories came from a letter in which this author, presenting a literary criticism of a work by Margaret Harkness, made suggestive comments about the specificity of aesthetic legality and how the writer can proceed to understand the autonomy of arts. It was made a reflexive examination of artistic conceptions of idealistic and naturalistic nature, to shows their limits in the face of aesthetic realism. In this sense, the article was started by an allegory on the relation between aesthetic elements and the ideological and political determinations that make up these artistic conceptions, in order to demonstrate, in an imaginary way, these implications. In the second moment, we sought to correlate, from more solid theoretical and methodological principles, the presuppositions of literary criticism related to the triumph of realism. In these analyses, the French writers Émile Zola and Honoré de Balzac appears like exemplars of great distinction in the treatment of the aesthetic reflection and its relation to the artist's political conception.

Cierto “retorno de lo real” a la ficción argentina del presente parece marcar el pulso en las discusiones de la crítica literaria de los últimos años. Un arte “informe” –en sintonía con las transformaciones de una ciudad que prolifera en un vértigo horizontal y vertical incontenible– desafía los abordajes tradicionales y exige nuevas herramientas para explorar el vínculo entre la literatura y su “otro”, lo “real”. En este sentido, la lectura contrastada de dos poéticas –la de Fabián Casas y la de Martín Rejtman– revela una tensión sintomática de la literatura contemporánea y permite esbozar un mapa provisorio de los “nuevos” realismos, el recorrido de una figura y no una serie cerrada.

Literary historians have long debated the extent to which the Modernist novel broke with conventions established in the nineteenth century. One of the most hotly debated matters is the existence of an “inward turn,” a rupture with the external orientation Realist and Naturalist novel in favor of greater psychological complexity and depth—that has been found in of the early years of Modernism by critics like Humphrey (1954: 8), Bradbury (1995 [1976]), and Sultan (1987) and in the late nineteenth century by critics like Levitt (2006) and Lewis (2007). One of the most common presuppositions about the purported “inward turn”—seldom tested—is that the linguistic innovations of the Modernist period aided in the portrayal of the mental states of characters from a more systematic perspective. This article reviews the debates over differences between Realist and Modernist techniques of thought representation, and uses quantitative techniques to assess the extent to which there was linguistic and stylistic innovation in the representation of thought in the French novel before and during the “inward turn” of the 1910s and 1920s. By tracing the use of reporting clauses and mental verbs (e.g. “she thought” and “he said to himself”) in a large sample of nineteenth-century and early-twentieth-century French novels, I estimate the prevalence of several key markers of represented thought in a range of French novels, authors, and decades between 1800 and 1929. I conclude that these common reporting clauses and mental verbs appeared in a wide variety of texts, particularly in the French novels of the 1830s, 1910s, and 1920s, alongside other “free” techniques like free indirect discourse which are more often studied. There is, thus, very little evidence that “free” forms like free indirect discourse displaced marked forms. Indeed, the French Modernist “inward turn” included a continuation of the supposedly more “primitive” forms of thought representation associated with the Realist novel: the 1910s and 1920s saw an increase in markers of represented thought that were frequently used in the nineteenth-century French novel.

"Zaczęłam była trzeci tom Nad Niemnem -zwierzała się Orzeszkowa Leopoldowi Meyetowi w liście z 10 maja 1887 r. -ale jak na złość w tej chwili całkiem niepotrzebnie wlazła mi w głowę nowela i z taką natarczywością napastowała, że napisać ją musiałam. Pisałam całe dwa tygodnie bardzo pilnie. Rzecz jest dość duża (prawie jak Romanowa), nosi nazwę W zimowy wieczór, stanowi obraz z chłopskiego życia [...]" 1 .

The historical novel is one of the most popular and critically significant genres of postcolonial writing, but, to date, almost no systematic scholarship is dedicated to it. This essay proposes theoretical and critical parameters for exploring this genre. It begins with the observation that plausibility is a key principle articulated by many postcolonial writers and explores how framing novels in these terms, as a kind of realism, requires readers to negotiate heterogeneous structures of reference—and, in particular, to read imaginary characters as abstractions of historical phenomena. The second half of the paper explores the theoretical implications of this ontological heterogeneity, suggesting how the genre’s conventions are inflected by normative patterns of gender, race, and temporality. Overall, I propose that it is possible to read the postcolonial historical novel as a kind of allegory, and I offer the term allegorical realism to describe this paradoxical mixing of conceptual and affective knowledge.

У раду се проблематизује мотив „успешне” удаје у комедијама Бранислава Нушића: „Народни посланик”, „Сумњиво лице” и „Госпођа министарка”. Кроз три наведене Нушићеве комедије се протеже родитељска нереална амбиција да своје кћери удају за што бољег младожењу, како би, пре свега, њихов социјални статус напредовао на друштвеној лествици. Посматрајући поступке ликова међу њиховим односима, понашање истих у датим ситуацијама у комедијама, уједно опажањем пишчевих техникâ засмејавања – покушаћемо да прикажемо хумор драмског писца.

Dans la littérature européenne, il y a toute une lignée de la «folie» ambigüe, parfois lucide, censée de révéler la vérité, de faire justice, de corriger le réel. C'est la «folie» de Hamlet, du pirandellien Enrico IV, d'Alonso Quijano auto-proclamé Don Quichotte. Sous le masque, de tels héros agissent afin d'améliorer l'ordre moral du monde, et d'en tirer au jour une vérité essentielle, jalousement cachée ou malheureusement oubliée. Motif littéraire aux origines beaucoup plus anciennes que le Baroque qui l'a consacré, el gran teatro del mundo croise ainsi l'auto-fiction du fou, le plus lucide y compris, tel qu'en témoignent l'oeuvre de Shakespeare, de Cervantes, de Pirandello, et jusqu'à un certain point, de I.L. Caragiale. Chez ce dernier, il y a  tout un monde à l’envers, qui, à quelques exceptions près, reste comme tel après la fin du texte; l'anarchie d'une fête des fous s'y installe à la longue. Les personnages de I.L. Caragiale défient, presque tous, soit moralement «le raisonnable», soit pathologiquement «la rationalité». Le comique y découle non seulement «du mécanique plaqué sur le vivant», mais aussi d'un soupçon de folie «plaquée» sur la raison. Notre approche est donc une relecture de la dramaturgie de I.L. Caragiale, dans la perspective d'une archéologie de l'imaginaire, plus précisément d'une (arché)typologie de la folie comme dérapage ou (prémisse de) réparation, telle que l'a déjà consacrée une longue histoire des mentalités européennes.
Mots-clés: «monde à l’envers», «nef des fous» (stultifera navis), (dé)raisonnable, el gran teatro del mundo, I.L. Caragiale, Michel Foucault, Năpasta [Le Malheur], D'ale carnavalului [Du carnaval], O scrisoare pierdută [Une lettre perdue].

The article studies the Finnish realistic novel at the end of the last millennium and its way to build a critical construction of social reality after the neoliberal turn. It describes different types of commitment and takes two novels as examples: the Finnish-Swedish author Kjell Westö’s Drakarna över Helsingfors (1996, Kites Above Helsinki), which depicts the emergence of late-capitalist consumerism and its effects on identity and the self, and Mari Mörö’s Kiltin yön lahjat (1998, Good-Night Gifts), in which the neoliberal market economy has naturalised as an essential part of family life, having an effect on both the children and the adults.


***

The contents of the whole book:

Foreword 7
Leena Kirstinä, Introduction 9

Pirjo Lyytikäinen, Allegories of our World. Strange Encounters with Leena Krohn 24

Mika Hallila, The Unbearable Darkness of Being Subject in Asko Sahlberg’s Fiction 41

Päivi Koivisto, The Author as Protagonist: Autobiographical Narrative in Finland 55

Kristina Malmio, Phoenix-Marvel Girl in the Age of fin de siècle. Popular Culture as a Vehicle to Postmodernism in Diva by Finland-Swedish Author, Monika Fagerholm 72

Mari Hatavara, History After or Against the Fact? Finnish Postmodern Historical Fiction 96

Outi Oja, From Autofictive Poetry to the New Romanticism
The Guises of Finnish Poetry in the 1990s and 2000s 112

Päivi Heikkilä-Halttunen, Idyllic Childhood, Jagged Youth. Finnish Books for Children and Young People Meet the World 136

Jussi Ojajärvi, Capitalism in the Family. On Realistic Involvement after the Neoliberal Turn 152

Markku Lehtimäki, Shadows of the Past. Sofi Oksanen’s Purge and Its Intertextual Space 175"

Jacques Rancière reads Madam Bovary - but also Proust's In Search of Lost Time and Virginia W oolf's Waves as an evidence of changing relationship between life and literature. The rejection of the hierarchy of themes characteristic of Flaubert's times is already a function  of the transformation of the social structure, the development of modern democracy and
the culture of "excitement", but it is also strongly related to the medical discourse. Flaubert - like Proust and W oolf later on - has to combine the features of the realist and the aesthete
that is why he absolutises "style" as the ultimate definition of literature. Emma Bovary, who mistook literature for life, has to be sentenced to death so the art of writing could be saved
as a separate discipline of the distribution of the sensible.