Social Realism
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The Influence of Kitchen Sink Drama in John Osborne's
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk. -
Realism.VL.2.Pdf
Realism Realism 1861- 1914: An artistic movement begun in 19th century France. Artists and writers strove for detailed realistic and factual description. They tried to represent events and social conditions as they actually are, without idealization. This form of literature believes in fidelity to actuality in its representation. Realism is about recreating life in literature. Realism arose as an opposing idea to Idealism and Nominalism. Idealism is the approach to literature of writing about everything in its ideal from. Nominalism believes that ideas are only names and have no practical application. Realism focused on the truthful treatment of the common, average, everyday life. Realism focuses on the immediate, the here and now, the specific actions and their verifiable consequences. Realism seeks a one-to-one relationship between representation and the subject. This form is also known as mimesis. Realists are concerned with the effect of the work on their reader and the reader's life, a pragmatic view. Pragmatism requires the reading of a work to have some verifiable outcome for the reader that will lead to a better life for the reader. This lends an ethical tendency to Realism while focusing on common actions and minor catastrophes of middle class society. Realism aims to interpret the actualities of any aspect of life, free from subjective prejudice, idealism, or romantic color. It is in direct opposition to concerns of the unusual, the basis of Romanticism. Stresses the real over the fantastic. Seeks to treat the commonplace truthfully and used characters from everyday life. This emphasis was brought on by societal changes such as the aftermath of the Civil War in the United States and the emergence of Darwin's Theory of Evolution and its effect upon biblical interpretation. -
6086 AR Cover R1:17.310 MFAH AR 2015-16 Cover.Rd4.Qxd
μ˙ The Museum of Fine Arts, Houston annual report 2015–2016 MFAH BY THE NUMBERS July 1, 2015–June 30, 2016 • 900,595 visits to the Museum, the Lillie and Hugh Roy Tuition Attendance Revenue $3.2 Other Cullen Sculpture Garden, Bayou Bend Collection and $2.1 5% 3% $7.1 Gardens, Rienzi, and the Glassell School of Art 11% Membership Revenue $2.9 • 112,000 visitors and students reached through learning 5% and interpretation programs on-site and off-site FY 2016 • 37,521 youth visitors ages 18 and under received free Operating Operating Revenues Endowment or discounted access to the MFAH Fund-raising (million) Spending $14.2 $34.0 22% 54% • 42,865 schoolchildren and their chaperones received free tours of the MFAH • 1,020 community engagement programs were presented Total Revenues: $63.5 million • 100 community partners citywide collaborated with the MFAH Exhibitions, Curatorial, and Collections $12.5 Auxiliary • 2,282,725 visits recorded at mfah.org 20% Activities $3.2 5% • 119,465 visits recorded at the new online collections Fund-raising $4.9 module 8% • 197,985 people followed the MFAH on Facebook, FY 2016 Education, Instagram, and Twitter Operating Expenses Libraries, (million) and Visitor Engagment $12.7 • 266,580 unique visitors accessed the Documents 21% of 20th-Century Latin American and Latino Art Website, icaadocs.mfah.org Management Buildings and Grounds and General $13.1 and Security $15.6 21% • 69,373 visitors attended Sculpted in Steel: Art Deco 25% Automobiles and Motorcycles, 1929–1940 Total Expenses: $62 million • 26,434 member -
Taylor Acosta
Taylor Acosta book review of World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography by Boris Röhrl Nineteenth-Century Art Worldwide 15, no. 3 (Autumn 2016) Citation: Taylor Acosta, book review of “World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography by Boris Röhrl,” Nineteenth-Century Art Worldwide 15, no. 3 (Autumn 2016), https://doi.org/10.29411/ncaw.2016.15.3.9. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Acosta: World History of Realism in Visual Arts, 1830–1990 Nineteenth-Century Art Worldwide 15, no. 3 (Autumn 2016) Boris Röhrl, World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography. Hildesheim, Germany: Georg Olms Verlag, 2013. 680 pp.; 97 b&w ills.; notes; bibliography; index; dictionary. $78.00 (cloth) ISBN: 978-3-487-14387-3 The literature on Realism is extensive and includes theoretical texts, historical analyses, and artist monographs, and at the center of many of these intellectual projects is a persistent debate surrounding the term itself. In 1856, the art critic Edmond Duranty declared, “To give a definition of realism regarding aesthetics would be time lost—an opening of sluice gates releasing a flood of discussion solely about words” (1). -
Myth Y La Magia: Magical Realism and the Modernism of Latin America
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2015 Myth y la magia: Magical Realism and the Modernism of Latin America Hannah R. Widdifield University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Latin American Languages and Societies Commons, and the Literature in English, North America, Ethnic and Cultural Minority Commons Recommended Citation Widdifield, Hannah R., "Myth y la magia: Magical Realism and the Modernism of Latin America. " Master's Thesis, University of Tennessee, 2015. https://trace.tennessee.edu/utk_gradthes/3421 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Hannah R. Widdifield entitled "Myth y la magia: Magical Realism and the Modernism of Latin America." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Lisi M. Schoenbach, Major Professor We have read this thesis and recommend its acceptance: Allen R. Dunn, Urmila S. Seshagiri Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Myth y la magia: Magical Realism and the Modernism of Latin America A Thesis Presented for the Master of Arts Degree The University of Tennessee, Knoxville Hannah R. -
Huq, Rupa. "Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity." Making Sense of Suburbia Through Popular Culture
Huq, Rupa. "Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity." Making Sense of Suburbia through Popular Culture. London: Bloomsbury Academic, 2013. 83–108. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781472544759.ch-004>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 04:19 UTC. Copyright © Rupa Huq 2013. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 4 Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity I never wanted to get into this rat-race but now that I’m in it I think I’d be a fool not to play it just like everyone else plays it. (Gregory Peck as Tom Rath, Th e Man in the Gray Flannel Suit , 1956) Th e cinema in its literal sense has been both a landmark of the suburban-built environment and staple source of popular culture in the post-war era: with the Regals, Gaumonts, UCGs and ABCs off ering relatively cheap escapism from everyday mundanity and routine. Th e cinema has served the function of a venue for suburban courtship for couples and entertainment for fully formed family units with the power to move audiences to the edge of their seats in suspense or to tears – be that laughter or of sadness. While the VHS and advent of domestic video recorders was seen to threaten the very existence of the cinema, many suburban areas have seen the old high street picture palaces replaced/displaced/ succeeded by out-of-town complexes where suburbia has sometimes been the subject on the screen as well as the setting of the multiplex they are screened in. -
International Scholarly Conference the PEREDVIZHNIKI ASSOCIATION of ART EXHIBITIONS. on the 150TH ANNIVERSARY of the FOUNDATION
International scholarly conference THE PEREDVIZHNIKI ASSOCIATION OF ART EXHIBITIONS. ON THE 150TH ANNIVERSARY OF THE FOUNDATION ABSTRACTS 19th May, Wednesday, morning session Tatyana YUDENKOVA State Tretyakov Gallery; Research Institute of Theory and History of Fine Arts of the Russian Academy of Arts, Moscow Peredvizhniki: Between Creative Freedom and Commercial Benefit The fate of Russian art in the second half of the 19th century was inevitably associated with an outstanding artistic phenomenon that went down in the history of Russian culture under the name of Peredvizhniki movement. As the movement took shape and matured, the Peredvizhniki became undisputed leaders in the development of art. They quickly gained the public’s affection and took an important place in Russia’s cultural life. Russian art is deeply indebted to the Peredvizhniki for discovering new themes and subjects, developing critical genre painting, and for their achievements in psychological portrait painting. The Peredvizhniki changed people’s attitude to Russian national landscape, and made them take a fresh look at the course of Russian history. Their critical insight in contemporary events acquired a completely new quality. Touching on painful and challenging top-of-the agenda issues, they did not forget about eternal values, guessing the existential meaning behind everyday details, and seeing archetypal importance in current-day matters. Their best paintings made up the national art school and in many ways contributed to shaping the national identity. The Peredvizhniki -
The Peredvizhniki and West European Art
ROSALIND P. BLAKESLEY "THERE IS SOMETHING THERE ...": THE PEREDVIZHNIKI AND WEST EUROPEAN ART The nature of the dialogue between the Peredvizhniki and West European art has been viewed largely through the prism of modernist concerns. Thus their engagement - or lack of it - with French modern- ist luminaries such as Manet and the Impressionists has been subject to much debate. Such emphasis has eclipsed the suggestive, and often creative, relationship between the Peredvizhniki and West European painters whose practice is seen as either anticipatory of or inimical to the modernist camp - to wit, Andreas Achenbach and his circle in Düsseldorf; artists of the Barbizon school; certain Salon regulars; and various Realist groupings in France, Germany and Victorian Britain.'I My intention herc is to explore the subtle connections between such artists, but not as part of any wider art historical concern to challenge the hegemony of modcrnism, for the position of Russian artists vis-ä- vis Western modernist discoursc - before, during and after the time of the avant-garde - is of ongoing concern. Rather, my aim is to question the still prevalent interpretation of the Peredvizhniki as "national" art- All translations are my own unless otherwise indicated. 1. These parallcls havc not gone unremarked. Alison Hilton, for example, writes: "Aside from the Russian settings, the work of Perov and his colleagues shows the same general concern for rural and urban poverty, alcoholism, prostitution, and other mid-nineteenth-century problems that troubled many European artists and writers." ("Scenes from Life and Contemporary History: Russian Realism of the 1870s- 1 880s," in Gabriel P. -
Religion and Realism in Late Nineteenth-Century American
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Religion and realism in late nineteenth-century American literature Lisa Irene Moody Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Moody, Lisa Irene, "Religion and realism in late nineteenth-century American literature" (2009). LSU Doctoral Dissertations. 134. https://digitalcommons.lsu.edu/gradschool_dissertations/134 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RELIGION AND REALISM IN LATE NINETEENTH-CENTURY AMERICAN LITERATURE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Lisa Irene Moody B.A., University of Chicago, 1986 M.A., Northwestern University, 1991 December 2009 ACKNOWLEDGEMENTS Throughout the process of writing this dissertation, I have been guided by many excellent faculty and colleagues, each of whom has added significantly to this project. First and foremost, I would like to acknowledge the mentorship of my dissertation director, J. Gerald Kennedy, for his expert guidance, close readings, and overall interest in my graduate studies. Dr. Kennedy has promoted my work and held me to a high personal and academic standard, for which he himself has proven to be an apt role model. -
Post-Authenticity: Literary Dialect and Realism in Victorian and Neo-Victorian Social Novels
1 Post-Authenticity: Literary Dialect and Realism in Victorian and Neo-Victorian Social Novels By: Suzanne Pickles A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities School of English July 2018 2 Abstract This thesis considers what a post-authenticity approach to literary dialect studies should be. Once we have departed from the idea of literary dialect studies being engaged in ascertaining whether or not the fictional representation of nonstandard speech varieties can be matched with those same varieties in the external world, how should we study the dialect we find in novels? I argue that literary dialect studies should be placed within critical work on the realist novel, since the representation of speech, like the broader field of realism, aims to reflect an external world, one with which the reader can identify. This, as yet, has not been done. My approach is to place greater emphasis on the role of the reader. I consider the ways in which writers use literary dialect to manage readers’ responses to characters, and the nature of those responses. I give a close reading of Victorian and neo-Victorian novels to show that, whilst the subject matter of these works has changed over time to suit a modern readership, the dialect representation – its form and the attitudes to language usage it communicates – is conservative. Referring to recent surveys, and through my own research with real readers, I show that nonstandard speakers are still regarded as less well-educated and of a lower social class than those who speak Standard English. -
Published Occasionally by the Friends of the Bancroft Library University of California, Berkeley, California 94720
PUBLISHED OCCASIONALLY BY THE FRIENDS OF THE BANCROFT LIBRARY UNIVERSITY OF CALIFORNIA, BERKELEY, CALIFORNIA 94720 No. 6l May 197s Dr. and Mrs. David Prescott Barrows, with their children, Anna, Ella, Tom, and Betty, at Manila, ig And it is the story of "along the way" that '111 Along the Way comprises this substantial transcript, a gift from her children in honor of Mrs. Hagar's You Have Fun!" seventy-fifth birthday. In her perceptive introduction to Ella Bar From a childhood spent for the most part rows Hagar's Continuing Memoirs: Family, in the Philippines where her father, David Community, University, Marion Sproul Prescott Barrows, served as General Super Goodin notes that the last sentence of this intendent of Education, Ella Barrows came interview, recently completed by Bancroft's to Berkeley in 1910, attended McKinley Regional Oral History Office, ends with the School and Berkeley High School, and en phrase: "all along the way you have fun!" tered the University with its Class of 1919. [1] Life in the small college town in those halcy Annual Meeting: June 1st Bancroft's Contemporary on days before the first World War is vividly recalled, and contrasted with the changes The twenty-eighth Annual Meeting of Poetry Collection brought about by the war and by her father's The Friends of The Bancroft Library will be appointment to the presidency of the Uni held in Wheeler Auditorium on Sunday IN THE SUMMER OF 1965 the University of versity in December, 1919. From her job as afternoon, June 1st, at 2:30 p.m. -
ENG 3702-001: American Realism and Naturalism: 1865-1918 Christopher Hanlon Eastern Illinois University
Eastern Illinois University The Keep Fall 2002 2002 Fall 8-15-2002 ENG 3702-001: American Realism and Naturalism: 1865-1918 Christopher Hanlon Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/english_syllabi_fall2002 Part of the English Language and Literature Commons Recommended Citation Hanlon, Christopher, "ENG 3702-001: American Realism and Naturalism: 1865-1918" (2002). Fall 2002. 116. http://thekeep.eiu.edu/english_syllabi_fall2002/116 This Article is brought to you for free and open access by the 2002 at The Keep. It has been accepted for inclusion in Fall 2002 by an authorized administrator of The Keep. For more information, please contact [email protected]. 3/0). - 00( ENG 3702: American Realism & Naturalism: 1865-1918 Dr. Christopher Hanlon Fall, 2002 Office: Coleman 3811 Phone: 581.6302 Office hours: MWF 12-1, 2-3 (and by appoint.) [email protected] Required Texts: Kate Chopin, The Awakening Pauline Hopkins, Contending Forces Frank Norris, McTeague Edith Wharton, The House of Mirth The Norton Anthology of American Literature, vol. 2, 5th edition (eds. Nina Baym et al.) American Realism and Naturalism (coursepack available at Campus Copy Center in MLK StudentUnion) COURSE TRAJECTORIES: The Civil War, which claimed the lives of over half a million Americans, had a seismic effect on America's self-image. Prior to 1860, Americans had been taught to think of themselves as exceptional in many ways, and they had grown used to viewing the North American continent as a great blank canvas it was their manifest destiny to inscribe. But after 1865, with the end of the Civil War and the first assassination of an American president, Americans required a new narrative to tell themselves about themselves.