It was an art movement that social realists started, to represent the working class. The word social refers to society and the word realism refers to accepting a situation and dealing with it accordingly. Social realism seeks to identify current issues that happen to ordinary people in society. Social realism films are stripped from the glitz and glamour to illustrate the harsh reality of the struggles that people face in their day to day lives. Social realism is constantly evolving just like society (Lay, 2002).
Also, this paper will analyze the formal structure of the painting through color, lines, space and mass, and composition. And furthermore, recognize the symbolism documented in the painting for iconographic analysis. In doing so, this will highlight and comment on important characteristics of Omnibus Life in London as it yields new information regarding the emerging shift in social inequality. Through formal analysis, the visual characteristics of the work present an interesting insight into the painting. The first emotion that I experienced with this work was claustrophobia and crowdedness.
Through the formal division of the book into two parts, Mailer seeks to establish an inquiry about the status of genres traditionally polarized as fiction and history, literature and journalism, novel and history. In this sense, if the first part of the work appears to be a novel about the March, Mailer says, because of the fictional techniques employed, on the other hand it also approaches the biography, a kind of autobiographical document that reflects "the author’s memory scrupulous to facts"; according to him, that approach would be history, true story.
The fictional world is constantly evolving its philosophies relating to the understanding of texts with the new writing style, Postmodernism. Specifically, the works of Postmodernist writers are increasingly subject to interpretation, as there is a literary shift from linearity and order to randomness and fragmentation. However, Postmodernists believe in and promote different interpretations of texts, which in their opinion is the basis for creativity and ultimately the development of innovative ideas in society. One Postmodernist writer, Kurt Dinan chooses to write in a nonlinear, flexible fashion with a component of Mystery, allowing the reader to create different predictions on what will occur throughout the novel Don’t Get Caught. Moreover, the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature because the Mystery genre allows the reader to make predictions based on clues planted by the author.
This story is known as one of two Dickens ' historical novels where the author reveals a fairly sympathetic attitude toward the defeat of the French monarchy but at the same time, Dickens criticizes the resulted terror. Throughout the novel, the author draws multiple social correspondences with the life in London that occurred within the same period. In general, the narrator of the story speaks from the third, omniscient point of view and that, in fact, directly influences the reader 's interpretation of observed performance. To begin with, it is vital to define the omniscient point of view. The omniscient point of view implies quite distanced perspective of the narration where the narrator remains beyond the general performance, tending to shift from one character to another, similarly from one place to another.
The two poems, “London’s Summer Morning” by Mary Robinson and “London” by William Blake relate to the social world at the height of the industrial revolution in Europe. Blake focuses on all that is wrong about “London” with an emphasis on the plight of the less fortunate. On the other hand, Robison seeks to create a contrast between the affluent who enjoy being in London and the less fortunate who constantly endure the experience. In Blake’s “London”, every character or set of characters is undergoing great suffering or desolution. However, a close reading of the poem alongside an assessment of contemporary history will show that the London Blake is referring to is the same London that Robison is referring to with the only difference being perspective.
Such writers, often depicts the themes of socio-economic conflict by contrasting the living conditions of the poor with those of the upper classes in urban as well as rural society. This realistic movement can too be seen in a philosophical way. In Russia one of the major contributors to realist literature was Fyodor Dostoyevsky whose novel Crime and Punishment illustrates core principles of realism. Crime and Punishment replaced the classy style of Romanticism with fictional realism. Dostoyevsky depicts a world full of segregation and division between social classes.
A novelist like Charles Dickens (1812-70) and Elizabeth Gaskell (1810-65) revealed the sufferings of the underprivileged but they particularly focused on the working class. The social novel is also known as the social problem novel. It is a work of fiction in which prevailing social problems such as gender, race or class prejudices are discussed. Specific examples of social problems are poverty, the condition in factories and mines, the conditions of child labour, violence against women, rising criminality and poor sanitation in cities. The other terms used to describe this type of novels are propaganda novel, industrial novel, working class novel and problem novel.
R K Narayan achieved his worldwide popularity with his famous novel The financial expert (1952) and Man eater of Malgudi (1961). Kamala Markenday and Khushwant Singh are those prominent and popular names in English history who are known for their clear cut secularism in novels and inborn passion for poetry as well. Now a day a number of writers have given their contribution to Modern English Literature. Their powerful literary expressions as fictional works have got prestigious place today. Though these works are fictional at point it connects readers’ day to day life and experiences and they find themselves in the fictional characters.
According to Myers(1989) New Historicism is a literary theory based on the idea that literature should be studied and interpreted within the context of both the history of the author and the history of the critic. Based on the literary criticism of Stephen Greenblatt and influenced by the philosophy of Michel Foucault, New Historicism acknowledges not only that a work of literature is influenced by its author 's times and circumstances, but that the critic 's response to that work is also influenced by his environment, beliefs, and prejudices. A New Historicist looks at literature in a wider historical context, examining both how the writer 's times affected the work and how the work reflects the writer 's times, in turn recognizing that current cultural contexts color that critic 's conclusions. New Historicism, then, underscores the impermanence of literary criticism. Current literary criticism is affected by and reveals the beliefs of our times in the same way that literature reflects and is reflected by its own historical contexts.