Review of Literature:- Social Realism, also known as Socio ..., Study notes of Literature

Download Review of Literature:- Social Realism, also known as Socio ... and more Study notes Literature in PDF only on Docsity! Review of Literature:- Social Realism, also known as Socio-Realism, is an artistic movement expressed in the visual and other realist arts, which depicts social and racial injustice, economic hardship, through unvarnished pictures of life's struggles; often depicting working activities as heroic. The movement is a style of painting in which the scenes depicted typically convey a message of social or political protest edged with satire. This is not to be confused with Socialist Realism the official USSR art form that was institutionalized by Joseph Stalin in 1934 and later allied Communist parties worldwide. Social realism is not a new concept or newly used in English literature. In 19th century it was used in French literature by Flaubert and Balzac. In England it was George Eliot, who introduced this term social realism. She used realism in her novels. Ibsen, G.B. Shaw, Harold Pinter and John Galsworthy used realism in their plays. In Indian literature in English, writers like R.K. Narayan used realism in their novels. But R.K. Narayan does not portray the photographic reality he rather represents reality which is artistic. In this he differs from the French realists and naturalists who were interested in the stark and naked realism of life. Narayan depicts a kind of realism which is something more than reportage, he grabs the Indian mind fully with all its superstitious comprehension of life, its gullibility, it’s bewildering contradictions and it’s sarcastic comic irony. How far Narayan is realistic in the manner of his narration can be seen from the harmony which his narration acquires in the blending of theme and style. Narayan is a realistic writer, but his realism is different from the surface realism of the French Naturalism. He does not see the ugly side of reality. Extreme crudities, naked sex descriptions and cruelties are ignored by him. He portrays the seamy side of reality. The Dark Room-(1938):- This novel ‘The Dark Room’ is a tragedy of domestic life and disharmony, attempts a new technique, dexterously real and exquisite with all the paraphernalia of trivial and familiar confrontations, a common feature of the Indian soil. Like his other novels, Narayan sets down a fragment of life as he actually sees it. Bullying husbands like Ramani and patient wives like Savitri are the stuff with which he weaves the web of his story.1 .The Financial Expert-(1952) Margayya, the hero of this novel is a moneylender and he does his business under the Bunyan tree. He is typically representative of money landing class who amass money by hook or crook. If Margya is selfish, the persons like Arul doss & Balu come on Margya’s way, they shatter all his prospects & then Margya like any frustrated Indian consults the astrologer.2 Waiting for Mahatma –(1954) This novel is more suggestive in it’s portrayal of Indian reality. The religious aspects of Indian reality has been mirrored in the doings of Granny, who being a pious Hindu, refuses to touch the canvas chair, made out of the skin of dead animals. Even now there are many crones in India who like Granny are piously orthodox & traditionally modern.3 The Guide-(1956) In this novel the vicissitudes of Ragu’s fortunes provide an excellent opportunity to the novelist to satirize the nouveau riche of post war independent India. The story of sinner like Raju, an impresario becoming a saint, is a story that has the magnanimity and grandeur of the Indian scene and is a tragedy wholly of it. The novels of Narayan have a unique Indian rural setting.4 The Bachelor of Arts-(1937) In this novel Narayan portrays the whole set up of administration with a touch of sarcastic humor. The novel presents a first hand account of Indian life from within.5 Lazza – (1993) Tasliama Nasrin, a universal best seller novelist, short in to literary limelight after her controversial book Lazza. In theme novel truthfully portrays the horrendous and horrifying experience of a minority family, the Duttas- Sudhamay, Kiron moyee & their two children. The novel is a religious satire on the bigotries and extremism of religion. But the satire is not mild & indirect but the satire here is very harsh, poignant & denigrating.6 No Mans Land (1974) – Harold Pinter’s this full length play echoes concretely some of the main under currents of his entire dramatic works. In no mans land we have spooned much in the fashion of Davis, struggling to get a foothold and finally getting defeated.7 Betrayal- (1978)-The action of this play contains nine sparse scenes revealing a complex web of betrayals performed by different characters in different situations with different places in the play. The complexity of the theme is coupled with the complexity of the plot as the play begins in 1977 and following a reverse order, ends in 1968.8 Importance of Being Earnest-(1895) The play is the masterpiece of Oscar Wilde. It is bathed in sun, exuding youth and laughter, wit and wonders an irresistible amalgam of eternal freshness and bubbling joy on this play Wilde lavished the sum total of his genius. Here a wholly farcical plot offers gay opportunity for the flinging of jest after jest before the audience. Wilde has found the perfect medium for the display of his wit and that wit continually shatters the conventions of the society he depicts.9 Strife-(1909) In this play John Galsworthy has depicted the realistic conflict between the Trenartha Tin Plate Works and the Directors of the Company. The play reflects the bitter clash cause heavy loss of the company and a great deal of suffering to the working community.10 sense of social consciousness, the Social Realists pledged to “fight the beautiful art”, any style which appealed to the eye or emotions. They focused on the ugly realities of contemporary life and sympathized with working-class people, particularly the poor. They recorded what they saw in a dispassionate manner. The public was outraged by Social Realism, in part, because they didn't know how to look at it or what to do with it. Social Realism in cinema is a style that finds its roots in the Italian neorealist movement known for naturalistic, substance-over-style works of filmmakers such as Roberto Rossellini, Vittorio De Sica and, to some extent, Federico Fellini, but is considered Britain's main form of cinematic style. Realism, a style of painting that depicts the actuality of what the eyes can see, was a very popular art form in France around the mid-to-late 19th century. It came about with the introduction of photography - a new visual source that created a desire for people to produce things that look “objectively real”. Realism was heavily against romanticism, a genre dominating French literature and artwork in the mid-19th century. Realism in literature is the theory or practice of fidelity to nature or to real life and to accurate representation without idealization of everyday life. The 18th-century works of Daniel Defoe, Henry Fielding, and Tobias Smollett are among the earliest examples of realism in English literature. It was consciously adopted as an aesthetic program in France in the mid-19th century, when interest arose in recording previously ignored aspects of contemporary life and society. The realist emphasis on detachment and objectivity, along with lucid but restrained social criticism, became integral to the novel in the late 19th century. The word has also been used critically to denote excessive minuteness of detail or preoccupation with trivial, sordid, or squalid subjects. The interest in realism was sparked by a significant book, Mimesis by Erich Auerbach, subtitled as Represented Reality in 1946. He puts forward the assumption that the essence of realism lies in its completeness and truthfulness. Realism denotes above all the serious portrayal of everyday occurrences among the lower social strata at a specific moment in the history of their time. Realism is quite differing from the Classicism and Romanticism. Here the presentation of life is what life is while the same situation in the hands of classicists can take place in the style of classicism and it can not adore the truth and reality alone. Mulk Raj Anand is the greater novelist, the typical classist of his time. This kind of a literary judgment is not merely a matter of taste-it involves all the central problems of the aesthetics of the novel as an art form. With the finding for the realism or realistic aspects of Anand, it is also very important to look into the contemporary social, political, religion, traditional, cultural and economical issues in India. As it is a representation of the real social life of Indian, it is counted as a social document painted with rustic brush and dipped into the color of social and religious layers. Realist novelists eschewed many of the novel’s established traditions, most notably in the form of plot structure. Typically, novels follow a definite arc of events, with an identifiable climax and resolution. They are self-contained and satisfying in their symmetry. Successful careers have been built on the scaffolding of a single story arc. The school of Realism observed that life did not follow such patterns, so for them, neither should the novel. Instead of grand happenings, tragedies, and epic turns of events, the realist novel plodded steadily over a track not greatly disturbed by external circumstances. Nothing truly earth shattering happens in James’s The Portrait of a Lady, despite it hundreds of pages. The same can be said of Dostoyevsky – He composed lengthy and weighty fiction where most, if not all of the action happened in the minds of the characters. Narrative style also changed with realistic fiction. Instead of an omniscient narrator calmly describing the persons and events, readers often confront unreliable narrators who do not have all the information. Often, the narrator’s perceptions are colored by their own prejudices and beliefs. A popular device for many realistic novelists was the frame narrative, or the story inside a story. This device compounds the unreliable narrator by placing the reader at a further remove from the events of the novel. The purpose of all of these innovations, as with the whole of Realism, was to more accurately simulate the nature of reality – unknowable, uncertain, and ever-shifting reality. In America, Samuel Clemens was the early pioneer of Realism. Writing under the pen name Mark Twain, he was noteworthy for his faithful reproduction of vernacular speech patterns and vocabulary. He more or less gave birth to “local color,” a sub-genre of the novel that still enjoys wide appeal today. Replicating natural speech required not just great listening skills, but a sense of how the written version sounds to the imagination. In addition to the use of vernacular, twain was an innovator in focusing on middle and lower class characters. Previously, novels had concentrated on the experiences of the elite. Presumably, the upper crust enjoyed seeing their lives of privilege reflected back to them in art, while salt of the earth readers had something to aspire to and fantasize about. It was a revolutionary concept to incorporate unremarkable characters into an art form as serious as the novel. In a development that continues to bewilder, The Adventures of Huckleberry Finn is one of the most frequently banned books in the public school system. One imagines that certain language is indeed offensive; however twain was doing nothing other than representing honest speech. The Adventures of Huckleberry Finn was in all reality an astonishing leap forward in racial awareness – Jim, the freed slave, is as fully realized a character as Tom or Huck. Realism came under attack largely because it represented such a bold departure from what readers had come to expect from the novel. The fascination with things falling apart was unpleasant to many, and critics sometimes accused the practitioners of Realism of focusing only on the negative aspects of life. Additionally, the intense focus on the minutiae of character was seen as unwillingness to actually tell a story. Readers complained that very little happened in realistic fiction, that they were all talk and little payoff. Henry James in particular was criticized for his verbosity, especially in his later years. By the end of the nineteenth century, Realism in the pure sense had given way to another form called Naturalism. With Naturalism, authors looked to heredity and history to define character. Ironically, many of the qualities that people found distasteful in realism – the obsession with character, the superficially mundane plots – were all intensified in Naturalism. Realism and Metafiction: Two distinct groups of novelists responded to the cultural impact, and especially the technological horror, of World War II. Norman Mailer’s The Naked and the Dead (1948) and Irwin Shaw’s The Young Lions (1948) were realistic war novels, though Mailer’s book was also a novel of ideas, exploring fascist thinking and an obsession with power as elements of the military mind. James Jones, amassing a staggering quantity of closely observed detail, documented the war’s human cost in an ambitious trilogy (From Here to Eternity [1951], The Thin Red Line [1962], and Whistle [1978]) that centered on loners who resisted adapting to military discipline. Younger novelists, profoundly shaken by the bombing of Hiroshima and the real threat of human annihilation, found the conventions of realism inadequate for treating the war’s nightmarish implications. In Catch- 22 (1961), Joseph Heller satirized the military mentality with surreal black comedy but also injected a sense of Kafkaesque horror. A sequel, Closing Time (1994), was an elegy for the World War II generation. Kurt Vonnegut, Jr., in Slaughterhouse Five (1969), described the Allied firebombing of the German city of Dresden with a mixture of dark fantasy and numb, loopy humor. Later this method was applied brilliantly to the portrayal of the Vietnam War—a conflict that seemed in itself surreal—by Tim O’Brien in Going After Cacciato (1978) and the short-story collection The Things They Carried (1990) . Comparative theories; A brief scenario: Comparative theories are very important in modern context. It is necessary to find out the correct identity of every part of any country. Therefore it is an integral part of human life. Comparative literature is a continuous process of intellectual adjustment. This study proposes to deal with the following plays of john Galsworthy. 1. The Silver Box, 1906. 2. Strife. 1909. 3. Justice, 1990. 4. Loyalties, 1922. Life and works of P.K. Atre: P.K. Atre, an eminent playwright in Marathi literature, was born on August 13, 1898 at Kodhit near Saswad, Pune. He completed his graduation in Arts in 1919 and B.T. in 1926. During the years 1919 to 1921, he worked as a teacher at Bharda New High-School, Mumbai. He also worked as a Principal at Camp Education Society High-School, Pune in between 1922 to 1940. In 1934, He established Agarkar High-School at Pune. He was the fellow of Indian Women’s University at Mumbai. He was the examiner of Mumbai University and S.N.D.T. University, Mumbai. He was the member of Text Book Board and S.T.C. Examination Control Board. During his life time, he visited different countries like Russia in 1955 and again in 1858, West Germany in 1962 and England in 1965. Atre was a versatile personality. He touched nearly all the fields in the society like polities, Journalism, Education, Socialism and Literature. Atre, very successfully, tackled all the genres of literature. He also participated in Sanyukta Maharashtra Chalwal. He died on June 13, 1969. For his yeoman’s service in all the fields, Atre was honored with several prestigious awards and recognitions. There are nearly twenty eight such major and minor awards on his name. He edited some daily news papers, magazines and weeklies. He wrote prefaces to several poems, collection of short stories etc. He also wrote scripts for twenty three plays and movies. He wrote three novels and several poems. Atre was chiefly known as a playwright. He wrote nearly twenty five plays, some of them are comedies and some are serious plays. He also wrote autobiographies. This study proposes to deal with the following plays of P.K. Atre. 1. Gharabaher, (Out of House) 1934 2. Udyacha Sansar (Tomorrow’s Family) 1936. 3. Lagnachi Bedi (Shackle of Marriage) 1936. 4. Jag kay Mhanel, (What the World will Say) 1946.