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Journal articles on the topic 'American literary Realism'

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Published: 4 June 2021
Last updated: 14 February 2022

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1

Knoper, R. "American Literary Realism and Nervous "Reflexion"." American Literature 74, no. 4 (December 1, 2002): 715–45. http://dx.doi.org/10.1215/00029831-74-4-715.

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2

Al-Dabbagh, Abdulla. "The anti-romantic reaction in modern(ist) literary criticism." Acta Neophilologica 47, no. 1-2 (December 16, 2014): 55–67. http://dx.doi.org/10.4312/an.47.1-2.55-67.

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While the antagonism of modernism to realism has often been commented upon, its equally vehement rejection of romanticism has not been as widely discussed. Yet, if modernism compromised at times with realism or, at least, with a "naturalistic" version of realism, its total antipathy to the fundamentals of romanticism has been absolute. This was a modernist trend that covered both literature and criticism and a modernist characteristic that extended from German philosophers, French poets to British and American professors of literature. Names as diverse as Paul Valery, Charles Maurras and F.R. Leavis shared a common anti-romantic outlook. Many of the important modernist literary trends like the Anglo-American imagism, French surrealism, German expressionism and Italian futurism have been antagonistic not only to ordinary realism as a relic of the 19th century, but also, and fundamentally, to that century's romanticism. In nihilistically breaking with everything from the past, or at least the immediate past, they were by definition anti-romantics. Even writers like Bernard Shaw or Bertolt Brecht and critics like Raymond Williams or George Lukacs, who would generally be regarded as in the pro-realist camp, have, at times, exhibited, to the extent that they were afflicted with the modernist ethos, strong anti-romantic tendencies.
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3

Forster, Sophia. "Americanist Literary Realism: Howells, Historicism, and American Exceptionalism." MFS Modern Fiction Studies 55, no. 2 (2009): 216–41. http://dx.doi.org/10.1353/mfs.0.1614.

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4

Heuvel, Michael Vanden, and William W. Demastes. "Ransacking Realism: The Plays of American New Realism." Contemporary Literature 30, no. 4 (1989): 583. http://dx.doi.org/10.2307/1208618.

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Azizmohammad, Fatemeh, and Atieh Rafati. "A Comparative Study of Isabel Allende “Ines of My Soul” and Gabriel Garcia Marquez “Love in the Time of Cholera” from the View Point of Features of Magic Realism." English Language and Literature Studies 8, no. 1 (February 8, 2018): 57. http://dx.doi.org/10.5539/ells.v8n1p57.

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This tentative study suggests Isabel Allende “Ines of my soul” and Gabriel Garcia Marquez “Love in the Time of Cholera” from magic realism point of view. Magic Realism is a Latin American literary movement which attempts to depict the reality in human’s mind. This literary movement is originated in the Latin American’s fiction in the middle of twentieth century. Isabel Allende, who is famous because in the most of her novels the magic realism is used, depicts the life of Ines Suarez, without whom the settlement of Chile could not be achieved, in the historical novel “Ines of my soul”.The father of magic realist writers, Gabriel Garcia Marquez in “Love in the time of cholera”, depicts the inside and outside worlds of man in this world, with the using of magic realism, he wants to show these opposites clearly.In this study, firstly, a model of analysis will be assumed by the features of magic realism. Next, Allende’s and Marquez’s novels will be read and analyzed within the magic realism pattern, the magic realism’s features will be traced in the novel. Finally, possible implications of both the model and the findings of the research for literary criticism and teaching novels of this kind will be discussed.
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6

JARRETT, GENE. ""ENTIRELY BLACK VERSE FROM HIM WOULD SUCCEED." Nineteenth-Century Literature 59, no. 4 (March 1, 2005): 494–525. http://dx.doi.org/10.1525/ncl.2005.59.4.494.

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In a letter to a literary editor about promising American writers, William Dean Howells asserted that "a book of entirely black verse" from the African American poet Paul Laurence Dunbar "would succeed." Howells's appreciation of the racial authenticity of Dunbar's dialect poetry belongs to a larger critical and commercial demand for "minstrel realism" in postbellum nineteenth-century American culture. The racialism of blackface minstrelsy created a cultural precondition in which postbellum audiences regarded Black minstrelsy (that is, minstrelsy performed by Blacks) as realistic. This reaction resulted from the commercialization of Black minstrelsy in American culture as an avant-garde cultural performance of racial authenticity. An analogous reaction, I suggest, occurred in 1896, when Dunbar published Majors and Minors and Howells reviewed it in Harper's Weekly. By situating the ideological politics of Howells's criticism of African American literature, I show that Howells ignored the characteristic eschewal of romance and sentiment in Anglo-American literary realism, while also de�ning African American literary realism in these very terms. This apparent inconsistency results from Howells's subscription to racialism, which then helped to perpetuate this de�nition in the dramatic and literary cultures of minstrelsy. Ultimately, the relationship between Howells and Dunbar and the implications for African American writers confronting a White-dominated literary marketplace might be an overwhelmingly familiar story. Less intuitive or obvious, however, are the precise ways in which the racialism of Howells and this marketplace arbitrated the realism of African American literature.
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7

BURG, EVELYN. "WHAT'S IN A NAME? TWENTIETH-CENTURY REALISM IN KENNETH BURKE'S AESTHETICS." Modern Intellectual History 13, no. 3 (April 10, 2015): 713–45. http://dx.doi.org/10.1017/s1479244315000098.

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Admired throughout the twentieth century by literary and sociological theorists but long neglected by philosophers, readers have overlooked Kenneth Burke's theoretical dependence on American philosophic realism, thus missing consistent patterns of his insight. By tracing Burke's own realism back to his year at Columbia University and his time atThe Dialmagazine, we see how Burke's earliest aesthetic theories conformed to aspects of the new realist movement. During the Depression, in his bookPermanence and Change, he followed earlier new realists in arguing for a reconstructed modern teleology of “purpose” and incorporated realism within his pleas for a suppler Communist Party rhetoric than that sanctioned by the party leadership. Burke's apparently inconsistent positions can be understood as a continuous philosophical argument for realism within changing intellectual contexts, explaining his long-lived cross-disciplinary appeal and influence. Burke maintained central realistic tenets: (1) the independent existence and intelligibility of an external world and (2) the substantive meaning of universals, particularly a common human nature. Examining these connections informs our readings of Burke while illuminating one reverberation of the philosophical “new realists” in American intellectual culture. Burke expressed realist principles in his presentation of symbolic action and dramatism inThe Philosophy of Literary FormandA Grammar of Motives, both published in the 1940s. His sophisticated aesthetic–linguistic realism appeared in his arguments against logical empiricists and New Critics, which displayed an arc of transformation in the philosophical and critical culture before World War II from a still-contested mixture to an emphatically nominalistic, antirealist one. It was from this philosophical position that Burke offered his lively, penetrating analyses of and challenges to many of the major movements in twentieth-century philosophy: realism, pragmatism, positivism, and post-structuralism.
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8

Hossain, Md Amir, and S. M. Abu Nayem Sarker. "Sherman Alexie’s Literary Works as Native American Social Realistic Projections." European Scientific Journal, ESJ 12, no. 11 (April 27, 2016): 381. http://dx.doi.org/10.19044/esj.2016.v12n11p381.

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This paper aims to look at the social realistic issues in the context of Sherman Alexie’s literary works. Alexie is one of the postmodern authors in the United States of America. He is very popular among his Native American society as well as community for representing social reality of his age. This paper is divided into several sections; each section shows a benchmark of the 21st century Social Picture of the Native Americans in the light of Alexian Literary Works. It also scrutinizes stories, and novels with a view to highlighting a faithful picture of Native Americans in the light of everyday social issues, including poverty, alcoholism, unhealthiness, racism, and suicidal act. Basically, the main part of my paper deals with social problems of Native Americans in the United States of America as depicted in Alexie’s literary works. It highlights an awareness of the Native Americans so as to keep themselves aloof from drug addiction, poverty, depression, and psychological trauma. Here I have also applied the critical theory of Social Realism with a view to unveiling a subtle literary affinity with Alexie’s works. In this study, I would like to show the significance of this study, and research methodology as well.
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9

Gunning, Sandra, and Kenneth W. Warren. "Black and White Strangers: Race and American Literary Realism." American Literature 66, no. 4 (December 1994): 843. http://dx.doi.org/10.2307/2927715.

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10

Halliburton, David, and Brook Thomas. "American Literary Realism and the Failed Promise of Contract." American Literature 70, no. 1 (March 1998): 196. http://dx.doi.org/10.2307/2902476.

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11

Ammons, Elizabeth. "Black and White Strangers: Race and American Literary Realism." Studies in American Fiction 22, no. 2 (1994): 250–52. http://dx.doi.org/10.1353/saf.1994.0001.

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12

Jay, Gregory S. "White Liberal Identity, Literary Pedagogy, and Classic American Realism." Studies in American Fiction 34, no. 2 (2006): 247–49. http://dx.doi.org/10.1353/saf.2006.0005.

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Bloomfield, Maxwell, and Brook Thomas. "American Literary Realism and the Failed Promise of Contract." American Journal of Legal History 42, no. 1 (January 1998): 98. http://dx.doi.org/10.2307/846027.

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14

Lindley, Lester G., and Brook Thomas. "American Literary Realism and the Failed Promise of Contract." Journal of American History 84, no. 3 (December 1997): 1079. http://dx.doi.org/10.2307/2953156.

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15

Cook, Don L., and Brenda Murphy. "American Realism and the American Drama, 1880-1940." American Literature 60, no. 1 (March 1988): 124. http://dx.doi.org/10.2307/2926412.

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16

Wonham, Henry B. "Realism and the Stock Market." Nineteenth-Century Literature 70, no. 4 (March 1, 2016): 473–95. http://dx.doi.org/10.1525/ncl.2016.70.4.473.

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Henry B. Wonham, “Realism and the Stock Market: The Rise of Silas Lapham” (pp. 473–495) William Dean Howells’s The Rise of Silas Lapham (1885) is usually approached as a representative text in the American realist mode and an unambiguous expression of Howells’s disdain for—in Walter Benn Michaels’s words—“the excesses of capitalism,” especially as embodied in the novel’s rendering of “the greedy and heartless stock market.” Like many commentators of the period, Howells promoted a traditional view of honest industry against the emerging phenomenon of speculative finance, and yet to read the novel as an allegory of opposition to Wall Street speculation is to oversimplify Howells’s complicated attitudes toward high finance and to make a caricature out of the novel’s treatment of complex economic developments. In this essay, I reassess Silas’s investment career and the novel’s surprisingly dense engagement with the dynamics of securities trading as a form of commerce. Critics such as Michaels and Neil Browne have contended that through Silas’s failed investment career, Howells “attempts to disarticulate…an emergent market ethos,” but as I read the novel this same “market ethos” is inseparable from Howells’s conception of realism and of the vocation of the literary realist.
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17

Mason, Jeffrey D., and Brenda Murphy. "American Realism and American Drama, 1880-1940." Theatre Journal 40, no. 4 (December 1988): 571. http://dx.doi.org/10.2307/3207910.

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18

Wardley, Lynn, and Phillip Barrish. "American Literary Realism, Critical Theory, and Intellectual Prestige, 1880-1995." South Central Review 18, no. 1/2 (2001): 127. http://dx.doi.org/10.2307/3190306.

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19

Habegger, Alfred, and Allen F. Stein. "After the Vows Were Spoken: Marriage in American Literary Realism." American Literature 58, no. 3 (October 1986): 451. http://dx.doi.org/10.2307/2925628.

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20

Young, Elizabeth. "American Literary Realism, Critical Theory, and Intellectual Prestige, 1880-1995." Studies in American Fiction 29, no. 2 (2001): 251–53. http://dx.doi.org/10.1353/saf.2001.0015.

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21

Holbo, Christine. "Modernism’s Others: Literary Realisms in an Age of Incomplete Emancipation." American Literary History 33, no. 3 (August 3, 2021): 588–600. http://dx.doi.org/10.1093/alh/ajab056.

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Abstract Modernism’s Others explores how a transformation in traditions of realist representation laid the grounds for the emergence of the multicultural and avant-garde constructions of modern American literature. At the heart of this investigation is the way the “right to privacy” articulated at the end of the nineteenth century reshaped visions of separate spheres, differential rights, and public duties. It examines a moment at which writers placed, at the heart of literature’s ethics and its epistemology, the right to not be known. Tracing the career of this idea from its roots in late nineteenth-century realism through the emerging canons of modernist and multicultural literature, this project explores the interplay between new categories of legal right, new categories of social analysis, and new measures of literary value. “Selling somebody out” slouches into American literature, more or less, on the heels of Bartley Hubbard.
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22

Howard, June, and Amy Kaplan. "The Social Construction of American Realism." American Literature 62, no. 1 (March 1990): 123. http://dx.doi.org/10.2307/2926799.

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23

Pollack, Sarah. "After Bolaño: Rethinking the Politics of Latin American Literature in Translation." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 660–67. http://dx.doi.org/10.1632/pmla.2013.128.3.660.

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On 25 november 2012, when the united states novelist jonathan franzen opened mexico's feria internacional del libro de guadalajara, he spoke of his experience of reading Latin American fiction. Asked about the region's representation through literature in English translation, Franzen stated that, magic realism having now “run its course,” Roberto Bolaño had become the “new face of Latin America.” Franzen's words echo what has almost become a commonplace in the United States over the last five years: naming Bolaño “the Gabriel García Márquez of our time” (Moore), after the publication by Farrar, Straus and Giroux of the translations of Los detectives salvajes (1998; The Savage Detectives [2007]) and his posthumous 2666 (2004; 2666 [2008]). Bolaño is also considered by many writers, critics, and readers in Latin America to be “reigning as the new paradigm” (Volpi, sec. 3). If in the United States market, through the synecdoche of literary commodification, García Márquez's revolutionary Cien años de soledad (1967; One Hundred Years of Solitude [1970]) and, specifically, the magic realism of his fictional Macondo came to stand in for the diverse literary projects of Latin American authors in the 1960s, one must ask if a similar operation is taking place with Bolaño. While the number of translated Latin American literary works continues to be limited and most “go virtually unnoticed” (“Translation Database”), the significance of Bolaño's place at the center of a new canon in translation is magnified and necessitates inquiring into how his critical success in the United States market may be shifting the politics of translation of other texts. As a critic announced in 2011, “a second Latin American literature Boom is happening … [that] probably owes its existence to the explosion of the late-Chilean author Roberto Bolaño, whose popularity re-opened the door to North American publishing houses for Latin American authors” (Rosenthal).
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24

Wonham, Henry B. "Postcritical Howells: American Realism and Liberal Guilt." American Literature 92, no. 2 (June 1, 2020): 229–55. http://dx.doi.org/10.1215/00029831-8267720.

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Abstract This essay explores the concept of liberal guilt in William Dean Howells’s fiction, focusing especially on his 1888 novel Annie Kilburn. Genealogies of liberal guilt rarely mention Howells, and yet no American writer has more painstakingly elaborated the embarrassing predicament of middle-class complicity in social arrangements that entail the widespread suffering of others. I provide a summary of theoretical positions on liberal guilt as a structure of feeling that entails what Richard Rorty calls “doubt about [one’s] own sensitivity to the pain and humiliation of others, doubt that present institutional arrangements are adequate to deal with this pain and humiliation.” Howells felt these doubts profoundly, and yet he understood liberal guilt as a productive emotional and intellectual predicament. Put simply, Howells viewed liberal guilt, like realism itself, as an attitude of resigned acceptance of persistent social injustices but an attitude capable of animating, rather than dissipating, liberal commitments and public agendas.
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Miers, Paul. "American Literary Realism, Critical Theory, and Intellectual Prestige, 1880-1995 (review)." MLN 116, no. 5 (2001): 1095–97. http://dx.doi.org/10.1353/mln.2001.0078.

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Rivkin, Julie. "American Literary Realism, Critical Theory, and Intellectual Prestige, 1880-1995 (review)." Henry James Review 23, no. 1 (2002): 85–87. http://dx.doi.org/10.1353/hjr.2002.0004.

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Glazener, N. "Utopia and Cosmopolis: Globalization in the Era of American Literary Realism." American Literature 72, no. 3 (September 1, 2000): 635–36. http://dx.doi.org/10.1215/00029831-72-3-635.

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28

Morgan, William M. "American Literary Realism, Critical Theory, and Intellectual Prestige, 1880-1995 (review)." MFS Modern Fiction Studies 48, no. 3 (2002): 759–61. http://dx.doi.org/10.1353/mfs.2002.0063.

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29

Fusco, Katherine. "The Oxford Handbook of American Literary Realism ed. by Keith Newlin." Studies in American Naturalism 15, no. 2 (2020): 239–41. http://dx.doi.org/10.1353/san.2020.0020.

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30

Nabers, Deak. "The Novel and the Police Power." Nineteenth-Century Literature 64, no. 1 (June 1, 2009): 76–107. http://dx.doi.org/10.1525/ncl.2009.64.1.76.

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The realist novel has long been understood in terms of its representation of the diffusion of political agency into social and economic practices. This essay claims that realism, at least as it emerged in the work of late-nineteenth-century American writers such as William Dean Howells, does not record this process of diffusion so much as anatomize it, and that novels like A Hazard of New Fortunes (1890) participated in a widespread and multivalent effort, in American law and literature alike, to specify the proper boundaries of the state's authority in relation other increasingly visible forms of social and economic coercion.
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31

Mahmudah, Mahmudah. "Magical Realism in Aḥmad Sa‘dāwiy’s Frankenstein fī Bagdād." Jurnal Humaniora 28, no. 2 (November 12, 2016): 142. http://dx.doi.org/10.22146/jh.v28i2.16397.

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This article discusses the use of magic realism as a literary device in the Iraqi novel Frankenstein fī Bagdād written by Aḥmad Sa‘dāwiy. The novel is set in the period of inter-ethnic conflict which arose after the American invasion of 2003. Hādī, the main character of the novel, ‘creates a monster’ namely Syismah from the corpses of the many bomb victims in Baghdad. The writer combines setting of the novel with belief of the Iraq people, horoscope practice, and magic, in mystical and illogical atmosphere. Given its magic realist qualities, the analysis draws on the approach of Wendy B. Faris. The article identifies five key elements from magic realism present in the novel, and discusses the relationship between these elements in order to better understand the social, ideological, and political context of the novel. The analysis shows that there are relationships between two worlds: death and life, human and ghost, physical and metaphysical, natural and supernatural.
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Krevel, Mojca. "Into the Rabbit Hole: The Realism of Simulation." ELOPE: English Language Overseas Perspectives and Enquiries 10, no. 1 (May 9, 2013): 39–50. http://dx.doi.org/10.4312/elope.10.1.39-50.

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In the first half of the 1980s, at the height of the postmodernist theoretical debate, the actual literary production already showed signs of fatigue from the postmodernist dictum. Especially the works of American authors from the 1980s onwards show an increasing tendency to abandon the dead-end loops of postmodernist autoreferentiality, and to focus on various aspects of tangible reality instead. The paper argues that such practice should not be considered or theorised in terms of falling back on the great tradition of realism but rather as a necessary literary response to the mechanisms governing the changing of the epochs. My intention is to show that the allegedly realistic modes of contemporary American writing correspond to the epochal social, cultural and political changes accompanied by the rise of digital media. As such, these works effectively reflect, comment on and contribute to the contemporary reality that can no longer be adequately described or theorised about in terms of Cartesian metaphysics.
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Tanner, Tony, and Amy Kaplan. "The Social Construction of American Realism." Modern Language Review 86, no. 3 (July 1991): 678. http://dx.doi.org/10.2307/3731031.

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34

Pyzik, Teresa, and William W. Demastes. "Beyond Naturalism: A New Realism in American Theatre." American Literature 61, no. 3 (October 1989): 502. http://dx.doi.org/10.2307/2926860.

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35

JOHANNINGSMEIER. "Realism, Naturalism, and American Public Libraries, 1880–1914." American Literary Realism 48, no. 1 (2015): 1. http://dx.doi.org/10.5406/amerlitereal.48.1.0001.

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Chittiphalangsri, Phrae. "Trauma, Repressed Memory, and the Question of ‘Authenticity’: Reading see Under: Love and Beloved Through Bhabha." MANUSYA 8, no. 4 (2005): 43–56. http://dx.doi.org/10.1163/26659077-00804003.

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Trauma and the repressed memory of Jewish Holocaust survivors and African- American slaves are issues that require the notion of ‘authenticity’ in fictional representation. The Zionist discourse demands that Holocaust fictions be written by true witnesses of the genocide and with respectful seriousness, for the Holocaust is a sacred, incomparable phenomenon in Jewish history. In the same manner, the Black American narrative needs authenticity to articulate the Black’s own voice, which has been predominately constructed by White Americans since the early history of America. David Grossman’s See Under: Love (1999) nevertheless deals with the problem of ‘authenticity’ in describing the Holocaust, despite the fact that the writer never experienced the Holocaust directly and even wrote it in a postmodern, humorous, and fantastic manner. Likewise, Toni Morrison’s Beloved (1987) introduces a new way to write an authentic African- American narrative, i.e. magical realism. This essay explores the problem of authenticity by applying Homi K. Bhabha’s cultural theory to analyse it in four parts. The first part investigates the causes and the culturally specific backgrounds of the Zionist and the American Africanist’s views towards ‘authenticity’ in literary representation. The second part clarifies the argument by situating ‘authenticity’ in Bhabha’s framework of the pedagogical. The third part furthers the argument by detailing the performative use of the fantastic and magical realism to render the effect of liminality. The last part concludes the notion of ‘authenticity’ by pointing out the supplementary aspect of Bhabha’s theory when applied to the two novels.
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Forster, Sophia. "Elizabeth Stuart Phelps, Nathaniel Hawthorne, and the Emergence of American Literary Realism." Studies in the Novel 48, no. 1 (2016): 43–64. http://dx.doi.org/10.1353/sdn.2016.0014.

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38

Giles, Todd. "White Liberal Identity, Literary Pedagogy, and Classic American Realism (review)." American Literary Realism 40, no. 2 (2008): 186–88. http://dx.doi.org/10.1353/alr.2008.0009.

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39

Nettels, Elsa. ": Black and White Strangers: Race and American Literary Realism. . Kenneth W. Warren." Nineteenth-Century Literature 49, no. 1 (June 1994): 125–27. http://dx.doi.org/10.1525/ncl.1994.49.1.99p0069p.

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40

POSNOCK, ROSS. "“LIKE BUT UNALIKE”: ERIC SUNDQUIST AND LITERARY HISTORICISM." Modern Intellectual History 4, no. 3 (October 4, 2007): 629–42. http://dx.doi.org/10.1017/s147924430700145x.

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Eric Sundquist, Strangers in the Land: Blacks, Jews, Post-Holocaust America (Cambridge, MA: Harvard University Press, 2005)As measured by that deadly but inescapable phrase “quantity and quality,” Eric Sundquist is perhaps the most productive American literature scholar of his generation. Since 1979, when he was still in his twenties, he has authored half a dozen books while editing another half-dozen. All have made an impact and many of these have been highly influential—his first book, Home as Found: Authority and Genealogy in Nineteenth-Century American Literature, was among the very first to read canonical American works through the lens of contemporary literary and psychoanalytic theory; his edited collection American Realism: New Essays (1982) proved pivotal in reviving the critical energy in a major but long-dormant literary and historical period. To Wake the Nations: Race in the Making of American Literature (1993) was by implicit design and to powerful effect nothing less than a rewriting of the foundational work of American literary history and criticism—F. O. Matthiessen's monumental American Renaissance: Art and Expression in the Age of Emerson and Whitman (1941). I will spend some time describing To Wake the Nations not only because of the book's exceptional importance but because its eloquent introduction provides the closest thing to a critical credo that Sundquist has written. His description there of his critical ideals—particularly of “justice,” boundary-crossing and “verification”—will help orient our approach to Strangers in the Land, which remains loyal to these ideals as it extends his interest in race and ethnicity, black and white, to the tormented subject of blacks and Jews, united by a “bond of alienation.” (52).
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Jackson, Gregory S. "“What Would Jesus Do?”: Practical Christianity, Social Gospel Realism, and the Homiletic Novel." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 641–61. http://dx.doi.org/10.1632/003081206x142805.

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This essay makes the historical case for an unrecognized genre of fiction–the homiletic novel. Drawing on traditional Protestant interpretive practices, Social Gospel authors fused forms of spiritual identification rooted in Protestant homiletic exercises (catechisms, interactive allegories, conversion dramas) with practical Christianity's emerging ethic of social intervention, attaching older modes of readerly identification to new sites of literary culture. Homiletic novels democratized pastoral guidance and legitimized fiction as a repository of ethical experience. Through interactive fictions offering virtual models of spiritual agency in the material world, evangelicals prepared for real forays into urban poverty to intervene in human suffering. The homiletic novel became the most popular literary form of the Progressive Era and continues to flourish in the present–day American political, cultural, and religious environment. In tracing its rise and pervasive influence, this study revises conventional histories of literary genre by suggesting an alternative origin for American literary realism. (GSJ)
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Cynthia J. Davis. "Affecting Fictions: Mind, Body, and Emotion in American Literary Realism (review)." Legacy 26, no. 1 (2009): 175–76. http://dx.doi.org/10.1353/leg.0.0055.

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43

Kolmerten, Carol. "Affecting Fictions: Mind, Body, and Emotion in American Literary Realism (review)." American Literary Realism 42, no. 2 (2010): 174–76. http://dx.doi.org/10.1353/alr.0.0044.

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Wonham, Henry B., and David E. Shi. "Facing Facts: Realism in American Thought and Culture, 1850-1920." American Literature 67, no. 3 (September 1995): 594. http://dx.doi.org/10.2307/2927951.

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Davis, R. M., and Barbara Howard Meldrum. "Under the Sun: Myth and Realism in Western American Literature." World Literature Today 60, no. 4 (1986): 638. http://dx.doi.org/10.2307/40142853.

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Beaver, Harold, Donald Pizer, and John J. Conder. "Realism and Naturalism in Nineteenth-Century American Literature." Modern Language Review 83, no. 2 (April 1988): 423. http://dx.doi.org/10.2307/3731706.

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Bellringer, Alan W., and Warner Berthoff. "The Ferment of Realism: American Literature 1884-1919." Modern Language Review 80, no. 4 (October 1985): 918. http://dx.doi.org/10.2307/3728986.

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48

Arguedas, María Eugenia. "El realismo mágico en "Juan Girador"." Revista de Filología y Lingüística de la Universidad de Costa Rica 14, no. 2 (August 30, 2015): 7. http://dx.doi.org/10.15517/rfl.v14i2.18848.

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Abstract:
El realismo mágico es un elemento vital en el "Juan girador" una de las leyendas en "El espejo de Lida Sal". Este análisis comprende el barroco y el mito y la leyenda, todos los cuales aparecen en diferentes niveles textuales, dando como resultado una creación literaria altamente inusual. La leyenda se analiza como una narración corta que se utiliza para presentar una realidad mítica. Se da especial importancia al uso de Asturias de un elemento puramente latinoamericano, el indio, como una contribución significativa a nuestra literatura.Magic realism constitutes a vital element in "Juan Girador" one of the legends in El espejo de Lida Sal. This analysis includes the baroque and the myth and the legend, all of which appear at different textual levels, resulting in an highly unusual literary creation. The legend is analysed as a short narrative that is used to present a mythical reality. Special importance is given to Asturias use of a purely Latin American element, the Indian, as a significant contribution to our literature.
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Thraikill, Jane F., and Michael Davitt Bell. "The Problem of American Realism: Studies in the Cultural History of a Literary Idea." MLN 109, no. 5 (December 1994): 1012. http://dx.doi.org/10.2307/2904728.

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Hobson, Fred, and Michael Davitt Bell. "The Problem of American Realism: Studies in the Cultural History of a Literary Idea." American Literature 67, no. 2 (June 1995): 398. http://dx.doi.org/10.2307/2927806.

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