Word: realisms
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Even more troubling, though is the realism inherent in post-Modernist literature; in this, I mean the tedious reproduction of lived life naturalism, as opposed to the rich tradition of European Realism, which exaggerated human experience, celebrated a wide historical consciousness, and reconciled real conditions with desire. No reader, to whom what is actual is anathema, would quarrel with Osip Mandelstam's axiom that "The only thing that is real is the work itself;" when he concludes, though, that the artist "desires no other paradise than existence," Mandelstam reveals the divergence between readers and artists. Existence, which to the writer...
...expect, and one character even has to come right out and any it: "Too many babies are bitten every day!" ("Sometimes I'm afraid I'm going to start laughing at that line," said Kit Williams, who plays the baby and at that point is waiting with amazing realism. "It reminds me of a Unicef ad or something.") The tragic parts of the play tend of be melodramatic and over-sincere, and the come lines are often trite (there are basically two kinds of jokes rat-human analogies and snide references to New York suburban stereotypes...
...itself again. Who can quarrel with Halberstam here? The danger may be that, given the notorious wide swings of the American pendulum, the next phase will be corrosive self-doubt and excessive withdrawal from the world. With luck, though, the loss of hubris may lead to a new realism without fatigue or despair...
Mexico to which Strand devoted an entire portfolio in 1967, incorporates his most dramatic studies and most in-depth portraiture, Unequaled to any photo as the exhibition is "The Nets, Janitzio, Lake Patzcuaro" (Mexico `1933). Framing the glorious power of Tiepolo together with the social realism of Ben Shahs, Strand pictures a women on her knees spreading out fish to dry while the nets of the little fishing village, which are draped between wooden poles, from superimposed textures of romantic lace. From the upper lefthand corner, the clouds roll in, lighted by some heavenly power, fit for the play...
Karnow considers the Cultural Revolution a culmination of the long conflict between Mao's romantic dream of permanent revolution and the Chinese people's natural drift toward realism. Repeatedly, whenever Mao sensed that the bureaucrats seemed to be taking over, he forced a return to basic revolutionary principles, often at chaotic cost to the country. He skirmished with intellectuals, with army professionals who thought that modern weapons were more important than revolutionary élan, with economic planners who thought the Great Leap Forward to instant industrialization was dangerous nonsense (which...