现实主义与自然主义的美学滑坡

Anita J. Duneer
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引用次数: 0

摘要

这一章考虑了现实主义和自然主义美学的滑移,超越了传统上定义的流派,地形和时期。它考察了现实主义和自然主义对“自然”秩序的波动接受和批评,将19世纪帝国主义话语与文学自然主义典型的达尔文主题进行了对话。本章通过分析杰克·伦敦和齐特卡拉在文明与野蛮表现之间的滑移中基于“自然”假设的包容与排斥,提出更好地理解现实主义模式与自然主义模式之间的关系-Ša;弗兰克·诺里斯、亨利·詹姆斯和西奥多·德莱塞的克制、强迫和分裂自我中的兽性;以及安吉丽娜·维尔德·格里姆格、内拉·拉森和安·皮特里的进化话语和环境决定论。最后,电视剧《绝命毒师》(Breaking Bad)和《火线》(The Wire)表明,我们仍在努力应对种族、阶级和性别的交叉力量,这些力量界定了美国梦的特权领域和局限性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Aesthetic Slippage in Realism and Naturalism
This chapter considers slippages in realist and naturalist aesthetics that transcend traditionally defined genres, terrains, and time periods. It examines realism’s and naturalism’s fluctuating acceptances and critiques of the “natural” order, bringing nineteenth-century imperialist discourse into dialogue with Darwinian themes typical of literary naturalism. The chapter proposes better understanding of the relation between realistic and naturalistic modes by examining inclusion and exclusion based on assumptions about the “natural” in analysis of slippages between representations of civilization and savagery in Jack London and Zitkala-Ša; restraint, compulsion, and the beast within the divided self in Frank Norris, Henry James, and Theodore Dreiser; and evolutionary discourse and environmental determinism in Angelina Weld Grimké, Nella Larsen, and Ann Petry. Finally, TV’s Breaking Bad and The Wire suggest that we are still grappling with the intersectional forces of race, class, and gender that define territories of privilege and limitations of the American dream.
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