Roteiro coletivo: a ideia do cinema neorrealista

Fascism had brought hunger and destruction to Italy. Italian film makers gathered to reconstruct cinema pursuing another ideal. Neorealist films had as their main aspect the fact of being social, not only in the theme but also in their way of production. The movement, according to André Bazin, followed formal and aesthetic criteria, features that had been accomplished by film makers since the creation of Cinecittà by Mussolini. However, even during this regime, some artists already resisted the fascist view, a fact that can be observed in films like Ossessione, by Luchino Visconti; I bambini ci guardano, by Vittorio De Sica and Quattro passi tra le nuvole, by Alessandro Blasetti. Inspired by the studies in Centro Sperimentale di Cinematografia, by Umberto Barbaro’s translation of Pudovkin, by foreign literature, besides the collaboration of the French Poetic Realism film directors, a creative dynamic was produced centered in the collective writing of scripts which played an important role in the resistance to fascism in Italian cinema. This study, in particular, analyzes Luchino Visconti’s Ossessione.

Writing in Times of Crisis

This chapter focuses on a memoir and a film that narrate the experiences of Kurdish writer Behrouz Boochani in an Australian refugee camp in Papua New Guinea in order to show how genres organically develop out of human engagement with social and historical circumstances. The author discusses the novel and the film as examples of how writers' interactions with the world impose rhetorical orientations and nurture genre formation. This chapter illustrates that, as opposed to the dominant view of rhetoric as a means of persuasion, the essence of rhetoric and genre formation is engagement with what the author calls “phenomenological autoethnography.” The author argues that studying writing in times of crisis makes the phenomenological and autoethnographic foundations of writing visible because in crises rhetoric is unapologetically used to resist injustice and build resistance through “poetic realism,” which consists of fluid genre practices that can help capture the complexities of human experience.

Fiktive Tatsachen, ihre Relativität und deren Angabe

The present article is concerned with the term realism. It develops an argument to distinguish between two different types: epistemically reflexive and non-reflexive realism. Wherever a fiction prompts its readers to distinguish between speaker-utterances from utterances not tied to a fictive character realism of the epistemically non-reflexive variety is at hand. Such a fiction posits a reality not to be reduced to the conceptual scheme of its fictive inhabitants. Realism of the epistemically reflexive sort indicates the relativity of the very conceptual fabric by which utterances not tied to a fictive entity give access to a fictive reality. In such a game of make believe there is, ontologically speaking, no room for the conjecture of a reality providing its fictive inhabitants as well as its non-fictive interpreters with concepts to name things as they are in themselves. How this comes to pass is shown by making use of Roland Barthes’ famous term ›reality effect‹ and subsequently illustrated by using the example of Franz Innerhofer’s novel Schöne Tage (Beautiful Days, 1975). The main argument is framed by a discussion of 19th century literary realism, on the one hand, and some concluding remarks on the potential cognitive benefits of epistemically reflexive realism, on the other hand. Whereas epistemically non-reflexive realism is a part of the family resemblance of a large portion of 19th century narrative fiction, so-called poetic realism is, according to the present article, to be considered as epistemically reflexive realism. Finally, it is argued that whenever a fiction, so to speak, loosens the connection between a fictive reality and certain concepts by suggesting the conceptual relativity of its own prescriptions to imagine certain things as fictionally true readers might be all the more willing to transfer those very same concepts into their own world.

“WALDWINKEL” BY TH. STORM (EXPERIENCE OF PHILOLOGICAL ANALYSIS)

The article presents an experience of philological analysis of one of the novellas by German writer of XIX century Theodor Storm. The aim of the article is to show the motivational level of the writer's skill, who presented the history of destruction of love between people of different age and social status within the poetics of “Biedermeier” and "poetic realism". The author reproduces in the story not only the usual for him situation of “threatened idyll”, but also the situation of "lost paradise", destroyed by the intrigues of the local "devil". It reveals the author's technique of using the symbols of the nest and its devastation, the bird of prey and its victims. The plot of the novel is composed of time dilated significant fragments of action and is built as a system of points of view on the narrated by the actors - the burghermaster, peasants in the pub, Wieb Lewerenz and, of course, the author narrator. An important role for the story is played by the plot of the painting with poems on it, found by the characters on the wall of the “Waldwinkel”. Essential role is played by the evaluation of the novel by Th. Storm from the side of writing contemporaries. In any case, the author of the novel appears as a subtle connoisseur of human psychology.

Realism and Poetry

American poetic realism still remains a largely unknown and untold story. Although it came to American poetry relatively late by comparison with fiction, the typical American realist poem has a distinctive nexus combining theme, diction, and style. Chief among the first American realists are Robert Frost, Edgar Lee Masters, Carl Sandburg, and Sara Teasdale. Specifically, realist poetry expresses a pragmatic philosophy rejecting the individual’s location in the world as something knowable, fixed, and stable. Realist poets reject as amoral and quietist the commitment to beauty for the sake of beauty and tend toward virtues associated with masculinity. Their poetry rejects generic nouns in favor of particulars and depicts recognizable contemporary landscapes and, above all, contemporary American cities such as Chicago, Boston, or New York. It emphasizes the interior space of the self as revealed by the new science of psychology. It also focuses on the living idiom of talk and speech rather than a “literary” language.