Realism Era Quotes

He is all my art to me now," said the painter gravely. "I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way—I wonder will you understand me?—his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'—who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad—for he seems to me little more than a lad, though he is really over twenty— his merely visible presence—ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body— how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me! You remember that landscape of mine, for which Agnew offered me such a huge price but which I would not part with? It is one of the best things I have ever done. And why is it so? Because, while I was painting it, Dorian Gray sat beside me. Some subtle influence passed from him to me, and for the first time in my life I saw in the plain woodland the wonder I had always looked for and always missed.

What unites the identitarians who lord over the art world is the belief that art is primarily, even solely, a political enterprise. That was also the premise of Socialist Realism, the theory and style of art promoted in the former Soviet Union. One could fairly contend that identitarian art is something like our era’s version of Socialist Realism.

Ella se miro en los mil pedazos rotos del espejo. Su piel, iluminada por las velas, tenfa el color irreal de las figuras de cera. Miguel comenzo a acariciarla y ella vio transformarse su rostro en el caleidoscopio del espejo y acepto al fin que era la mas bella de todo el universe porque pudo verse con los ojos que la miraba Miguel".

Călătoria pare să fie destul de lungă. Tânărul pare să se fi îmbarcat în trenul lui Auguste Compte, să fi trecut prin stația teologiei, a cărei deviză era: „Da! Crede și nu cerceta” pentru a poposi și a scormoni acum în tărâmurile metafizicii a cărei deviză este: „Nu!”, iar în depărtare se întrezărește realismul, pe al cărui frontispiciu stă scris: „Deschide ochii și întdrăznește!”.

A publisher sent him a galley of a novel by a writer he had barely heard of, one that impressed him deeply and seemed to embody all the literary qualities he had called for in his "fictional Futures" essay. The book was Franzen's The Twenty-Seventh City. Set in St. Louis, it mixed postmodernism and traditional storytelling and showed a familiarity its chosen city that Wallace could only marvel it. it decanted a Pynchonesque conspiracy in media-mediated language; it was about word AND the world, realism for an era when there was no real.

Someone once said that the worst features of an era are accented in the children’s books of that period. Book by book our societal problems were dumped into children’s books. What editors called “realism” is really adult betrayal, violence, sexual indiscretions, alcoholism, and the Big D’s: death, divorce, disease, and drugs. Books with inconsequential plots and characters became thinly disguised “moralisms”—the kind of moralisms that come from a nonjudgmental culture urging readers to suspend judgment, to become understanding and noncondemning, and to realize their sexuality.

Born into a family of modest means, Austen brought humor, intelligence, and a cynical snap to her heroines and her subject matter, which subverted the expectations of the popular and sentimental romances of the era. Her audacious social commentary and sophisticated realism won Austen approval from upper-class opinion makers as well as readers. But it was Austen’s witty and ironic observations of class and gender divisions that were so distinctive—and today, so influential and universal. With a lasting impact on popular culture, Austen’s canon of work still holds a mirror to each new generation of readers.

I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way--I wonder will you understand me?--his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'--who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad--for he seems to me little more than a lad, though he is really over twenty--his merely visible presence--ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body--how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me!

Today we see liberal capitalism and its political system, parliamentarianism, as the only natural and acceptable solutions’. Harvey argues that neoliberalization is best conceived of as a ‘political project to re-establish the conditions for capital accumulation and to restore the power of economic elites’. Harvey demonstrates that, in an era popularly described as ‘post-political’, class war has continued to be fought, but only by one side: the wealthy.

HISTORIA RADICALMENTE CONCENTRADA DE LA ERA POSTINDUSTRIAL Cuando fueron presentados, él hizo un comentario ingenioso porque quería caer bien. Ella soltó una risotada estrepitosa porque quería caer bien. Luego los dos cogieron sus coches y se fueron solos a sus casas, mirando fijamente la carretera, con la misma mueca en la cara. Al hombre que los había presentado no le caía demasiado bien ninguno de los dos, pero fingía que sí porque le preocupaba mucho tener buenas relaciones con todo el mundo. Después de todo, nunca se sabe, ¿verdad que no? ¿Verdad? ¿Verdad?

Querido, a esa anciana le sucedió una cosa sumamente peculiar, le sucedió un poco antes de morir. Le creció barba. Comenzó a salirle en la cara, pelos bastante largos. Eran de color amarillo y fuertes como alambres. Yo la afeitaba, ella estaba paralítica de la cabeza a los pies, su piel era como la de un muerto. Pero aquella barba le crecía tan de prisa que casi no podía mantenerle la cara limpia, y cuando murió, Miss Amy le dijo al barbero del pueblo que viniera. Bueno, señor, el hombre echó un vistazo, volvió a bajar las escaleras y salió por la puerta delantera.

The threats that resurfaced in the past 10 years were not an aberration. Al Qaeda and terrorism or one such threat, but it was actually not the most serious threat that the United States faced. The president can and should speak of foreseeing an era in which these threats don't exist, but you must not believe his own rhetoric. To the contrary, he must gradually ease the country away from the idea that threats to imperial power will ever subside, then l lead it to an understanding that these threats are the price Americans pay for the wealth and power they hold.

Él era más sano que el resto de nosotros, pero cuando usted escuchó con el estetoscopio se podía oír las lágrimas burbujeo dentro de su corazón.

Revolutionary theory also enshrined the living utopian hope that the State would wither away, and that the political sphere would negate itself as such, in the apotheosis of a finally transparent social realm. None of this has come to pass. The political sphere has disappeared, sure enough - but so far from doing so by means of a self-transcendence into the strictly social realm, it has carried that realm into oblivion with it. We are now in the transpolitical sphere; in other words, we have reached the zero point of politics, a stage which also implies the reproduction of politics, its endless simulation. For everything that has not successfully transcended itself can only fall prey to revivals without end. So politics will never finish disappearing - nor will it allow anything else to emerge in its place. A kind of hysteresis of the political reigns. Art has likewise failed to realize the utopian aesthetic of modern times, to transcend itself and become an ideal form of life. (In earlier times, of course, art had no need of self-transcendence, no need to become a totality, for such a totality already existed - in the shape of religion.) Instead of being subsumed in a transcendent ideality, art has been dissolved within a general aestheticization of everyday life, giving way to a pure circulation of images, a transaesthetics of banality. Indeed, art took this route even before capital, for if the decisive political event was the strategic crisis of 1929, whereby capital debouched into the era of mass trans politics, the crucial moment for art was undoubtedly that of Dada and Duchamp, that moment when art, by renouncing its own aesthetic rules of the game, debouched into the transaesthetic era of the banality of the image. Nor has the promised sexual utopia materialized. This was to have consisted in the self-negation of sex as a separate activity and its self-realization as total life. The partisans of sexual liberation continue to dream this dream of desire as a totality fulfilled within each of us, masculine and feminine at once, this dream of sexuality as an assumption of desire beyond the difference between the sexes. In point of fact sexual liberation has succeeded only in helping sexuality achieve autonomy as an undifferentiated circulation of the signs of sex. Although we are certainly in transition towards a transsexual state of affairs, this has nothing to do with a revolution of life through sex - and everything to do with a confusion and promiscuity that open the door to virtual indifference (in all senses of the word) in the sexual realm.

Pedro da Maia amava! Era um amor à Romeu, vindo de repente numa troca de olhares fatal e deslumbradora, uma dessas paixões que assaltam uma existência, a assolam como um furacão, arrancando a vontade, a razão, os respeitos humanos e empurrando-os de roldão aos abismos.

This is the simple reality: Others have had it harder than me. Many, many others. From that darkness comes realism. From that realism comes gratitude. From gratitude comes perspective. A healthy sense of perspective is an antidote to outrage. It is an antidote to self-pity, despair, and weakness.

The intellectual opposition in Central Europe had little immediate impact. This surprised no-one: the new realism of the Seventies-era dissidents encompassed not just a disabused grasp of Socialism’s failure but also a clear-sighted appreciation of the facts of power. There

Also known as the English Renaissance, the Elizabethan era was the golden age of English literature. This time period, which ran approximately from 1558 to 1603, was an unparalleled era of growth and quality of the written word, characterized by the development of the novel, new and lasting innovations in poetry, and new styles of theater

O realismo capitalista tem sido vendido para nós por gerentes (muitos dos quais se veem como pessoas de esquerda) que nos dizem que os tempos agora são outros. A era da classe trabalhadora organizada acabou; o poder sindical está recuando; as empresas agora dão as cartas, e temos que entrar na linha. O trabalho de autovigilância que se exige rotineiramente dos trabalhadores - todas aquelas auto avaliações, revisões de performance, livros de registro - seria, como nos é dito, um preço pequeno a pagar para manter nossos empregos.

Tendo incorporado tudo que lhe era exterior tão completamente, como pode funcionar sem um exterior para colonizar ou do qual se apropriar? Para a maior parte das pessoas que com menos de 20 anos, na Europa e na América do Norte, a falta de alternativas ao capitalismo não é se nem sequer uma questão. Jameson costumava se referir, horrorizado, aos caminhos pelos quais o capitalismo se infiltrava no próprio inconsciente; agora, o fato de que o capitalismo terá colonizado até os sonhos da população é tão amplamente aceito que nem vale a pena comentar.

artists of the modern era have carried origami to unprecedented heights of realism and complexity.