Mixture Of Realism Research Articles

Magic Realism as a Postcolonial Discourse in Marquez’s One Hundred Years of Solitude and Rushdie’s Midnight’s Children

This study analyzes and explores the concept of magic realism as a mixture of realism and fantasy made in order to serve a particular artistic fusion. The mixture is based on the fact that whatever happens, however extraordinary they may seem, they are ordinary and everyday occurrences. Anything which takes place within the boundaries of magical realism is meant to be accepted as a typical life among the characters in the stories. No matter how far-fetched or extraordinary the subjects may be, all the characters within the works give an allusion of acting naturally and casually. Instead of looking at the world as ordinary and mundane, the magical realists like Marquez and Rushdie bring in a spark of imagination to light the ordinary experiences such a way that they excite the mind of the readers. Magical realism is a fusion of dream and reality, an amalgamation of realism and fantasy, and a form of expression that is based with several fantastical elements, which are nevertheless regarded as normal by both the readers and the characters. This artistic device re-imagines the world and its reality, and presents a different viewpoint on life and the way in which people think and act. Marquez and Rushdie present the worlds where fiction blends with historical reality and in which reality incorporates magic, superstition, myth, religion and history. They use magical elements to create, rewrite and reconstruct broader commentaries on the politics, history and societies in Latin America and India. Marquez and Rushdie employ and establish an alternative reality which juxtaposes fantastical elements with equally mind boggling realities; the truth becomes fantasy and the fantasy becomes truth to disclose historical and political panorama of Latin America and India respectively.

The Moche Lima Beans Recording System, Revisited

One matter that has raised sufficient uncertainties among scholars in the study of the Old Moche culture is a system that comprises patterned Lima beans. The marked beans, plus various associated effigies, appear painted by and large with a mixture of realism and symbolism on the surface of ceramic bottles and jugs, with many of them showing an unparalleled artistry in the great area of the South American subcontinent. A range of accounts has been offered as to what the real meaning of these items is: starting from a recrea- tional and/or a gambling game, to a divination scheme, to amulets, to an appli- cation for determining the length and order of funerary rites, to a device close to an accountancy and data storage medium, ending up with an 'ideographic', or even a 'pre-alphabetic' system. The investigation brings together structural, iconographic and cultural as- pects, and indicates that we might be dealing with an original form of mnemo- technology, contrived to solve the problems of medium and long-distance com- munication among the once thriving Moche principalities. Likewise, by review- ing the literature, by searching for new material, and exploring the structure and combinatory properties of the marked Lima beans, as well as by placing emphasis on joint scholarly efforts, may enhance the studies.

International Relations Studies in the USSR/Russia: Is there a Russian National School of IR Studies?

This article discusses the development of Soviet/Russian international relations (IR) studies starting from the end of Second World War until the present. It reveals that Soviet IR studies were based on a mixture of realism and Marxism–Leninism, with realism predominating. It was a very important feature of the Soviet understanding of IR, and it continues to have a strong influence even now on both the study and practice of IR. The author then analyses barriers to the formation of a national school in IR in the Soviet Union. The contemporary state of Russian IR studies is also discussed. The article demonstrates how political changes in the country led to a transformation of Russian IR studies (with the emergence of new IR institutions, new journals, and new universities in and outside Moscow). Influences on Russian IR studies from different national schools (American, British, and French) are also touched upon.

One Language, Two Tongues: George Fitzmaurice’s Use of Hiberno-English Dialect

ONE LANGUAGE, TWO TONGUES: GEORGE FITZMAURICE’S USE OF HIBERNO-ENGLISH DIALECT DONALD MCNAMARA To grow a second tongue, as harsh a humiliation as twice to be born. Decades later that child’s grandchild’s speech stumbles over lost syllables of an old order. John Montague, “A Grafted Tongue” george fitzmaurice is generally regarded as a talented but neglected playwright whose personal peculiarities kept him from achieving acclaim or even recognition. Many critics lament the fact that Fitzmaurice’s reserved nature, perhaps with roots in his personal history, prevented him from making much effort to promote his work or himself, and to have his plays produced. The tenth of twelve children of a Church of Ireland clergyman and a Catholic peasant woman, Fitzmaurice was suspended between two cultures right from birth. His was a Protestant family in an overwhelmingly Catholic area near Listowel in County Kerry. The tension only increased for the family after the father’s death in 1891, when George was fourteen. Although the family could be considered landed gentry, the widow and children had to leave Bedford House, the ancestral home outside Listowel , for lack of money. Having little formal education and no aptitude for farming, George Fitzmaurice found clerical work first in Cork and then in the civil service in Dublin, where he lived from 1901 until his death in 1963. He never married (nor did any of his siblings), and he had few acquaintances and almost no friends. GEORGE FITZMAURICE’S USE OF HIBERNO-ENGLISH DIALECT 72 Critical consideration of Fitzmaurice’s work often concentrates on the effect of his personality on efforts to see his plays through to production or focuses on the fact that audiences, as well as producers, were not always sure what Fitzmaurice was trying to accomplish. Some of his plays were realistic, such as The Country Dressmaker (1907), the first of his plays to be produced by the Abbey Theatre. Others were fantastic, such as The Dandy Dolls. Still others were a mixture of realism, fantasy, and folklore, such as The Ointment Blue. W.B. Yeats thought The Country Dressmaker was as inflammatory as J.M. Synge’s The Playboy of the Western World, because of Fitzmaurice’s comic depiction of rural Irish characters, and Yeats was quite surprised when Dressmaker drew applause rather than rioting (Hogan 1967:166). One element that tends to be overlooked in the critical evaluation of Fitzmaurice’s oeuvre is his use of Hiberno-English dialect reflecting the speech he would have heard in his native Kerry. Cóilín Owens and Joan Radner, editors of Irish Drama 1900–1980, which includes Fitzmaurice’s one-act tragicomedy The Magic Glasses, argue that Fitzmaurice’s use of idiom was attested as accurate by natives of the Kerry area and that his representation of dialect was more than the “plethora of colloquialisms” that contemporary viewers perceived it to be (Owens and Radner 1990:210–11). Here I argue that the Hiberno-English dialect employed by Fitzmaurice does more than lend verisimilitude to his work: his use of idiom adds thematic depth to his plays and goes a great way toward delivering the impact of his drama. The speech of his characters is an essential part of his writing , enforcing his portrayal of the Gaelic Irish: people trying, mostly unsuccessfully, to negotiate the world in which they find themselves, one over which they have little control, if any, whether they contend with the forces of nature or man. Fitzmaurice’s use of Hiberno-English is as integral to his drama as characterization, setting, or plot. The North Kerry area in which Fitzmaurice grew up had retained the Irish language long after most of the island had been Anglicized, but during his youth it was changing from Irish-speaking to English-speaking.1 The transition forced its inhabitants to deal with a modernized and fastpaced culture while equipped with the cultural modes and language of an older, slower one. In addition, the colonialist attitude, which viewed Irish Gaelic as a barbarous language reflecting social and economic backwardness , combined with a feeling of powerlessness and led to an “unconscious GEORGE FITZMAURICE’S USE OF HIBERNO-ENGLISH DIALECT 73 1 Fitzmaurice...

Spenser, Drayton, and the question of Britain

Late Tudor and early Stuart English authors were haunted by the question of Britain and attempts to unify the four nations of the British Isles. Many were aware that contemporary developments would require England and Englishness to change, and viewed the future with a mixture of realism and trepidation Edmund Spencer's. The Faerie queene acknowledges the transformation of Englishness to Birtishness, culminating in the figure of Mutabilitie. Who forces Jove and those he supports and endorses—including Cynthia (Elizabeth)—to admit that thier authority relies on conquest rather that right. Spenser is pointing out that territorial expansion results in the loss of a pristine identity and moral authority, as well as gains Michale Drayton's Poly-Olbion, a work inspired by many of the key passages of Spenser's poem, shares such fears Although often read as a patriotic celebration of England and Englishness, Drayton's poem highlights the potential dangers manifest and hidden in the landscape of the British Isles, and the problems of a series of competing identities and races laying claim to the same territory. While Spenser argued that drastic action might stave off the forces of chaos, Drayton seemed to regard chaos as as inevitability.

Domesticity and Self-Possession in The Morgesons and Jane Eyre

Sandra Zagarell has described Elizabeth Stoddard's The Morgesons as a feminist bildungsroman that borrows gothic conventions, particularly from the Bronte sisters' Jane Eyre and Wuthering Heights, to articulate female discontent with the confining sphere of domesticity in the nineteenth century.(1) However, recent critical re-examinations of nineteenth-century domestic novels have recognized a connection between the representation of the private, feminine sphere and the possession and strong articulation of an individual self in representations of women's lives. Both Nancy Armstrong's Desire and Domestic Fiction: A Political History of the Novel and Gillian Brown's Domestic Individualism: Imagining Self in Nineteenth-Century America powerfully articulate this relationship, though in different ways.(2) Their contributions to our current understanding of domestic fiction complicate the impulse of critics such as Zagarell and Stacy Alaimo to see the domestic sphere in the nineteenth century and particularly in The Morgesons as unquestionably a place of social, economic, and psychic imprisonment for women. These recent re-examinations call for a new look at how the domestic functions in Stoddard's bizarre novel, one that has mysteriously resisted much substantive critical commentary beyond Zagarell's and Alaimo's. Armstrong's theory of the birth of the bourgeois subject through the construction of the desiring domestic heroine in the late eighteenth-century novel invites new interpretations of the relation between the female self and the domestic sphere she inhabits. Her reading of Jane Eyre, in particular, highlights crucial connections between the novel's romantic elements, its ambivalence about the domestic sphere, and its heroine's search for self-possession. These same connections are highlighted in The Morgesons. Brown's focus on the importance of the domestic as a source of American individualism and as a stabilizing force in opposition to the U.S. market economy also creates new interpretive possibilities for domestic scenes, not only in domestic fiction but also in so-called canonical novels. Her focus is particularly helpful in approaching a novel as difficult to assign a generic label as The Morgesons. Stoddard's first novel tells the story of a New England family who acquire and then abruptly lose great wealth through the shipping ventures of the father, Locke Morgeson, Jr. Narrated by the eldest daughter, Cassy, the novel loosely follows the pattern of the traditional bildungsroman. Cassy focuses on her desire for self-possession through childhood; school; her disastrous first romance with her married cousin, Charles Morgeson; the death of her mother and re-marriage of her father to Charles's widow, Alice; and finally ends with her decision to marry and return to domestic life in her parent's former home. Throughout the novel, she describes a strange sense of disconnection between the family members, particularly between Cassy, her reclusive younger sister, Veronica, their mother, Mary, and their father, Locke Jr. The disconnection evident in the Morgesons' domestic sphere in the beginning of the novel appears to sets a tone of discord and confusion that dominates the rest of the novel. As we will see, that discord appears to have a basis, at least in part, in the instability introduced into the domestic by the father's economic ventures. Despite my feeling that economics play an integral part in setting the bizarre tone of Stoddard's novel, I am also interested, like Zagerell, in the echoes of Jane Eyre's romanticism that pervade The Morgesons. Stoddard herself insisted that she was by no means a realist author, but rather a romantic one.(3) Stoddard's imitation of Jane Eyre's mixture of realism and gothic romance results in a much more complicated representation of the social and economic functions of the domestic in The Morgesons than its critics have to date articulated.(4) Despite huge differences in the socio-economic and geographic positions of their heroines--Jane is (or appears to be) an orphan left destitute by her Yorkshire parents, and Cassy comes from a newly wealthy New England family--Jane Eyre and The Morgesons present their heroines' struggles to attain and give voice to their own desires in a fairly similar manner. …

The History of Development: From Western Origins to Global Faith

* Preface to the Second Edition * Introduction * 1. Definitions of Development * Conventional Thinking * A Methodological Word of Caution * Elements of a Definition * A Scandalous Definition? * 'Development' as an element in the Religion of Modernity * 2. Metamorphoses of a Western Myth * What the Metaphor Implies * Landmarks in the Western View of History * Conclusion * 3. The Making of a World System * Colonization * The League of Nations and the Mandate System * Conclusion * 4. The Invention of Development * President Truman's Point Four * A New World View: 'Underdevelopment' * US Hegemony * A New Paradigm * The ?Development? Age * 5. The International Doctrine and Institutions Take Root * The Bandung Conference * The New International ?Development? Agencies * 6. Modernisation poised between History and Prophecy * A Philosophy of History: Rostow's Stages of Economic Growth * Anti-communism or Marxism without Marx? * Dissident Voices: Francois Perroux and Dudley Seers * 7. The Periphery and the Understanding of History * Neo-Marxism in the USA * The Latin American dependentistas * A New Paradigm, but Age-old Presuppositions * 8. Self-Reliance: The Communal Past as a Model for the Future * Ujamaa and the Tanzanian Experience * The Principles of Self-Reliance * Possible Futures for Autonomy * 9. The Triumph of Third Worldism * The New International Economic Order * An Original Voice: The 1975 Dag Hammarskjold Foundation * Report on Another Development * In the Wake of the NIEO: Further Proposals * The Basic Needs Approach * Conclusion * 10. The Environment or the New Nature of ?Development? * The Return to Classical Economics, plus a few humanitarian extras * 'Sustainable Development' or Growth Everlasting? * The Earth Summit * Reflections on Deliberate Ambiguity * 11. A Mixture of Realism and Fine Sentiments * The South Commission * UNDP and 'Human Development' * 12. The Post-Modern Illusion: Globalisation as a Simulacrum of ?Development? * On the Usefulness of Talking at Cross-purposes * Organisations on Reprieve or in Mutation? * Globalisation or a Return to Normal? * Virtual Reality as a Refuge for Continuing Belief * Beyond Development * 13. Some Thoughts on What is to be Done * 14. The Struggle Against Poverty: Slogan and Alibi * What's the Problem? * What really is a poor person? * An Alibi? * Conclusion * Bibliography * Index

Visualization blackboard: visualizing the visible human

Visualization of the human body and its inner structure has challenged artists and scientists for centuries. For 500 years, since Leonardo da Vinci, drawings have been the main resource for learning anatomy because they allow the mixture of realism and abstraction suitable for didactic purposes. With the discovery of X-rays 100 years ago, it became possible to look into the living body. Only since the 1970s have computer tomography (CT) and magnetic resonance imaging (MRI) made it possible to acquire image data in three dimensions. Based on these techniques, 3D computer graphics generated the first models of the living body. These represent a tremendous advance for diagnosis and surgical planning, but the resolution is still poor when viewed from an anatomist's point of view. The National Library of Medicine's Visible Human Project provided much more realistic data-the Visible Human data set, created at the University of Colorado School of Medicine. This project produced transverse cross sectional photographic images of a male cadaver with a resolution of 0.33 mm and slice distance of 1 mm.

After the United Arab Republic

The quickly resolved crisis of the so-called United Arab Republic has a few lessons for the student of Near Eastern affairs. The first is that the regimes erected on the ruins of British and French presence are not so stable as their improvised leaders pretend; the second lesson is that their policy of conquest or, rather, non-colonialism, carries in it the seeds of destruction; and the third lesson points to the great force of nationalism which in this, as in other parts of the world, is shaping the destinies of old and new peoples.Judging by its aspects in the Near Eastern countries, nationalism is a complex phenomenon. In the eyes of the Egyptians, for example, the awakening is baptized by the name of “revolution,” although for the Western eye the country seems to dream the eternal dreams of the slow-rolling Nile. The catchwords on everybody's lips are “industrialization,” “unity of all Arabs,” and “Israel must be destroyed,” —a mixture of realism and illusions.