Neo Realism Research Articles

The China-US trade dispute in Neo-Realism perspective and settlement of dispute by the WTO

This study examines the trade dispute between the United States and China from a neo-realist perspective. The relationship between the United States (US) and China became a public concern during the leadership of US President Donald Trump. How could it not be, the two countries were involved in a trade war which ultimately had an impact on the global trade sector in 2019. The method used in this research is qualitative, qualitative provides an in-depth explanation of a phenomenon by collecting related data, highlighting the importance of accuracy and detail in the information provided. studied. The aim of this research is to analyze the trade conflict between China and the US from a neo-realism perspective. This aim can help understand how power can influence. The research results show that the trade war started because Trump did not agree with his country's trade. then linked to neo realism where each country will respond based on its own aspirations for the sake of national interests. Until finally this trade dispute was resolved by the World Trade Organization (WTO). The WTO says the United States has violated global trade rules by imposing tariffs worth billions of dollars in its trade war with China. The WTO decision immediately angered Washington.

UNDERSTANDING THE PERSPECTIVES OF CINEMA NOVO: A CRITICAL DISCOURSE STUDY IN AGE OF RENAISSANCE IN LATIN AMERICAN CINEMA

Cinema is the intrinsic creative expression which has often been reflected with many diversified perspectives. The auteur's perspective to the ‘masala movie, which always fascinates with its inclusive subject matter. It's been always interesting to ponder on how the narratives of cinema are swayed parallel with the conventional one. The filmmakers with their independent perspectives often been seen to focus or take the most untouched grey areas which generally deal with human’s life and endeavors (caste, class, creed, color, ethnicity, engendered social milieu, taboos, socio economic inequalities, grassroots problem, basic amenities, or simply different from the existence of human values with hegemonical counter-narratives been taken into account and reflected in cinema. The very idea of this present study is to understand the cinema culture of Latin American cinema (how it is different from New Wave Movement and Italian Neo Realism). The study focuses on the movement of cinema novo and selects a few notable movies to understand the ideation of narratives. The discourse analysis entails the reasons for the fall down of the movement and problem in order to decipher the meaning. The sole purpose of the study is to know treatment and approach of genre of cinema novo; to understand the metaphors and discourses; and to know the downfall of this movement in spite of always trying to mirror the unseen world to the rest of the world. This study suggests that this cinematic movement is a thorough reflection of the voiceless, poverty stricken and working-class condition of the people which should be taken up with a newer perspective and dimension.

Influencia del contexto en la estética de la narrativa de posguerra

El objetivo de este artículo es revisar el contexto de la posguerra española y establecer su relación con la estética literaria de las diferentes promociones de narradores. Tras un esbozo del panorama socioeconómico, se analizan las características de los primeros escritores de posguerra y las peculiaridades de la novela existencial, partiendo de las primeras obras de Cela y Laforet. Seguidamente, nos centramos en la generación del medio siglo y sus dos corrientes, la novela social y el neorrealismo. Por último, se reflejan los cambios estéticos de la década de 1960 a partir de Tiempo de silencio.

Development of Indo-Afghan Relations in Political Economic and Social Aspects Post 9/11 Scenario; Implication for Pakistan

Indo-Afghan relations are developing with accelerated pace post 9/11. Indian increasing involvement in Afghanistan is a matter of grave concern for Pakistan. Indian investment in Afghanistan aims; to minimize Pakistan’s influence in Afghanistan, to create a soft image of India in Afghanistan and to access Central Asian Republic’s markets through Afghanistan. India is so far being successful in all of its objectives. India is investing in political, economic and social sectors in Afghanistan and successful in creating a soft image of Indians in Afghans heart. Keeping in view this scenario, study of this situation was a good case. India, Pakistan and Afghanistan all three have many observations regarding each other and none of them accept it. Due to the physical presence of United States in Afghanistan for more than a decade, peace in the area is still a dream come true. Therefore, it was an interesting study to understand the dynamics of Indo-Afghan relations and its implications for Pakistan. Neo realism theory is applied in this study.

La storia morantiana sullo schermo

This interpretation of the cinematographic version of the novel La Storia by Luigi Comencini is far from a re-signification of the literary text. We will prove that this director, who has a pedagogical intent but opposes the political use of the cinema (and pays attention to avoid the typical pitiability of the Neo Realism) faithfully respects the Morant’s aims. He makes a film on the innocence threatened by death and violence during the war (at the same manner, innocence is threatened by education during the peace). Useppe is our own conscience in front of the history. Comencini deliberately simplifies the contents of Morante’s novel, which are transformed in exemplary scenes: the first of them on the equivocations of vitality, the second on the destroyed innocence, the third on Jewishness, the fourth on incoherence, etc. Comencini explicates the relation between the micro-history and the macro-history, which intersect one to each other although they don’t go ahead in parallel, using old documentary which alternate with the history of the main characters. The genesis of every historical event is an human act (or an human failed act).

Reflections on Historiography in Montserrat Roig's L'hora violeta

Reflections on Historiography in Montserrat Roig's L'hora violeta1 Akiko Tsuchiya Washington University in St. Louis Between the publication of her first book in 1970 and her premature death in 1991, Montserrat Roig, one of the most prominent Catalan writers of the post-Franco era, consistently explored the construction of the female subject in relation to Catalan history and to the question of national identity. Roig made her literary debut with the publication of a book of short stories, Molta roba i poc sabó ...i tan neta que h vokn (1971), for which she won the Victor Cátala Prize in 1970. This work was followed by a trilogy of novels on the lives of women of the Catalan bourgeoisie, from the turn of the century to the transitional years immediately following Franco's death: these novels include Ramona, adéu (1972) [Ramona, adiós], El temps de les cireres (1977) [Tiempo de cerezas], and L'hora viokta (1980) [La hora viokta]. The sequence of these novels shows an evolution away from a narrative mode marked by vestiges of neo realism, to one that questions accepted conceptions of subjectivity, referentiality, and historiography in an overtly self-reflexive way. Roig's preoccupation with the relationship between history, subjectivity, and representation culminates in L'opéra quotidiana (1982) [La ópera cotidiana], perhaps Roig's most accomplished work of fiction in the complexity of its explorations of the political issues of gender, class, and (Catalan) national identity within the frame of a highly self-conscious literary discourse.2 In addition to sevetal other works of fiction, Roig has also distinguished herself through her journalistic writings, including her book EL· catahns als camps nazis (1977) [Nochey niebh: ks cataUnes en los campos nazis], which is to become a key autobiographical intertext in L'hora violeta. In Roig's work, notions of sexual or national identity are intimately linked to the problems of historiography, or, more specifically, to the ways in which history is put into discourse.3 While the recovery of history —particularly the unofficial histories of the oppressed, the excluded, and the marginalized—is central to Roig's intellectual project, she simultaneously explores the nature of a historiographie process that enabled one master narrative to gain legitimacy over all others within a concrete sociopolitical context of Francoist Spain. Roig thus shifts our attention from "history," traditionally understood to be a chain of verifiable facts Arizona Journal of 'Hispanic Cultural Studies Volume 2, 1998 164 Arizona Journal of Hispanic Cultural Studies or events "out there" in the real world, to the theoretical problems surrounding the narrative (re) construction of these events. A consideration of history as, above all, a discursive event in Roig's work allows us a vision of the ways in which notions of historiography shape historical discourse and, by extension, what we call the historical referent. To use David Herzberger's words in a different context, Roig's novels "have both history and the writing of history as referent" (9). Many of Roig's novels dramatize the process by which private narratives and fictions of socially marginalized or otherwise decentet ed individuals may be used to cteate an oppositional notion of collective history .4 As is the case in most totalitarian societies, Francoist historiography had as its goals the elimination of all counterdiscourses and the construction of the myth of a unified and homogeneous Spain whose essential "truth" was to be preserved throughout time.5 Such a historiographie enterprise inevitably led to the production of a hegemonic narrative from which all difference and relationality were erased, be they of gender, sexuality , nationality or class. Roig challenges not merely the false historical narratives generated by Francoist historiography, but more importantly the very conception of historiography that makes possible the production and reification of such narratives in the first place. L'hora violeta, published shortly after Franco's death, is exemplary in posing such a challenge. On one level, it chronicles the transition between dictatorship and democracy through the intrahistoria of three women, which focuses on their experiences in the private sphere of the home and the family. As Christina Dupláa has observed, Roig constructs a female "genealogy" as a way...