Literature: Local Color and Realism What are examples of local color in literature?
Local color or regional literature is fiction and poetry that focuses on the characters, dialect, customs, and other features of a specific region.Between the Civil War and the end of the 19th century this mode of writing became dominant in American literature.According to the Oxford Companion to American Literature, local-color literature has a dual influence of romanticism and realism, since the author frequently looks away from ordinary life to distant lands, strange customs, or exotic scenes, but retains through minute detail a sense of fidelity and accuracy of description.Its weaknesses may include nostalgia.Hamlin Garland argued for the novel of local color in the sketch or short story.In Writing Out of Place, Judith Fetterley and Marjorie Pryse argue that the distinguishing characteristic that separates local color writers from regional writers is the exploitation of and condescension toward their subjects."Economic or political power can itself be seen to be definitive of a realist aesthetic, in that those in power (say, white urban males) have been more often judged'realists', while those removed."Many critics, including Amy Kaplan and Richard Brodhead, argue that the literary movement contributed to the reunification of the country after the Civil War.Regionalism's representation of vernacular cultures as enclaves of tradition insulated from larger cultural contact is palpably a fiction...The public function was not just to mourn lost cultures but to tell a story of contemporary cultures.Kaplan says the local color's urban middle-class readership...It was solidified as an imagined community by consuming images of rural 'others' as both a nostalgic point of origin and a measure of cosmopolitan development, with its "separate spaces" serving to erase the "more explosive social conflicts of class, race, and gender made contiguous by urban life" (25Local color fiction contributed to the narrative of unified nationhood that late nineteenth-century America sought to construct.The material culture that regionalism offers has been called attention to by Bill Brown and Brad Evans.The Country of the Pointed Firs in A Sense of Things draws attention to object culture...The set of questions raised by the effort to turn matter into meaning is the problematic of the significant thing.Jewett's novel is a novel...There are scenes where people arepaired with things in ways that prompt several questions.What ideas are in things?The narrator is able to gain access to them.What kind of staging is involved?Jewett's fiction dramatizes the work involved in determining the value of material objects not in culture but for culture, for an apprehension of culture.8.Evans disagrees with the "nostalgia" hypothesis for regionalism and contends that "what one sees in local-color fiction of the 1890s is not at all the assertion of integrated stasis and purity that one might imagine for."The status of local color shifted to the aesthetic in the late 1890s as anthropologists began to collect objects that would fuel primitivism.The "plantation tradition" fiction of Thomas Nelson Page is a variation of this genre.The 19th and 20th-century regionalism is always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.Critical regionalism is a term derived from architecture and is associated with Neil Campbell's book The Rhizomatic West.The concept of critical regionalism imagines political life in the present--it thinks about issues of place, bodies in place and knowledges derived not only via textuality and discourse, but from place as well.Critical regionalism is a way of understanding the new configurations of meaning, time and space occasioned by global restructuring and new technologies....Critical regionalism is a method of critical or global study that links both the comparative big picture analyses and the deep local.(156).Setting are often remote and inaccessible because of the emphasis on nature and the limitations it imposes.The setting is an important part of the story.Local color stories tend to focus on the character of the district or region rather than the individual: characters may become quaint or stereotypical.The characters are marked by their adherence to the old ways, dialect, and personality traits of the region.The main characters in women's local color fiction are unmarried women or young girls.The narrator is usually an educated observer who learns something from the characters while preserving a sometimes sympathetic, sometimes ironic distance from them.The narrator helps the rural folk of the tale and the urban audience understand each other.There are plots.It has been said that "nothing happens" in local color stories by women authors.Stories may focus on the community and its rituals.Many local color stories share an antipathy to change and a nostalgia for the golden age.Women's local color fiction celebrates community and acceptance in the face of adversity.Thematic tension or conflict between urban ways and old-fashioned rural values is often symbolized by the intrusion of an outsider who seeks something from the community.Themotif of the travel accident is a characteristic of local color and requires a distressing or surprising event to occur to a character in transit.It must shift the grounds of sociability in the text so that the traveling character is forced to rely on locals more and more.A travel accident can challenge a traveler's identity.A travel accident changes the relationship between the implied reader and the traveling character.The reader is encouraged to question the character's virtue if an accident occurs.In this way, the device becomes a historical allegory of the different social groups and their competing claims over American space.Mary E. Wilkins, Sarah Orne Jewett, and Alice Cary are all practitioners from New England.Edward Eggleston E.W. was from the Midwest Great Plains West.Howe Hamlin Garland John Hay James.dialect is used to establish credibility and authenticity of regional characters.Small, seemingly insignificant details are central to an understanding of the region.The narrator hears a tale of the region in a frame story.Some of the "plantation tradition" is demythologized in the works of prominent African-American writers.See "The Goophered Grapevine" by Chesnutt.
Local color or regional literature is fiction and poetry that focuses on the characters, dialect, customs, and other features of a specific region.Between the Civil War and the end of the 19th century this mode of writing became dominant in American literature.According to the Oxford Companion to American Literature, local-color literature has a dual influence of romanticism and realism, since the author frequently looks away from ordinary life to distant lands, strange customs, or exotic scenes, but retains through minute detail a sense of fidelity and accuracy of description.Its weaknesses may include nostalgia.Hamlin Garland argued for the novel of local color in the sketch or short story.In Writing Out of Place, Judith Fetterley and Marjorie Pryse argue that the distinguishing characteristic that separates local color writers from regional writers is the exploitation of and condescension toward their subjects."Economic or political power can itself be seen to be definitive of a realist aesthetic, in that those in power (say, white urban males) have been more often judged'realists', while those removed."Many critics, including Amy Kaplan and Richard Brodhead, argue that the literary movement contributed to the reunification of the country after the Civil War.Regionalism's representation of vernacular cultures as enclaves of tradition insulated from larger cultural contact is palpably a fiction...The public function was not just to mourn lost cultures but to tell a story of contemporary cultures.Kaplan says the local color's urban middle-class readership...It was solidified as an imagined community by consuming images of rural 'others' as both a nostalgic point of origin and a measure of cosmopolitan development, with its "separate spaces" serving to erase the "more explosive social conflicts of class, race, and gender made contiguous by urban life" (25Local color fiction contributed to the narrative of unified nationhood that late nineteenth-century America sought to construct.The material culture that regionalism offers has been called attention to by Bill Brown and Brad Evans.The Country of the Pointed Firs in A Sense of Things draws attention to object culture...The set of questions raised by the effort to turn matter into meaning is the problematic of the significant thing.Jewett's novel is a novel...There are scenes where people arepaired with things in ways that prompt several questions.What ideas are in things?The narrator is able to gain access to them.What kind of staging is involved?Jewett's fiction dramatizes the work involved in determining the value of material objects not in culture but for culture, for an apprehension of culture.8.Evans disagrees with the "nostalgia" hypothesis for regionalism and contends that "what one sees in local-color fiction of the 1890s is not at all the assertion of integrated stasis and purity that one might imagine for."The status of local color shifted to the aesthetic in the late 1890s as anthropologists began to collect objects that would fuel primitivism.The "plantation tradition" fiction of Thomas Nelson Page is a variation of this genre.The 19th and 20th-century regionalism is always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.Critical regionalism is a term derived from architecture and is associated with Neil Campbell's book The Rhizomatic West.The concept of critical regionalism imagines political life in the present--it thinks about issues of place, bodies in place and knowledges derived not only via textuality and discourse, but from place as well.Critical regionalism is a way of understanding the new configurations of meaning, time and space occasioned by global restructuring and new technologies....Critical regionalism is a method of critical or global study that links both the comparative big picture analyses and the deep local.(156).Setting are often remote and inaccessible because of the emphasis on nature and the limitations it imposes.The setting is an important part of the story.Local color stories tend to focus on the character of the district or region rather than the individual: characters may become quaint or stereotypical.The characters are marked by their adherence to the old ways, dialect, and personality traits of the region.The main characters in women's local color fiction are unmarried women or young girls.The narrator is usually an educated observer who learns something from the characters while preserving a sometimes sympathetic, sometimes ironic distance from them.The narrator helps the rural folk of the tale and the urban audience understand each other.There are plots.It has been said that "nothing happens" in local color stories by women authors.Stories may focus on the community and its rituals.Many local color stories share an antipathy to change and a nostalgia for the golden age.Women's local color fiction celebrates community and acceptance in the face of adversity.Thematic tension or conflict between urban ways and old-fashioned rural values is often symbolized by the intrusion of an outsider who seeks something from the community.Themotif of the travel accident is a characteristic of local color and requires a distressing or surprising event to occur to a character in transit.It must shift the grounds of sociability in the text so that the traveling character is forced to rely on locals more and more.A travel accident can challenge a traveler's identity.A travel accident changes the relationship between the implied reader and the traveling character.The reader is encouraged to question the character's virtue if an accident occurs.In this way, the device becomes a historical allegory of the different social groups and their competing claims over American space.Mary E. Wilkins, Sarah Orne Jewett, and Alice Cary are all practitioners from New England.Edward Eggleston E.W. was from the Midwest Great Plains West.Howe Hamlin Garland John Hay James.dialect is used to establish credibility and authenticity of regional characters.Small, seemingly insignificant details are central to an understanding of the region.The narrator hears a tale of the region in a frame story.Some of the "plantation tradition" is demythologized in the works of prominent African-American writers.See "The Goophered Grapevine" by Chesnutt.
In Writing Out of Place, Judith Fetterley and Marjorie Pryse argue that the distinguishing characteristic that separates local color writers from regional writers is the exploitation of and condescension toward their subjects."Economic or political power can itself be seen to be definitive of a realist aesthetic, in that those in power (say, white urban males) have been more often judged'realists', while those removed."Many critics, including Amy Kaplan and Richard Brodhead, argue that the literary movement contributed to the reunification of the country after the Civil War.Regionalism's representation of vernacular cultures as enclaves of tradition insulated from larger cultural contact is palpably a fiction...The public function was not just to mourn lost cultures but to tell a story of contemporary cultures.Kaplan says the local color's urban middle-class readership...It was solidified as an imagined community by consuming images of rural 'others' as both a nostalgic point of origin and a measure of cosmopolitan development, with its "separate spaces" serving to erase the "more explosive social conflicts of class, race, and gender made contiguous by urban life" (25Local color fiction contributed to the narrative of unified nationhood that late nineteenth-century America sought to construct.The material culture that regionalism offers has been called attention to by Bill Brown and Brad Evans.The Country of the Pointed Firs in A Sense of Things draws attention to object culture...The set of questions raised by the effort to turn matter into meaning is the problematic of the significant thing.Jewett's novel is a novel...There are scenes where people arepaired with things in ways that prompt several questions.What ideas are in things?The narrator is able to gain access to them.What kind of staging is involved?Jewett's fiction dramatizes the work involved in determining the value of material objects not in culture but for culture, for an apprehension of culture.8.Evans disagrees with the "nostalgia" hypothesis for regionalism and contends that "what one sees in local-color fiction of the 1890s is not at all the assertion of integrated stasis and purity that one might imagine for."The status of local color shifted to the aesthetic in the late 1890s as anthropologists began to collect objects that would fuel primitivism.The "plantation tradition" fiction of Thomas Nelson Page is a variation of this genre.The 19th and 20th-century regionalism is always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.Critical regionalism is a term derived from architecture and is associated with Neil Campbell's book The Rhizomatic West.The concept of critical regionalism imagines political life in the present--it thinks about issues of place, bodies in place and knowledges derived not only via textuality and discourse, but from place as well.Critical regionalism is a way of understanding the new configurations of meaning, time and space occasioned by global restructuring and new technologies....Critical regionalism is a method of critical or global study that links both the comparative big picture analyses and the deep local.(156).
"Economic or political power can itself be seen to be definitive of a realist aesthetic, in that those in power (say, white urban males) have been more often judged'realists', while those removed."Many critics, including Amy Kaplan and Richard Brodhead, argue that the literary movement contributed to the reunification of the country after the Civil War.Regionalism's representation of vernacular cultures as enclaves of tradition insulated from larger cultural contact is palpably a fiction...The public function was not just to mourn lost cultures but to tell a story of contemporary cultures.Kaplan says the local color's urban middle-class readership...It was solidified as an imagined community by consuming images of rural 'others' as both a nostalgic point of origin and a measure of cosmopolitan development, with its "separate spaces" serving to erase the "more explosive social conflicts of class, race, and gender made contiguous by urban life" (25Local color fiction contributed to the narrative of unified nationhood that late nineteenth-century America sought to construct.The material culture that regionalism offers has been called attention to by Bill Brown and Brad Evans.The Country of the Pointed Firs in A Sense of Things draws attention to object culture...The set of questions raised by the effort to turn matter into meaning is the problematic of the significant thing.Jewett's novel is a novel...There are scenes where people arepaired with things in ways that prompt several questions.What ideas are in things?The narrator is able to gain access to them.What kind of staging is involved?Jewett's fiction dramatizes the work involved in determining the value of material objects not in culture but for culture, for an apprehension of culture.8.Evans disagrees with the "nostalgia" hypothesis for regionalism and contends that "what one sees in local-color fiction of the 1890s is not at all the assertion of integrated stasis and purity that one might imagine for."The status of local color shifted to the aesthetic in the late 1890s as anthropologists began to collect objects that would fuel primitivism.The "plantation tradition" fiction of Thomas Nelson Page is a variation of this genre.The 19th and 20th-century regionalism is always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.Critical regionalism is a term derived from architecture and is associated with Neil Campbell's book The Rhizomatic West.The concept of critical regionalism imagines political life in the present--it thinks about issues of place, bodies in place and knowledges derived not only via textuality and discourse, but from place as well.Critical regionalism is a way of understanding the new configurations of meaning, time and space occasioned by global restructuring and new technologies....Critical regionalism is a method of critical or global study that links both the comparative big picture analyses and the deep local.(156).
Many critics, including Amy Kaplan and Richard Brodhead, argue that the literary movement contributed to the reunification of the country after the Civil War.Regionalism's representation of vernacular cultures as enclaves of tradition insulated from larger cultural contact is palpably a fiction...The public function was not just to mourn lost cultures but to tell a story of contemporary cultures.Kaplan says the local color's urban middle-class readership...It was solidified as an imagined community by consuming images of rural 'others' as both a nostalgic point of origin and a measure of cosmopolitan development, with its "separate spaces" serving to erase the "more explosive social conflicts of class, race, and gender made contiguous by urban life" (25Local color fiction contributed to the narrative of unified nationhood that late nineteenth-century America sought to construct.The material culture that regionalism offers has been called attention to by Bill Brown and Brad Evans.The Country of the Pointed Firs in A Sense of Things draws attention to object culture...The set of questions raised by the effort to turn matter into meaning is the problematic of the significant thing.Jewett's novel is a novel...There are scenes where people arepaired with things in ways that prompt several questions.What ideas are in things?The narrator is able to gain access to them.What kind of staging is involved?Jewett's fiction dramatizes the work involved in determining the value of material objects not in culture but for culture, for an apprehension of culture.8.Evans disagrees with the "nostalgia" hypothesis for regionalism and contends that "what one sees in local-color fiction of the 1890s is not at all the assertion of integrated stasis and purity that one might imagine for."The status of local color shifted to the aesthetic in the late 1890s as anthropologists began to collect objects that would fuel primitivism.The "plantation tradition" fiction of Thomas Nelson Page is a variation of this genre.The 19th and 20th-century regionalism is always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.Critical regionalism is a term derived from architecture and is associated with Neil Campbell's book The Rhizomatic West.The concept of critical regionalism imagines political life in the present--it thinks about issues of place, bodies in place and knowledges derived not only via textuality and discourse, but from place as well.Critical regionalism is a way of understanding the new configurations of meaning, time and space occasioned by global restructuring and new technologies....Critical regionalism is a method of critical or global study that links both the comparative big picture analyses and the deep local.(156).
The material culture that regionalism offers has been called attention to by Bill Brown and Brad Evans.The Country of the Pointed Firs in A Sense of Things draws attention to object culture...The set of questions raised by the effort to turn matter into meaning is the problematic of the significant thing.Jewett's novel is a novel...There are scenes where people arepaired with things in ways that prompt several questions.What ideas are in things?The narrator is able to gain access to them.What kind of staging is involved?Jewett's fiction dramatizes the work involved in determining the value of material objects not in culture but for culture, for an apprehension of culture.8.Evans disagrees with the "nostalgia" hypothesis for regionalism and contends that "what one sees in local-color fiction of the 1890s is not at all the assertion of integrated stasis and purity that one might imagine for."The status of local color shifted to the aesthetic in the late 1890s as anthropologists began to collect objects that would fuel primitivism.The "plantation tradition" fiction of Thomas Nelson Page is a variation of this genre.The 19th and 20th-century regionalism is always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.Critical regionalism is a term derived from architecture and is associated with Neil Campbell's book The Rhizomatic West.The concept of critical regionalism imagines political life in the present--it thinks about issues of place, bodies in place and knowledges derived not only via textuality and discourse, but from place as well.Critical regionalism is a way of understanding the new configurations of meaning, time and space occasioned by global restructuring and new technologies....Critical regionalism is a method of critical or global study that links both the comparative big picture analyses and the deep local.(156).
Evans disagrees with the "nostalgia" hypothesis for regionalism and contends that "what one sees in local-color fiction of the 1890s is not at all the assertion of integrated stasis and purity that one might imagine for."The status of local color shifted to the aesthetic in the late 1890s as anthropologists began to collect objects that would fuel primitivism.The "plantation tradition" fiction of Thomas Nelson Page is a variation of this genre.The 19th and 20th-century regionalism is always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.Critical regionalism is a term derived from architecture and is associated with Neil Campbell's book The Rhizomatic West.The concept of critical regionalism imagines political life in the present--it thinks about issues of place, bodies in place and knowledges derived not only via textuality and discourse, but from place as well.Critical regionalism is a way of understanding the new configurations of meaning, time and space occasioned by global restructuring and new technologies....Critical regionalism is a method of critical or global study that links both the comparative big picture analyses and the deep local.(156).
The 19th and 20th-century regionalism is always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.Critical regionalism is a term derived from architecture and is associated with Neil Campbell's book The Rhizomatic West.The concept of critical regionalism imagines political life in the present--it thinks about issues of place, bodies in place and knowledges derived not only via textuality and discourse, but from place as well.Critical regionalism is a way of understanding the new configurations of meaning, time and space occasioned by global restructuring and new technologies....Critical regionalism is a method of critical or global study that links both the comparative big picture analyses and the deep local.(156).
Local color stories tend to focus on the character of the district or region rather than the individual: characters may become quaint or stereotypical.The characters are marked by their adherence to the old ways, dialect, and personality traits of the region.The main characters in women's local color fiction are unmarried women or young girls.The narrator is usually an educated observer who learns something from the characters while preserving a sometimes sympathetic, sometimes ironic distance from them.The narrator helps the rural folk of the tale and the urban audience understand each other.There are plots.It has been said that "nothing happens" in local color stories by women authors.Stories may focus on the community and its rituals.Many local color stories share an antipathy to change and a nostalgia for the golden age.Women's local color fiction celebrates community and acceptance in the face of adversity.Thematic tension or conflict between urban ways and old-fashioned rural values is often symbolized by the intrusion of an outsider who seeks something from the community.Themotif of the travel accident is a characteristic of local color and requires a distressing or surprising event to occur to a character in transit.It must shift the grounds of sociability in the text so that the traveling character is forced to rely on locals more and more.A travel accident can challenge a traveler's identity.A travel accident changes the relationship between the implied reader and the traveling character.The reader is encouraged to question the character's virtue if an accident occurs.In this way, the device becomes a historical allegory of the different social groups and their competing claims over American space.
The narrator is usually an educated observer who learns something from the characters while preserving a sometimes sympathetic, sometimes ironic distance from them.The narrator helps the rural folk of the tale and the urban audience understand each other.There are plots.It has been said that "nothing happens" in local color stories by women authors.Stories may focus on the community and its rituals.Many local color stories share an antipathy to change and a nostalgia for the golden age.Women's local color fiction celebrates community and acceptance in the face of adversity.Thematic tension or conflict between urban ways and old-fashioned rural values is often symbolized by the intrusion of an outsider who seeks something from the community.Themotif of the travel accident is a characteristic of local color and requires a distressing or surprising event to occur to a character in transit.It must shift the grounds of sociability in the text so that the traveling character is forced to rely on locals more and more.A travel accident can challenge a traveler's identity.A travel accident changes the relationship between the implied reader and the traveling character.The reader is encouraged to question the character's virtue if an accident occurs.In this way, the device becomes a historical allegory of the different social groups and their competing claims over American space.
There are plots.It has been said that "nothing happens" in local color stories by women authors.Stories may focus on the community and its rituals.Many local color stories share an antipathy to change and a nostalgia for the golden age.Women's local color fiction celebrates community and acceptance in the face of adversity.Thematic tension or conflict between urban ways and old-fashioned rural values is often symbolized by the intrusion of an outsider who seeks something from the community.Themotif of the travel accident is a characteristic of local color and requires a distressing or surprising event to occur to a character in transit.It must shift the grounds of sociability in the text so that the traveling character is forced to rely on locals more and more.A travel accident can challenge a traveler's identity.A travel accident changes the relationship between the implied reader and the traveling character.The reader is encouraged to question the character's virtue if an accident occurs.In this way, the device becomes a historical allegory of the different social groups and their competing claims over American space.