Naturalism (literature)
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Naturalism is a literary movement that seeks to replicate a believable everyday reality, as opposed to such movements as Romanticism or Surrealism, in which subjects may receive highly symbolic, idealistic, or even supernatural treatment. Naturalism is the outgrowth of Realism, a prominent literary movement in mid-19th-century France and elsewhere. Naturalistic writers were influenced by the evolution theory of Charles Darwin.[1] They believed that one's heredity and social environment determine one's character. Whereas realism seeks only to describe subjects as they really are, naturalism also attempts to determine "scientifically" the underlying forces (i.e. the environment or heredity) influencing the actions of its subjects. Naturalistic works often include uncouth or sordid subject matter; for example, Émile Zola's works had a frankness about sexuality along with a pervasive pessimism. Naturalistic works exposed the dark harshness of life, including poverty, racism, sex, prejudice, disease, prostitution, and filth. As a result, Naturalistic writers were frequently criticized for being too blunt.
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[edit] Defining Characteristics
There are many defining characteristics of literary naturalism. One of these characteristics is pessimism. Very often, one or more characters will continue to repeat one line or phrase that tends to have a pessimistic connotation, most likely about death. Another characteristic is detachment from the story. The author often tries to remain objective. By detaching from the story, the author can achieve objectivity. The author will often achieve detachment by creating nameless characters. This puts the focus more on the plot and what happens to the character, rather than the characters themselves. Another characteristic of naturalism is determinism. Determinism is basically the opposite of the notion of free will. With determinism, the power of the characters' influence over their own lives is taken away by nature or fate. Often, the author will lead the reader to believe the character's fate has already been pre-determined, and he/she can do nothing about it. Another characteristic is a surprising twist at the end of the story where the author will lead the reader in one direction at the beginning and through the middle of the story, but ultimately go in a completely unexpected direction. Nature is also indifferent to human struggle. These are only a few of the defining characteristics of naturalism. Naturalism is a type of literature that uses scientific principles of objectivity and indifference to the study of human beings. Through the study of human beings, naturalistic writers think that the laws behind the forces that rule human lives could be studied and understood. They believe that people are governed by their nature and their own enthusiasm. Naturalist believe that the judgment of people is based on their own thoughts and opinions of things. Naturalism is a newer style and a logical extension of the old term realism. The term naturalism came from Emile Zola. It is believed that he sought for a new idea to convince the reading public of something new and more modern in his fiction. He argued that his dedication to fictional reading was to create characters and plots based on the scientific method.
[edit] Literary Naturalism in the United States
In the United States, the genre is associated principally with writers such as Abraham Cahan, Ellen Glasgow, David Graham Phillips, John Steinbeck, Jack London, Edith Wharton, Stephen King, and most prominently Stephen Crane, Frank Norris, and Theodore Dreiser. The term naturalism operates primarily in counter distinction to realism, particularly the mode of realism codified in the 1870s and 1880s, and associated with William Dean Howells and Henry James.
It is important to clarify the relationship between American literary naturalism, with which this entry is primarily concerned, from the genre also known as naturalism that flourished in France at the end of the 19th century. French naturalism, as exemplified by Emile Zola, can be regarded as a programmatic, well-defined and coherent theory of fiction that self-consciously rejected the notion of free will, and dedicated itself to the documentary and "scientific" exposition of human behavior as being determined by, as Zola put it, "nerves and blood".
Many of the American naturalists, especially Norris and London, were heavily influenced by Zola. They sought explanations for human behavior in natural science, and were skeptical, at least, of organized religion and beliefs in human freewill. However, the Americans did not form a coherent literary movement, and their occasional critical and theoretical reflections do not present a uniform philosophy. Although Zola was a touchstone of contemporary debates over genre, Dreiser, perhaps the most important of the naturalist writers, regarded Balzac as a greater influence. Naturalism in American literature is therefore best understood historically in the generational manner outlined in the first paragraph above. In philosophical and generic terms, American naturalism must be defined rather more loosely, as a reaction against the realist fiction of the 1870s and 1880s, whose scope was limited to middle-class or "local color" topics, with taboos on sexuality and violence. The most significant elements of this reaction can be summarized as follows.
Naturalist fiction in the United States often concentrated on the non-Anglo, ethnically marked inhabitants of the growing American cities, many of them immigrants and most belonging to a class-spectrum ranging from the destitute to the lower middle-class. The naturalists were not the first to concentrate on the industrialized American city, but they were significant in that they believed that the realist tools refined in the 1870s and 1880s were inadequate to represent it. Abraham Cahan, for example, sought both to represent and to address the Jewish community of New York's East Side, of which he was a member. The fiction of Theodore Dreiser, the son of first and second generation immigrants from Central Europe, features many German and Irish figures. Frank Norris and Stephen Crane, themselves from established middle-class Anglophone families also registered the ethnic mix of the metropolis, though for the most part via reductive stereotypes. In somewhat different ways, more marginal to the mainstream of naturalism, Ellen Glasgow's version of realism was specifically directed against the mythologizing of the South, while the series of "problem novels" by David Graham Phillips, epitomized by the prostitution novel Susan Lenox: Her Fall and Rise (1917), can be regarded as naturalistic by virtue of their underclass subject-matter.
Allied to this, naturalist writers were skeptical towards, or downright hostile to, the notions of bourgeois individualism that characterized realist novels about middle-class life. Most naturalists demonstrated a concern with the animal or the irrational motivations for human behavior, sometimes manifested in connection with sexuality and violence. Here they differed strikingly from their French counterparts.
[edit] See also
- Naturalism (art)
- Naturalism (theatre)
- Philosophical naturalism
- Sociological naturalism
- Naturalism in 19th century French literature
- Realism in the visual arts
- Realism in the theatre
[edit] References
- ^ Williams (1976, 217).
[edit] Sources
- Williams, Raymond. 1976. Keywords: A Vocabulary of Culture and Society. London: Fontana, 1988. ISBN 0006861504.
