What is the difference between realism and post-realism?

Realism As far as Western Europe is concerned, realism is a literary trend of thought and creative method formed during the specific historical period from the Renaissance to the19th century, and it is also a literary phenomenon when the bourgeoisie in Western Europe stepped onto the historical stage and established political rule. Realism, as a special literary term, first appeared in the theoretical works of German playwright Schiller in18th century. As a literary trend of thought, literary mud and creative method, "realism" first appeared in the French literary world. The word "realism" in French comes from the Latin word "realism". The emergence of realistic names is completely different from the existence of this literary trend of thought. In France, realism began in the 1950s. At first, the French novelist Fran? ois Flory (1821-kloc-0/599) used realism as a term to express a new artistic style. In his article "Realism in Art" in 1850, he used this term for the first time as a sign of criticizing realistic literature and art. Later, the French painter Courbet (18 19- 1877) advocated realism in painting. 1855, an exhibition of paintings was held in Courbet, which caused a big debate, known as the "realism debate" in the history of literature and art. In this war, Courbet founded a journal called Realism. 1857, Champolli, an enthusiastic supporter of Courbet, named his anthology "Realist". Since then, the flag of realism has been formally established in European literary circles, and this term has become popular in France. As we all know, Balzac (1799- 1850) is a writer in the deepest sense of realism, and his Human Comedy is a profound and standardized realistic literature. However, Balzac, like Stendhal, Dickens, Thackeray and Nikolai Nikolai Gogol, never used the term "realism" to express their new literary school. In Russia, Pisarev, a literary theorist, first used this term (see his Realist), but it was in the 1960s. Generally speaking, anything that can fully express the typical characteristics of real life with images is called realistic works. Emile Faguet, a French literary historian, explained: "Realism is an artistic proposition that clearly and calmly observes human events and then describes them clearly and calmly. ..... We should select the most meaningful rhyming events from thousands of real events, and then sort out these events to make them have a strong impression. " This is basically consistent with Engels' definition that "realism requires the true representation of typical characters in typical environments in addition to the truth in details". If realism is not simply understood as the inner truth of various realistic arts, but only as a set of principles and artistic methods of character description, then in western Europe, it is generally believed that realism was formed during the Renaissance. From Renaissance realism to1critical realism in the 1920s, and1enlightenment realism in the 8th century. Renaissance realism is famous for describing the vivid and rich feelings, desires and feelings of characters. It shows the sublimity of people, the integrity, purity and poetry of characters. However, it is not as realistic as the Enlightenment in analyzing social relations. The latter is more social and analytical, emphasizing that creation should have a clear social purpose and ideological education. /kloc-the trend of critical realism in the 0/9th century is both a historical inheritance and a realistic innovation. It summed up the literary experience before18th century, supplemented the historical concreteness of realism in the Renaissance, got rid of the rational principle of classicism, and overcame the didactic elements of realism and the subjectivity of romanticism in the Enlightenment. It also accepted the concreteness of character description from Renaissance literature, social analysis factors from classicism and enlightenment literature, and some passion from romanticism, but it gradually lost its unique optimism in the previous generation literature, but it was stained with pessimism that it could not get rid of. /kloc-the critical realism in the 0/9th century seems to be an organic combination of the realistic characteristics of the Renaissance and the Enlightenment. It is also developed under the new historical conditions. It can describe people from the movement and development of things, from the various relationships between people and the environment, especially its representation of typical characters in typical environments, direct analysis of social life reality, and sharp exposure and criticism of reality, reaching an unprecedented level. In the history of world literature, the critical realism literature in the19th century has become the peak of the development of European bourgeois literature and art. Modernism "Modernism" is often used to talk about literature and art from the end of19th century to the 20th century. It marks a kind of literary spirit or "modernity" different from any previous period, and is the general name of symbolism, futurism, imagism, expressionism, stream of consciousness and surrealism. Similar to the evolution of many literary terms, the earliest "modernism" is also a derogatory term with criticism and ridicule. According to Kalinescu's research, in 1755, samuel johnson included modernism as a new word created by Swift in the English language dictionary. In a letter to Pope, Swift said, "Poor literati have brought us this rubbish written in prose and poetry with their poor frugality and eccentric modernism." By the end of 19, the usage of this word changed from derogatory to neutral, and it was not until the1920s that it was widely accepted and gained legitimacy. Ruben Dario was the first person who used "modernism" as a commendatory term to refer to the modern aesthetic revolution. As early as 1888, he praised the Mexican writer Carido Gonzalez with "complete modernism in expression". [1] In modern western literary theory and criticism, the word modernism has roughly five uses: ① an aesthetic tendency; (2) innovative spirit; (3) the literary movement; ④ The floorboard of prose style; ⑤ Creative principles or methods. These usages have their own emphases, but the similarities define the meaning of modernism as reactionary realism. As Peter Faulkner said, "Modernism is a part of the historical process in which art got rid of various assumptions in the19th century, and those assumptions seem to have become a rigid routine over time." Postmodernism Moravski pointed out the following two basic characteristics of postmodernism. First of all, there is no doubt that it is anti-avant-garde. Postmodernism's meditation on artistic status is extremely indifferent, if not hostile. At this point, it is not wrong to say that postmodernism is an anti-rationalism of intellectuals, even anti-wisdom. Postmodernism often laughs at itself and advocates tolerance the most; But we must not tolerate any ideological contribution or eschatology (utopia or blueprint for liberation). It questioned the pursuit of continuous innovation and destroyed the belief that the best art knight is the hero of media, expression and iconology. On the contrary, it agrees that art is not a profession, but one of many professions. Its legitimacy lies in the production of particularly popular goods. It will not wait for rebellion or transcendence. It insists on the closest contact with ordinary members of society. The aesthetic dimension must be restated, either in the form of dazzling fakes (which reminds us of the stylized design art required by the market) or in the form of spontaneous expression by artists (they deny the possibility of perfection with colors, sounds and words, and just want to present a deja vu imitation of reality). In a world without a central axis, in a value vacuum, the fundamental goal is to "create" freely for happiness. Imitation painting and parody have become the most appropriate means to witness the current cultural rubbish. And its guest card is shameless compromise. Secondly, the post-modern approach is the degradation of advanced culture, but this is an intentional degradation, deliberately lowering itself to the level of low-level culture. It wants to find a feeling of going home, because it makes it more consumer, so it uses narrative, familiar symbols and simple forms. Its main form is the diversity of attitudes and values, which people can choose at will. Social reality is regarded as heterogeneous, fragmented and accidental at all levels. Postmodernists insist that nothing can have the power of a judge today, so art has no mission, just a pastime. All the principles of avant-garde art are questioned. Painting only points to fleeting things, and there is no assertion about whether it can be remembered. Iconology is usually trite, or only related to the nightmare of human masochism. It has no frame of reference, so it can't remember anything. The audience's demand for pictures is either to adapt to the hasty outbreak regardless of aesthetic quality or to meet it by imitating the master techniques of classical predecessors. Direct eclecticism leads to distrust of artistic dignity, thinking that everything is just a commercial exhibition. The image of R. Longo is often borrowed from magazines, newspapers and movie stills. Painting should always be an operation with proper craftsmanship, so as to unite the painter with an innocent audience who is indifferent to any serious thoughts. It should be as easy to understand as a gift, and it should cheer for "happy nihilism" as Oliwa said. Sherrie Levine's self-repeated photo reproduction, Mark Kostabi's repeated Leger operation, Sikong's reproduction of all market icons, and the fashionable and stylized image of the prince all belong to this category. These artists are not without differences. However, these works are parasitically copied off-the-shelf products.