What is Social Realism? Discuss its features and how it is reflected in the American novel with examples.

What is Social Realism? Discuss its features and how it is reflected in the American novel with examples.

Answer:

Social Realism is a significant literary movement that emerged in American literature as a response to the social, political, and economic changes brought about by industrialization and modernization. It focuses on the truthful, often harsh, representation of real-life experiences, especially those of the working class, the poor, and the marginalized. Unlike romanticized portrayals of life, Social Realism is grounded in the everyday struggles of ordinary people. In the American context, this movement gained strength in the early 20th century, especially during periods of social crisis such as the Great Depression, labor unrest, and the rise of urban poverty. Writers used fiction not only to depict reality but also to critique the deep flaws in society and to expose the injustices faced by the oppressed.

One of the core characteristics of Social Realism is its commitment to portraying the lives of common people with honesty and without exaggeration. The novels often explore themes such as poverty, racial discrimination, class inequality, exploitation, and the breakdown of the American Dream. These works tend to be critical of capitalism, materialism, and corrupt power structures. The style is usually straightforward and documentary-like, avoiding ornate language or idealistic storytelling. The characters in such novels are not heroes in the traditional sense; they are flawed, struggling individuals, often shaped and sometimes broken by the society they live in.

Several American novels exemplify this trend. Upton Sinclair’s The Jungle (1906) is one of the earliest examples of American social realism. It exposes the harsh working conditions and exploitation of immigrant laborers in Chicago’s meat-packing industry. The novel created public outrage and eventually led to reforms in food safety laws. John Steinbeck’s The Grapes of Wrath (1939) is another major social realist novel that portrays the suffering of Dust Bowl migrants during the Great Depression. Steinbeck vividly describes the displacement of tenant farmers and their struggle for dignity in the face of economic and social oppression.

Richard Wright’s Native Son (1940) brings race into the center of social realism, depicting the psychological and social conditions that lead a young Black man, Bigger Thomas, into crime. The novel critiques systemic racism, poverty, and the limitations imposed on African Americans in urban America. Theodore Dreiser, in novels like Sister Carrie (1900) and An American Tragedy (1925), presents characters driven by ambition and desire in a society dominated by capitalism and moral ambiguity. His novels portray how individuals are often powerless in the face of social forces.

Social Realism in the American novel is a powerful literary movement that seeks to reveal the truths of society by focusing on its darker and more difficult realities. Through characters drawn from the lower and working classes, and through plots that highlight the inequities and struggles of real life, writers of this genre hoped to raise awareness and inspire change. By giving voice to the voiceless, the American social realist novel continues to remain relevant in the study of literature and society.


❖ āĻĒ্āϰāĻļ্āύ:

āϏোāĻļ্āϝাāϞ āϰিāϝ়েāϞিāϜāĻŽ āĻ•ী? āĻāϰ āĻŦৈāĻļিāώ্āϟ্āϝāĻ—ুāϞি āφāϞোāϚāύা āĻ•āϰো āĻāĻŦং āφāĻŽেāϰিāĻ•াāύ āωāĻĒāύ্āϝাāϏে āĻāϰ āĻĒ্āϰāϤিāĻĢāϞāύ āωāĻĻাāĻšāϰāĻŖāϏāĻš āĻŦ্āϝাāĻ–্āϝা āĻ•āϰো।

āωāϤ্āϤāϰ:

āϏোāĻļ্āϝাāϞ āϰিāϝ়েāϞিāϜāĻŽ (Social Realism) āĻāĻ•āϟি āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āϏাāĻšিāϤ্āϝিāĻ• āφāύ্āĻĻোāϞāύ āϝা āĻļিāϞ্āĻĒাāϝ়āύ āĻ“ āφāϧুāύিāĻ•াāϝ়āύেāϰ āĻĢāϞে āϏৃāώ্āϟ āϏাāĻŽাāϜিāĻ•, āϰাāϜāύৈāϤিāĻ• āĻ“ āĻ…āϰ্āĻĨāύৈāϤিāĻ• āĻĒāϰিāĻŦāϰ্āϤāύেāϰ āĻĒ্āϰāϤিāĻ•্āϰিāϝ়াāϝ় āφāĻŽেāϰিāĻ•াāύ āϏাāĻšিāϤ্āϝে āωāĻĻ্āĻ­ূāϤ āĻšāϝ়। āĻāχ āϧাāϰাāϟি āĻŦাāϏ্āϤāĻŦ āϜীāĻŦāύেāϰ āĻ…āĻ­িāϜ্āĻžāϤা, āĻŦিāĻļেāώ āĻ•āϰে āĻļ্āϰāĻŽāϜীāĻŦী āĻļ্āϰেāĻŖি, āĻĻāϰিāĻĻ্āϰ āϜāύāĻ—āĻŖ, āĻāĻŦং āĻĒ্āϰাāύ্āϤিāĻ• āĻŽাāύুāώেāϰ āϜীāĻŦāύāϏংāĻ—্āϰাāĻŽāĻ•ে āϏāϤ্āϝ āĻ“ āύিāϰ্āĻŽāĻŽāĻ­াāĻŦে āϚিāϤ্āϰিāϤ āĻ•āϰাāϰ āωāĻĒāϰ āϜোāϰ āĻĻেāϝ়। āĻāϟি āϜীāĻŦāύেāϰ āϰোāĻŽাāύ্āϟিāĻ• āĻ“ āĻ•āϞ্āĻĒāύাāĻĒ্āϰāĻŦāĻŖ āωāĻĒāϏ্āĻĨাāĻĒāύাāĻ•ে āĻĒ্āϰāϤ্āϝাāĻ–্āϝাāύ āĻ•āϰে āĻāĻŦং āϏাāϧাāϰāĻŖ āĻŽাāύুāώেāϰ āĻĻৈāύāύ্āĻĻিāύ āĻŦাāϏ্āϤāĻŦāϤাāĻ•ে āϤুāϞে āϧāϰে। āφāĻŽেāϰিāĻ•াāύ āϏাāĻšিāϤ্āϝে āĻāχ āϧাāϰাāϰ āĻŦিāĻ•াāĻļ āϘāϟে āĻŦিāĻļেāώāϤ ⧍ā§ĻāĻļ āĻļāϤāĻ•েāϰ āĻļুāϰুāϤে, āϝāĻ–āύ āĻ—্āϰেāϟ āĻĄিāĻĒ্āϰেāĻļāύ, āĻļ্āϰāĻŽিāĻ• āφāύ্āĻĻোāϞāύ āĻāĻŦং āĻļāĻšুāϰে āĻĻাāϰিāĻĻ্āϰ্āϝ āϏāĻŽাāϜে āĻ—āĻ­ীāϰ āĻĒ্āϰāĻ­াāĻŦ āĻĢেāϞāϤে āĻļুāϰু āĻ•āϰে। āϞেāĻ–āĻ•েāϰা āĻ•āϞ্āĻĒāĻ•াāĻšিāύিāϰ āĻŽাāϧ্āϝāĻŽে āĻļুāϧু āϏāĻŽাāϜেāϰ āĻŦাāϏ্āϤāĻŦāϤা āϤুāϞে āϧāϰেāύāύি, āĻŦāϰং āϏāĻŽাāϜেāϰ āĻ…āϏাāĻŽ্āϝ āĻ“ āĻ…āĻŦিāϚাāϰেāϰ āĻ•āĻ োāϰ āϏāĻŽাāϞোāϚāύাāĻ“ āĻ•āϰেāĻ›েāύ।

āϏোāĻļ্āϝাāϞ āϰিāϝ়েāϞিāϜāĻŽেāϰ āĻ…āύ্āϝāϤāĻŽ āĻĒ্āϰāϧাāύ āĻŦৈāĻļিāώ্āϟ্āϝ āĻšāϞ— āĻāϟি āϏাāϧাāϰāĻŖ āĻŽাāύুāώেāϰ āϜীāĻŦāύāĻ•ে āĻ…āϞāĻ™্āĻ•াāϰāĻŦিāĻšীāύ āĻ“ āϏāϤāϤাāϰ āϏāĻ™্āĻ—ে āϚিāϤ্āϰিāϤ āĻ•āϰে। āĻāχ āϧāϰāύেāϰ āωāĻĒāύ্āϝাāϏে āĻĻাāϰিāĻĻ্āϰ্āϝ, āϜাāϤিāĻ—āϤ āĻŦৈāώāĻŽ্āϝ, āĻļ্āϰেāĻŖিāĻ—āϤ āĻŦৈāώāĻŽ্āϝ, āĻļোāώāĻŖ, āĻāĻŦং āφāĻŽেāϰিāĻ•াāύ āĻĄ্āϰিāĻŽেāϰ āĻ­াāĻ™āύ āχāϤ্āϝাāĻĻি āĻŦিāώāϝ়āĻ—ুāϞিāĻ•ে āϤুāϞে āϧāϰা āĻšāϝ়। āĻāχ āϏাāĻšিāϤ্āϝে āĻĒুঁāϜিāĻŦাāĻĻ, āĻ­োāĻ—āĻŦাāĻĻ āĻāĻŦং āϏāĻŽাāϜেāϰ āĻĻুāϰ্āύীāϤিāĻ—্āϰāϏ্āϤ āĻ•াāĻ াāĻŽোāϰ āϏāĻŽাāϞোāϚāύা āĻ•āϰা āĻšāϝ়। āϞেāĻ–āύীāϰ āĻ­াāώা āϏাāϧাāϰāĻŖāϤ āϏāĻšāϜ, āϏāϰāϞ āĻāĻŦং āĻ…āύেāĻ• āϏāĻŽāϝ় āĻĒ্āϰাāĻŽাāĻŖ্āϝāϧāϰ্āĻŽী। āĻāχ āωāĻĒāύ্āϝাāϏেāϰ āϚāϰিāϤ্āϰāϰা āϏাāϧাāϰāĻŖāϤ āϐāϤিāĻš্āϝāĻŦাāĻšী āύাāϝ়āĻ• āύāϝ়; āĻŦāϰং āϤাāϰা āϏāĻŽাāϜে āύিāϰ্āϝাāϤিāϤ, āĻ•্āϞাāύ্āϤ, āĻāĻŦং āĻŦাāϏ্āϤāĻŦāϤাāϰ āĻĻ্āĻŦাāϰা āĻ•্āώāϤিāĻ—্āϰāϏ্āϤ āϏাāϧাāϰāĻŖ āĻŽাāύুāώ, āϝাāϰা āϏāĻŽাāϜāĻŦ্āϝāĻŦāϏ্āĻĨাāϰ āĻŽāϧ্āϝে āϏংāĻ—্āϰাāĻŽ āĻ•āϰāĻ›ে।

āĻāχ āϧাāϰাāϰ āĻ•িāĻ›ু āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āφāĻŽেāϰিāĻ•াāύ āωāĻĒāύ্āϝাāϏ āĻšāϞ: āφāĻĒāϟāύ āϏিāύāĻ•্āϞেāϝ়াāϰেāϰ The Jungle (⧧⧝ā§Ļā§Ŧ), āϝা āĻļিāĻ•াāĻ—োāϰ āĻŽাংāϏ āĻĒ্āϰāĻ•্āϰিāϝ়াāĻ•āϰāĻŖ āĻļিāϞ্āĻĒে āĻ…āĻ­িāĻŦাāϏী āĻļ্āϰāĻŽিāĻ•āĻĻেāϰ āĻļোāώāĻŖ āĻ“ āĻĻুāϰ্āĻĻāĻļাāĻ•ে āϤুāϞে āϧāϰে। āĻāχ āωāĻĒāύ্āϝাāϏ āϜāύāĻŽāύে āĻŦ্āϝাāĻĒāĻ• āφāϞোāĻĄ়āύ āϤোāϞে āĻāĻŦং āĻĒāϰāĻŦāϰ্āϤীāϤে āĻ–াāĻĻ্āϝ āύিāϰাāĻĒāϤ্āϤা āφāχāύে āĻĒāϰিāĻŦāϰ্āϤāύ āφāύে। āϜāύ āϏ্āϟেāχāύāĻŦেāĻ•েāϰ The Grapes of Wrath (ā§§ā§¯ā§Šā§¯) āφāϰেāĻ•āϟি āωāϞ্āϞেāĻ–āϝোāĻ—্āϝ āϏোāĻļ্āϝাāϞ āϰিāϝ়েāϞিāϏ্āϟ āωāĻĒāύ্āϝাāϏ, āϝেāĻ–াāύে āĻ—্āϰেāϟ āĻĄিāĻĒ্āϰেāĻļāύেāϰ āϏāĻŽāϝ় 'āĻĄাāϏ্āϟ āĻŦোāϞ' āĻāϞাāĻ•াāϰ āĻ•ৃāώāĻ•āĻĻেāϰ āĻĻুāϰ্āĻĻāĻļা āĻ“ āϤাāĻĻেāϰ āϏāĻŽ্āĻŽাāύ āĻŦাঁāϚিāϝ়ে āĻŦাঁāϚাāϰ āϏংāĻ—্āϰাāĻŽ āϤুāϞে āϧāϰা āĻšāϝ়েāĻ›ে।

āϰিāϚাāϰ্āĻĄ āϰাāχāϟ-āĻāϰ Native Son (⧧⧝ā§Ēā§Ļ) āωāĻĒāύ্āϝাāϏāϟি āϏাāĻŽাāϜিāĻ• āĻŦাāϏ্āϤāĻŦāϤাāϝ় āĻŦāϰ্āĻŖāĻŦৈāώāĻŽ্āϝāĻ•ে āĻ•েāύ্āĻĻ্āϰে āύিāϝ়ে āφāϏে। āĻāĻ–াāύে āϤāϰুāĻŖ āĻ•ৃāώ্āĻŖাāĻ™্āĻ— āϚāϰিāϤ্āϰ āĻŦিāĻ—াāϰ āĻĨāĻŽাāϏ āĻ•ীāĻ­াāĻŦে āĻĻাāϰিāĻĻ্āϰ্āϝ, āĻŦৈāώāĻŽ্āϝ āĻ“ āĻŽাāύāϏিāĻ• āϚাāĻĒে āĻ…āĻĒāϰাāϧে āϜāĻĄ়িāϝ়ে āĻĒāĻĄ়ে, āϤা āϤুāϞে āϧāϰা āĻšāϝ়েāĻ›ে। āωāĻĒāύ্āϝাāϏāϟি āĻŽাāϰ্āĻ•িāύ āύāĻ—āϰ āϏāĻŽাāϜে āĻ•ৃāώ্āĻŖাāĻ™্āĻ—āĻĻেāϰ āϏীāĻŽাāĻŦāĻĻ্āϧāϤা, āĻĻাāϰিāĻĻ্āϰ্āϝ āĻāĻŦং āϜাāϤিāĻ—āϤ āĻ…āĻŦিāϚাāϰেāϰ āϤীāĻŦ্āϰ āϏāĻŽাāϞোāϚāύা āĻ•āϰে। āĻĨিāĻ“āĻĄোāϰ āĻĄ্āϰাāχāϜাāϰ, Sister Carrie (⧧⧝ā§Ļā§Ļ) āĻāĻŦং An American Tragedy (⧧⧝⧍ā§Ģ)-āĻāϰ āĻŽāϤ āωāĻĒāύ্āϝাāϏে āĻĻেāĻ–িāϝ়েāĻ›েāύ āĻ•িāĻ­াāĻŦে āĻāĻ• āĻŦ্āϝāĻ•্āϤি āύিāϜেāϰ āωāϚ্āϚাāĻļা āĻ“ āĻŦাāϏāύাāϰ āĻĻ্āĻŦাāϰা āϚাāϞিāϤ āĻšāϝ়ে āϏāĻŽাāϜে āĻĒুঁāϜিāĻŦাāĻĻ āĻ“ āύৈāϤিāĻ• āϜāϟিāϞāϤাāϰ āĻļিāĻ•াāϰ āĻšāϝ়ে āĻĒāĻĄ়ে। āϤাঁāϰ āωāĻĒāύ্āϝাāϏে āϏাāĻŽাāϜিāĻ• āĻļāĻ•্āϤিāϰ āĻŽুāĻ–োāĻŽুāĻ–ি āĻšāĻ“āϝ়া āĻŦ্āϝāĻ•্āϤিāϰ āĻ…āϏāĻšাāϝ়āϤা āϏ্āĻĒāώ্āϟāĻ­াāĻŦে āωāĻ ে āφāϏে।

āϏāĻŦāĻļেāώে āĻŦāϞা āϝাāϝ়, āφāĻŽেāϰিāĻ•াāύ āωāĻĒāύ্āϝাāϏে āϏোāĻļ্āϝাāϞ āϰিāϝ়েāϞিāϜāĻŽ āĻāĻ•āϟি āĻļāĻ•্āϤিāĻļাāϞী āϏাāĻšিāϤ্āϝিāĻ• āϧাāϰা, āϝা āϏāĻŽাāϜেāϰ āĻ…āύ্āϧāĻ•াāϰ āĻ“ āĻ•āĻ িāύ āĻŦাāϏ্āϤāĻŦāϤাāĻ—ুāϞিāĻ•ে āϏাāĻšāϏিāĻ•āϤাāϰ āϏāĻ™্āĻ—ে āϤুāϞে āϧāϰে। āĻāϟি āĻļ্āϰāĻŽāϜীāĻŦী āĻ“ āĻĒ্āϰাāύ্āϤিāĻ• āĻļ্āϰেāĻŖিāϰ āϜীāĻŦāύāϏংāĻ—্āϰাāĻŽ āĻāĻŦং āϏাāĻŽাāϜিāĻ• āĻ…āϏাāĻŽ্āϝেāϰ āĻĒ্āϰāϤিāĻĢāϞāύ āϘāϟিāϝ়ে āĻĒাāĻ āĻ•েāϰ āĻŽāϧ্āϝে āϏāϚেāϤāύāϤা āϤৈāϰি āĻ•āϰāϤে āϚাāϝ়। āĻāχ āϧāϰāύেāϰ āωāĻĒāύ্āϝাāϏেāϰ āĻŽাāϧ্āϝāĻŽে āϞেāĻ–āĻ•েāϰা āύিāĻĒীāĻĄ়িāϤেāϰ āĻĒāĻ•্āώে āĻ•āĻŖ্āĻ āϏ্āĻŦāϰ āϤুāϞে āϧāϰেāύ āĻāĻŦং āϏাāĻšিāϤ্āϝāĻ•ে āϏāĻŽাāϜ āĻĒāϰিāĻŦāϰ্āϤāύেāϰ āĻāĻ•āϟি āĻšাāϤিāϝ়াāϰ āĻšিāϏেāĻŦে āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰেāύ। āϤাāχ āϏোāĻļ্āϝাāϞ āϰিāϝ়েāϞিāϏ্āϟ āωāĻĒāύ্āϝাāϏ āφāϜāĻ“ āϏাāĻšিāϤ্āϝ āĻ“ āϏāĻŽাāϜāϚিāύ্āϤাāϰ āĻ•্āώেāϤ্āϰে āĻĒ্āϰাāϏāĻ™্āĻ—িāĻ• āĻ“ āϤাā§ŽāĻĒāϰ্āϝāĻĒূāϰ্āĻŖ।


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