现实主义

Some people say that soft realism is intuitionism against the "true realism", but also a grain of truth.

有人说软现实主义是用直觉主义反对"真正的现实主义"，也有一定道理的。

"Araby" from Dubliners This tale of the frustrated quest for beauty in the midst of drabness is both meticulously realistic in its handling of details of Dublin Life and the Dublin scene and highly symbolic in that almost every image and incident suggests some particular aspect of the theme.

都柏林人》：这则故事主题是在单调乏味的环境包围下对美的追求的挫败，故事既富于现实主义又富于象征主义，现实主义在于它细致入微的描述了都柏林的景观与生活，象征主义在于每一个意象每一件事都暗示着主题的某个方面。

Thus his realism is named "ascetic realism" in the form of an ideal in pursuit of value.

他的现实主义是在价值追求上渗透着理想主义色彩的"苦行"现实主义。

In its broader context, social realism can be regarded as something of an international phenomenon, including the Wandering of Russian artists in the 19th century, the Mexican mural paintings of the 1930s and the so called Ashcan art of America, spanning from the turn of the 20th century to the 1930s. The difference between social realism and socialist realism is that the former is free from the influence of national ideology and control; it is the result of independent thought and criticism by freethinking intellectuals.

社会现实主义，从广义上讲应被视为一种国际现象，它包括19 世纪俄国"巡回画派"、1930年代墨西哥的壁画以及大体发生在美国世纪之交到30年代的所谓的"垃圾桶画派"，它与社会主义现实主义不同的是，前者不受国家意识形态和艺术体制的控制，它是自由知识分子对社会现实的独立思考和批判。

In its broader context, social realism can be regarded as something of an international phenomenon, including the Wandering of Russian artists in the 19thcentury, the Mexican mural paintings of the 1930s and the so called Ashcan art ofAmerica, spanning from the turn of the 20thcentury to the 1930s. The difference between social realism and socialist realism is that the former is free from the influence of national ideology and control; it is the result of independent thought and criticism by freethinking intellectuals.

社会现实主义，从广义上讲应被视为一种国际现象，它包括19 世纪俄国"巡回画派"、1930年代墨西哥的壁画以及大体发生在美国世纪之交到30年代的所谓的"垃圾桶画派"，它与社会主义现实主义不同的是，前者不受国家意识形态和艺术体制的控制，它是自由知识分子对社会现实的独立思考和批判。

This is what passes for realism these days. But of course this is not realism. It is impeccable capitulation.

这就是近日来呈现在我们眼前的"现实主义"，但很显然这并非现实主义，而是彻头彻尾的投降主义。

The Pavilion of Realism is an international exhibition inspired by a similarly titled exhibition organized by Realist painter Gustave Courbet.

"现实主义亭"是一次国际性的展览，展览的题目借用了现实主义画家库尔贝的同名展。

If this paper has some innovation it should be owed to my teacher, Professor Kong Fanjin, just with his macro-view of the 20〓 century literature I tried to renewably sort out the momentous phenomenon of "The Conversion from literay revolution to Revolutionary Literature" and clarify its internal logic.

可以说，恩格斯所要求的现实主义文学，在我国是到了30年代这一批左翼青年作家手里才得以比较广泛地实现，他们的涌现标志着新文学现实主义真正结束了&革命文学&的时代并迈入一个新的阶段，而新文学的现实主义潮流也正因为有了这样一支新生力量，才能够以浩大声势继续向前发展。

Realism: The attempt in literature and art to represent life as it really is, without sentimentalizing or idealizing it. Realistic writing often depicts the everyday life and speech of ordinary people. This has led, sometimes, to an emphasis on sordid details.

现实主义：在文学和艺术中按照生活的本来面目去反映生活，不把它感伤化也不把它完美化，现实主义文学作品往往展现日常生活和普通大众，这就会导致了现实主义文学通常会反映社会的阴暗面。

In the Seventeen-Year Literature, corresponding to the so-called Soviet Union"Thawed literature", there also arose a batch of literature works aimed at reviving the realistic spirits of the Soviet Union, which were termed as"BaiHua literature".

在&十七年文学&中，与苏联&解冻文学&相对应的，也出现了一批旨在复苏现实主义精神的文学作品——&百花文学&，但由于长期以来文学受制于政治的惯性的存在，无论是对创作主题的拓展还是叙事形式方面，这批作品虽较以往有重大突破，但与&解冻文学&相比仍存在着差距，更何况很快中国的创作环境恶化，中国的作家又被要求回到社会主义现实主义的清规戒律上去，现实主义又一次失落了。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。