Realism

Realism emerged as a literary and artistic movement in the mid-19th century as a reaction to the idealized representations of Romanticism. Rooted in a desire to depict life truthfully and accurately, realism rejected exaggerated emotion, fantastical elements, and heroic subject matter, instead focusing on everyday life and ordinary people. Originating in France, the movement gained prominence through authors like Gustave Flaubert (Madame Bovary, 1857) and Honoré de Balzac, who portrayed society with honesty and meticulous detail [1].

Realism spread across Europe, influencing literature, visual art, and theater. Russian authors such as Fyodor Dostoevsky and Leo Tolstoy used realism to explore moral and psychological complexities, depicting profound human experiences amidst societal struggles [2]. Charles Dickens exposed social inequities in England through his works, while George Eliot examined individual morality within broader cultural and philosophical contexts [3]. By the late 19th century, realism had become a dominant mode of representation, reflecting the social, political, and economic challenges of its time [4].

Realism developed after the Civil War in the United States, mirroring the nation’s struggles with rapid industrialization, urbanization, and social change. Writers such as Mark Twain, William Dean Howells, and Henry James introduced regional voices and explored class divisions and identity complexities [5]. Twain’s The Adventures of Huckleberry Finn exemplified American realism by blending vernacular speech with sharp critiques of societal norms [6].

Neo-Realism

By the mid-20th century, realism had evolved into neo-realism in response to World War II, consumerism, and existential anxieties. Italian neo-realism, seen in films like Roberto Rossellini’s Rome, Open City (1945) and Vittorio De Sica’s Bicycle Thieves (1948), portrayed the struggles of ordinary people, often using non-professional actors and natural settings to enhance authenticity [7]. These works profoundly influenced American artists.

In the U.S., neo-realism blended social commentary with innovative storytelling. Writers like John Steinbeck and Richard Wright explored themes of poverty, racism, and disillusionment. Steinbeck’s The Grapes of Wrath (1939) starkly depicted migrant workers during the Great Depression, while Wright’s Native Son (1940) confronted systemic racial injustices with urgency and political charge [8].

American neo-realism emerged in film after World War II. Directors such as Elia Kazan (On the Waterfront, 1954) and John Cassavetes (Shadows, 1959) employed naturalistic dialogue, gritty urban settings, and unpolished performances to capture modern anxieties, alienation, and moral ambiguity [9]. These works highlighted the struggles of everyday people while pushing the boundaries of narrative and visual storytelling.

Transcendental Realism

Transcendental realism may evolve from neo-realism in response to modern life’s alienation and materialism. It blends the grounded realities of daily life with spiritual and metaphysical themes. This movement addresses humanity’s yearning for meaning and connection in an increasingly secular, fast-paced world, mainly through the lens of the American experience. It critiques the fleeting gratification of digital media and action-driven content while exploring faith, introspection, and the unseen dimensions of existence [10].

Transcendental realism is a proposed literary genre that combines realism’s focus on everyday truths with a deeper exploration of spiritual and metaphysical concerns. It portrays the human condition as a dynamic interplay between material realities and unseen forces—such as faith, cultural identity, and the search for meaning—while critiquing modern alienation and materialism. The genre embraces themes of immigration, crime, multiculturalism, and the tensions of ethnocentrism within a globalized society.

Jimmy San exemplifies this movement by weaving spiritual elements into ordinary life and challenging modern storytelling trends, including shorter, action-driven narratives on digital platforms. His work explores a universal faith in the unseen world while exposing the subtle blasphemies embedded in cultural and religious traditions. Through layered and contemplative narratives, San provokes introspection and offers a profound exploration of the human experience [11].

Endnotes

1. Brookner, Anita. Realism in the 19th Century. Yale University Press, 1995.
2. Figes, Orlando. Natasha’s Dance: A Cultural History of Russia. Picador, 2002.
3. Uglow, Jennifer. George Eliot: The Novels and the Art of Realism. Penguin Books, 1987.
4. Levine, George. The Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley. University of Chicago Press, 1981.
5. Bell, Michael Davitt. The Problem of American Realism: Studies in the Cultural History of a Literary Idea. University of Chicago Press, 1993.
6. Twain, Mark. The Adventures of Huckleberry Finn. Charles L. Webster and Company, 1885.
7. Bondanella, Peter. Italian Cinema: From Neorealism to the Present. Continuum, 2001.
8. Steinbeck, John. The Grapes of Wrath. Viking Press, 1939.
9. Braudy, Leo. The World in a Frame: What We See in Films. University of Chicago Press, 2002.
10. Robinson, Richard. Neo-Realism and the Search for Spiritual Meaning. Routledge, 2017.
11. San, Jimmy. Explorations in American Neo-Realism and Spirituality. Independent Publication, 2022.