Regionalism and Local Color Fiction

 

local color literature

Feb 23,  · Local color, also known as regional fiction, is a kind of writing that focuses primarily on the specific features unique to a particular region such as the customs, dialect and topography. Regionalism and Local Color Fiction Here’s a link for more. Local color definition is - the presentation of the features and peculiarities of a particular locality and its inhabitants in writing. How to use local color in a sentence. the presentation of the features and peculiarities of a particular locality and its inhabitants in writing See the full definition. Local colour, style of writing derived from the presentation of the features and peculiarities of a particular locality and its inhabitants. Although the term local colour can be applied to any type of writing, it is used almost exclusively to describe a kind of American literature that in its.


Local colour | American literature | damselrsa.gq


Local color or regional literature is fiction and poetry that focuses on the characters, dialect, customs, topography, and other features particular to a specific region. Local color literature by Southwestern and Down East humor, between the Civil War and the end of the nineteenth century this mode of writing became dominant in American literature. According to the Oxford Companion to American Literature, "In local color literature literature one finds the dual influence of romanticism and realism, since the author frequently looks away from ordinary life to distant lands, strange customs, or exotic scenes, but retains through minute detail a sense of fidelity and accuracy of local color literature Its weaknesses may include nostalgia or sentimentality.

Its customary form is the sketch or short story, although Hamlin Garland argued for the novel of local color. Regional literature incorporates the broader concept of sectional differences, although in Writing Out of Place, local color literature, Judith Fetterley and Marjorie Pryse have argued convincingly that the distinguishing characteristic that separates "local color" writers from "regional" writers is instead the exploitation of and condescension toward their subjects that the local color writers demonstrate.

One definition of the difference between realism and local color is Eric Sundquist's: "Economic or political power can itself be seen to be definitive of a realist aesthetic, in that those in power say, white urban males have been more often judged 'realists,' while those removed from the seats of power say, Midwesterners, blacks, immigrants, or women have been categorized as regionalists.

According to Brodhead, "regionalism's representation of vernacular cultures as enclaves of local color literature insulated from larger cultural contact is palpably a fiction. Kaplan adds that local color's "urban middle-class readership. In chronicling the nation's stories about its regions and mythical origins, local color fiction through its presence--and, later, its absence--contributed to the narrative of unified nationhood that late nineteenth-century America sought to construct.

More recently, Bill Brown and Brad Evans have called attention to the nature of the aesthetic experience through material culture that regionalism offers. Jewett's novel. What ideas are embedded in things? How does the narrator gain access to them?

What sort of staging is involved local color literature this object-based epistemology? How does Jewett's fiction dramatize the work involved in determining the value of material objects not in culture but for culture, for an apprehension of culture? Local color literature about Howells's The Coast of Bohemia in Before CulturesEvans disputes the "nostalgia" hypothesis for regionalism and contends that "what one sees in local-color fiction of the s is not at all the assertion of integrated stasis and purity that one might imagine for it--a last gasp, as it were, for a preindustrial past--but the assertion by artists, publishing houses, local color literature, and perhaps even readers, of a rather hip participation in the dislocating, tangled complexity local color literature the chic.

Indeed, by the late s, local color literature, the status of local color had shifted increasingly toward the aesthetic, just as the objects collected by anthropologists became poised to fuel modernist primitivism" A variation of local color literature genre is the "plantation tradition" fiction of Thomas Nelson Page and others. Much current criticism now reads both 19th- and 20th-century regionalism as always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.

In addition, many critics now focus on "critical regionalism," a term derived from architecture and associated with Neil Campbell's book The Rhizomatic West Critical regionalism therefore is not a synonym for transnational analysis but a method of critical or global study attuned both the comparative big picture analyses and linked to the deep local.

Setting: The emphasis is frequently on nature and the limitations it imposes; settings are frequently remote and inaccessible. The setting is integral to the story and may sometimes become a character in itself.

Characters : Local color stories tend to be concerned with the character of the district or region rather than with the individual: characters may become character types, sometimes quaint or stereotypical. The characters are marked by their adherence to the old ways, local color literature, by dialect, and by particular personality traits central to the region.

In women's local color fiction, the heroines are often unmarried women or young girls, local color literature. Narrator : The narrator is typically an educated observer from the world beyond who learns something from the characters while preserving a sometimes sympathetic, sometimes ironic distance from them. The narrator serves as mediator between the rural folk of the tale and the urban audience to whom the tale is directed.

It has been said that "nothing happens" in local color stories by women authors, and often very little does happen. Stories may local color literature lots of storytelling and revolve around the community and its rituals. Themes: Many local color stories share an antipathy to change and a certain degree of nostalgia for an always-past golden age.

A celebration of community and acceptance in the face of adversity characterizes women's local color fiction. Thematic tension or conflict between urban ways and old-fashioned rural values is often symbolized by the intrusion of an outsider or interloper who seeks something from the community. In Together by AccidentStephanie C. Palmer identifies the "motif of the travel accident" as characteristic of local color: it "requires a distressing or surprising event that occurs to a character in transit.

It must shift the grounds of sociability in the text, so that the traveling character is obliged to rely on locals to a greater and more humiliating degree. A travel accident challenges a traveler's identity, independence, or power.

A travel accident also changes the relationship between the traveling character who becomes a thwarted traveler and the implied reader. If an accident occurs, local color literature, the reader is encouraged to question the character's virtue. In this way, the motif or device also becomes a historical allegory of the different social groups and their competing claims over American space" New England. Picture courtesy of Carole Gerten-Jackson. Mary N. Edward Eggleston E. Use of local color literature to establish credibility and authenticity of regional characters.

Use of detailed description, especially of small, seemingly insignificant details central to an understanding of the region. Frequent use of a frame story in which the narrator hears some tale of the region, local color literature.

Prominent African-American writers such as Charles W. Chesnutt and Frances E. Harper demythologize and satirize portions of the "plantation tradition" in their works. Donna M, local color literature. Charles Crow Note: The information on this page has been copied verbatim on other web sites, often without attribution, but this is the originating site. To cite this page on a Works Cited page according to current MLA guidelinessupply the correct dates and use the suggested format below.

Campbell, Donna M. Date of publication or most recent update listed above as the "last modified" date; you don't need to indicate the time. Date you accessed the page. About this site.

 

Local Color | Definition of Local Color by Merriam-Webster

 

local color literature

 

Local color definition is - the presentation of the features and peculiarities of a particular locality and its inhabitants in writing. How to use local color in a sentence. the presentation of the features and peculiarities of a particular locality and its inhabitants in writing See the full definition. Feb 23,  · Local color, also known as regional fiction, is a kind of writing that focuses primarily on the specific features unique to a particular region such as the customs, dialect and topography. Regionalism and Local Color Fiction Here’s a link for more. American literary regionalism or local color is a style or genre of writing in the United States that gained popularity in the mid to late 19th century into the early 20th century. In this style of writing, which includes both poetry and prose, the setting is particularly important and writers often emphasize specific features such as dialect, customs, history, and landscape, of a particular.