Nje veper e cila l ate cuditur dhe mahnitur kritiket nga Milano, Parisi, Londra dhe Gjermania. kjo eshte pergjigjia e europes drejtuar realizmit magjik latinoamerikan.

Symbolism and Realism were distinct but parallel literary movements that swept Europe and much of the world in the late 19th century. Social order was one of the main concerns of Symbolists and Realists, which reflects the unprecedented growth of the middle class and its values across Europe during that time period. Morality and ambition were homogenized – and, in some cases, institutionalized – to a degree never before seen in civilized society, and many intellectuals and artists saw this homogenization as a conformist social force that threatened individual perspective. Thus, Symbolists’ and Realists’ works lashed out against social institutions and values and were particularly concerned about the domestic sphere, because of its dependence on social norms and shaping effect on individual perceptions; were disturbed by the decaying effects of conformism; and were troubled by the disconnection between modern individuals. Moreover, Symbolists and Realists argue that these three themes of domesticity, decay, and disconnection are linked, a connection explored especially in the Symbolist Charles Baudelaire’s poem, “Spleen LXVIII” (1862), in the Realist Leo Tolstoy’s novella, The Death of Ivan Ilyich (1886), and in the Realist Anton Chekhov’s play, The Cherry Orchard (1903). Specifically, these authors argue that the various forms of modern domestic life lead to the ruination of substantial interpersonal connection. As long as one drowns in life’s tedium, asserts Baudelaire, the human experience and one’s connections with others decay. “Spleen LXVIII” describes a winter rain that pours “On corpses fading in the near graveyard, On foggy suburbs pours life’s tedium” (1550.II 3, 4), and, speaking of a ... ... middle of paper ... ...orms in one way or another destroy one’s connections with other human beings. Not only does such focus on forms defy the social nature of humanity, creating generations of socially approved outcasts, but also it severely restricts the individual’s perspective by forcing it to conform to preordained, rigid structures, thereby suffocating the blessing of human creativity. Such restriction does not belong to modern civilization alone, however; creativity never exists without limit, for every society upholds rules of conduct that its members are taught to obey. Therefore, contemporary conformity is not new but rather reborn and strengthened. Correspondingly, the task of the modern citizen is ancient, but difficult in its originality: to strike a balance between creativity and conformity, between pursuing our own diverse forms and following the accepted forms of society.

The main character of this Series is Greg Heffley. The new school year Greg Heffley finds himself thrust into middle school, where he undersized weaklings share the hallways with other kids who are taller than him, meaner and already shaving. The Hazards of growing up before you are ready are revealed through words and drawings as Greg records them in his diary. In book 1 of this series, Greg seems to be happy to have Rowley the best friend of Greg, his sidekick, along for the ride. But actually, when Rowley’s star starts to rise, Greg tries to use his best friend’s newfound popularity to his own advantage:), kicking off a chain of events which will test the friendship of them in the Ridiculous way. Jeff Kinney the author and the illustrator of this story recalls the growing pains which mostly occur during school life and he tries to introduce a new kind of hero who epitomizes the challenges of being a kid. As Greg Heffley says in his diary, “Just don’t expect me to be all ‘Dear Diary’ this and ‘Dear Diary’ that.” Luckily for us, what Greg Heffley said he would not do and what he actually does are two very different things.