A Comparative Study of Social Realism Movement in the Stories of "Cars for Five Cents" with "Twenty-Four Hours in Asleep and Awake"


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Rahimi M., Şahin M.

Journal of Comparative Literature Studies, cilt.18, sa.66, ss.1-13, 2024 (Hakemli Dergi)

  • Yayın Türü: Makale / Tam Makale
  • Cilt numarası: 18 Sayı: 66
  • Basım Tarihi: 2024
  • Dergi Adı: Journal of Comparative Literature Studies
  • Derginin Tarandığı İndeksler: Index Islamicus, Directory of Open Access Journals
  • Sayfa Sayıları: ss.1-13
  • Akdeniz Üniversitesi Adresli: Evet

Özet

It is evident that realism is the largest, most influential, and most comprehensive literary movement in the world. Schools and currents such as realism and social realism in contemporary fiction were popular in the late nineteenth century, with the beginning of novels and short stories in Turkish language (Turkey) and in the early twentieth century in Persian, in both Turkey and Iran. The tendency and interest of the writers of social realism in both languages was to reflect the unpleasant consequences of social, political, and cultural changes which emerged in their contemporary literature. Sabahattin Ali is one of the most prominent novelists and short story writers who is considered as one of the leaders of social realism after the establishment of Republic of Turkey. Samad Behrangi is also among the most famous and influential contemporary Iranian writers who have employed components of social realism in their works. This article is a comparative study of the works of the mentioned authors, the stories of "Cars for Five cents" by Sabahattin Ali with "Twenty-Four Hours in Asleep and Awake" by Samad Behrangi with the aim of recognizing differences and similarities among their works. The article is presented as a sample of this current and school through the analytical-descriptive method of the stories of Sabahattin Ali, Gholam Hossein Saedi and Samad Behrangi as storytellers of social realism.

Keywords: Social Realism, Contemporary Turkish and Iranian Fiction, Sabahattin Ali, Samad Behrangi