Chinese, Mandarin

Spanish

English

Hindi

Arabic

Portuguese

Bengali

Russian

Japanese

Punjabi

German

Javanese

Malay

Telugu

Vietnamese

Korean

French

Marathi

Tamil

Urdu

Turkish

Italian

Chinese, Yue / Cantonese

Thai

Gujarati

Chinese, Jin

Chinese, Min Nan

Persian, Dari

Persian, Western

Polish

Pashto

Kannada

Chinese, Xiang

Malayalam

Sundanese

Hausa

Odia

Burmese

Chinese, Hakka

Ukrainian

Bihari, Bhojpuri

Tagalog

Yoruba

Bihari, Maithili

Uzbek

Sindhi

Amharic

Fula

Romanian

Oromo

Igbo

Azerbaijani

Chinese, Gan

Dutch

Kurdish, Central

Kurdish, Northern

Kurdish, Southern

Malagasy

Lahnda, Saraiki

Nepali

Sinhalese

Chittagonian

Zhuang

Khmer

Turkmen

Assamese

Madurese

Somali

Marwari

Bihari, Magahi

Haryanvi

Hungarian

Chhattisgarhi

Greek, Modern

Chewa

Dakhini

Akan, Twi

Akan, Fante

Kazakh

Chinese, Min Bei

Sylheti

Zulu

Czech

Kinyarwanda

Marwari, Dhundhari

Haitian Creole

Chinese, Min Dong

Ilocano

Quechua

Kirundi

Swedish

Hmong

Shona

Uyghur

Hiligaynon

Mossi

Xhosa

Belarusian

Balochi

World History 2

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	The industrial city was more than a place for people to live, work, and entertain themselves. It was also the subject of late nineteenth-century art and literature. Industrialization influenced the cultural creations of the time just as much as it did the methods of production and transportation.
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	The first significant cultural response to industrialization began in the late eighteenth and early nineteenth centuries with <OpenstaxTerm>romanticism</OpenstaxTerm>, an artistic movement that valued emotion and imagination and took as its subjects the themes of nature, the ordinary person, the exotic, the ancient, and the supernatural. Romantic writers and artists stressed the beauty and awe-inspiring power of nature and decried the effect that cities and industrial development had on people and the physical environment. William <OpenstaxTerm>Blake</OpenstaxTerm>’s description of England’s factories as “dark satanic mills” perfectly expressed the romantics’ attitude toward modern life.
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	Another important artistic and literary movement of the nineteenth century was <OpenstaxTerm>realism</OpenstaxTerm>. Realism focused on everyday life in the contemporary world instead of on the exotic, the ancient, and the faraway as romanticism had. Realists depicted life as it was, even if that meant presenting scenes of its uglier side, although some realist painters such as Rosa <OpenstaxTerm>Bonheur</OpenstaxTerm> and Jean-François <OpenstaxTerm>Millet</OpenstaxTerm> chose to depict life in the countryside and painted rural horse fairs, oxen straining at the plow, and men sowing fields. Modern cities and their inhabitants were the focus of many others such as John <OpenstaxTerm>Sloan</OpenstaxTerm> and George <OpenstaxTerm>Luks</OpenstaxTerm>, who portrayed the inside of barrooms and the teeming streets of working-class neighborhoods.
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	Writers also took the city as their subject. One of the greatest realist writers of the nineteenth century was <OpenstaxTerm>Britain</OpenstaxTerm>’s Charles <OpenstaxTerm>Dickens</OpenstaxTerm>. In his many and widely read novels, Dickens sympathetically depicted the hardscrabble lives of poor, working-class, and middle-class urban dwellers, setting scenes in foundling homes, prisons, impoverished neighborhoods, and dark city streets. Some critics charged him with being unrealistic in his depiction of the virtuous poor, but his portrayals (and his activism) helped raise awareness, especially of the plight of children, and bring about some social change. Other writers focused even more intently on the shabbier side of life. In <OpenstaxTerm>Russia</OpenstaxTerm>, novelist Fyodor <OpenstaxTerm>Dostoyevsky</OpenstaxTerm> described the streets of <OpenstaxTerm>St. Petersburg</OpenstaxTerm>, the rundown quarters in which the poor were condemned to live, and the cheap saloons in which they sought relief. Honoré de <OpenstaxTerm>Balzac</OpenstaxTerm> of France depicted the seedy side of life in French cities, often focusing on stories of crime. In <OpenstaxEm>Madame Bovary</OpenstaxEm>, another French novelist, Gustave <OpenstaxTerm>Flaubert</OpenstaxTerm>, wrote of a rural doctor’s young wife whose desire for consumer goods and urban pleasures leads to her ruin. American writer Kate <OpenstaxTerm>Chopin</OpenstaxTerm> also addressed the problem of <OpenstaxTerm>women</OpenstaxTerm> who felt stifled by married life and the social conventions of the time.
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	In the late nineteenth century, realism was joined and surpassed by <OpenstaxTerm>naturalism</OpenstaxTerm>, a style that featured detached and impersonal depictions of characters whose actions were molded by their environment in ways they often had no ability to control. The French novelist Émile <OpenstaxTerm>Zola</OpenstaxTerm> was the creator of naturalism, and his numerous works depict people trapped by their environment or their heredity into acting in ways for which they cannot be held fully responsible. For example, in <OpenstaxEm>Thérèse Raquin</OpenstaxEm>, Zola’s first naturalistic novel, which he published in installments in the magazine <OpenstaxEm>L’Artiste</OpenstaxEm> in 1867, the title character is an orphan forced by the woman who raised her to marry her sickly son, a man Thérèse does not love and eventually murders, with the help of a brutish man to whom she finds herself drawn by irresistible sexual impulses. Literary critics were shocked by <OpenstaxEm>Thérèse Raquin</OpenstaxEm>, as they also were by later works of naturalism, and decried it as immoral.
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	American readers were similarly shocked by <OpenstaxEm>McTeague</OpenstaxEm>, an 1899 novel by Frank <OpenstaxTerm>Norris</OpenstaxTerm>. In this story, McTeague, a dentist, marries Trina, with whom his friend was in love. McTeague’s friend works his revenge by destroying his dental practice, leading McTeague to run away after stealing money from Trina. When he returns, having spent all that he had stolen, Trina refuses to help him, and he beats her to death. He then runs from the law with his former friend in pursuit. The novel ends with McTeague stranded in the desert, handcuffed to the body of his friend, whom he has killed. In the world depicted in <OpenstaxEm>McTeagu</OpenstaxEm>e, people are greedy, faithless, and violent, and there is no escape from the horrors of life.
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10.2.3 Cultural Movements of the Second Industrial Revolution

1 Understanding the Past

1.1 Developing a Global Perspective

1.1.1 World History as Preparation for Life After College

1.1.2 World History and Global Citizenship

1.1.3 Features of This Textbook

1.2 Primary Sources

1.2.1 Learning to Evaluate Documents and Images

1.2.2 Documentary Sources: Competing Narratives

1.2.3 Textual Sources: The Importance of Language

1.2.4 Hidden in History

1.3 Causation and Interpretation in History

1.3.1 Levels of Causation

1.3.2 Interpretation in History

2 Exchange in East Asia and the Indian Ocean

2.1 India and International Connections

2.1.1 The Mughal Empire

2.1.2 The Sultanate of Gujarat

2.1.3 The Rise of the Maratha Empire

2.1.4 European Colonialism

2.2 The Malacca Sultanate

2.2.1 The Rise of the Malacca Sultanate

2.2.2 European Malacca

2.3 Exchange in East Asia

2.3.1 Japan

2.3.2 China’s Dynastic Exchanges

2.3.3 Korea and Its Neighbors

3 Early Modern Africa and the Wider World

3.1 The Roots of African Trade

3.1.1 Saharan Trade Routes

3.1.2 The Spread of Islam

3.1.3 The Mali Empire

3.2 The Songhai Empire

3.2.1 The Rise of Imperial Songhai

3.2.2 The Reign of Askia the Great

3.2.3 The Decline of Songhai

3.3 The Swahili Coast

3.3.1 The Rise of the Swahili City-States

3.3.2 Slavery on the Swahili Coast

3.3.3 The Contest for the Swahili Coast

3.4 The Trans-Saharan Slave Trade

3.4.1 The Role of Kanem-Bornu

3.4.2 The Arrival of Europeans

3.4.3 The Later Trans-Saharan Slave Trade

4 The Islamic World

4.1 A Connected Islamic World

4.1.1 Politics and Religion in the Ummah

4.1.2 Islamic Trade Networks

4.1.3 Technology in the Islamic World

4.2 The Ottoman Empire

4.2.1 Culture and Society

4.2.2 Expansion, Revolutions, and Reform

4.2.3 Science and Technology

4.3 The Safavid Empire

4.3.1 The Rise of the Safavid Empire

4.3.2 Establishing Shi‘ism as the State Religion

4.3.3 Safavid Government and Culture

5 Foundations of the Atlantic World

5.1 The Protestant Reformation

5.1.1 The Origins of the Protestant Reformation

5.1.2 Calvinists, Anabaptists, and Anglicans

5.1.3 The Catholic Reformation and the Wars of Religion

5.2 Crossing the Atlantic

5.2.1 The Rise of Maritime Nations

5.2.2 The Columbian Exchange

5.3 The Mercantilist Economy

5.3.1 The Rise of Mercantilism

5.3.2 Mercantilism and the Expansion of Empire

5.3.3 Mercantilism and Its Critics

5.4 The Atlantic Slave Trade

5.4.1 Slavery and the Triangular Trade

5.4.2 African and North American Slavery

5.4.3 The Economics of Slavery

6 Colonization and Economic Expansion

6.1 European Colonization in the Americas

6.1.1 Spain’s Encomienda System

6.1.2 English Settlements in North America

6.1.3 French and Dutch Settlements

6.2 The Rise of a Global Economy

6.2.1 The Seven Years’ War

6.2.2 British Influence in India

6.2.3 China’s Dominance in Trade

6.2.4 Colonial Resistance and Revolution

6.3 Capitalism and the First Industrial Revolution

6.3.1 From Mercantilism to Capitalism

6.3.2 Mechanization

6.3.3 Marxism

7 Revolutions in Europe and North America

7.1 The Enlightenment

7.1.1 The Authority of Reason

7.1.2 Natural Rights

7.1.3 Social Contract Theory

7.2 The Exchange of Ideas in the Public Sphere

7.2.1 Public Debate and Dissent

7.2.2 The Republic of Letters

7.2.3 Academies, Universities, and Intellectuals

7.3 Revolutions: America, France, and Haiti

7.3.1 The American Revolution

7.3.2 The French Revolution

7.3.3 The Haitian Revolution

Question	Answer
a literary style that emphasized realistic, detached, impersonal depictions of characters whose actions were molded by their environment in ways they often had no ability to control	naturalism
a literary and artistic style that realistically depicted everyday life in the contemporary world	realism
an artistic movement formed in response to the Industrial Revolution that prized emotion and imagination and took as its subjects the themes of nature, the ordinary person, the exotic, the ancient, and the supernatural	romanticism