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This volume brings to the attention of contemporary readers a tradition of psychological thought that has received little attention over the last century. Psychology's history has been unimaginatively presented as a fight between behaviorists and mentalists. A third alternative, the New Realism, which cuts through that dichotomy, has been lost. "The New Realism" was indeed once new. This volume provides a glimpse of how this school of thought attempted to redefine the notion of mental processes, including consciousness, in psychological theorizing. Holt's rejected the nativity of iconoclastic Watsonian behaviorists, and thus the New Realism was thoughtful in ways that behaviorist social engineering was not. The implications of these innovations in psychological theorizing are traced from the beginning of the twentieth century to the contemporary period. The contributors provide these intellectual links, along with efforts to look at the relatedness of the human organism and its world. At their beginning, these ideas are embedded in a reverence for William James's work, particularly his later Radical Empiricism. In contemporary psychology, this legacy has given us the framework of ecological psychology as we know it today, and provides the basis for several modern critiques of cognitive psychology. The present volume opens the door for future historical inquiries. This is an exemplary addition to the series on the History of Psychological Ideas.
Introduction to New Realism provides an overview of the movement of contemporary thought named New Realism, by its creator and most celebrated practitioner, Maurizio Ferraris. Sharing significant concerns and features with Speculative Realism and Object Oriented Ontology, New Realism can be said to be one of the most prescient philosophical positions today. Its desire to overcome the postmodern antirealism of Kantian origin, and to reassert the importance of truth and objectivity in the name of a new Enlightenment, has had an enormous resonance both in Europe and in the US. Introduction to New Realism is the first volume dedicated to exposing this continental movement to an anglophone audience. Featuring a foreword by the eminent contemporary philosopher and leading exponent of Speculative Realism, Iain Hamilton Grant, the book begins by tracing the genesis of New Realism, and outlining its central theoretical tenets, before opening onto three distinct sections. The first, 'Negativity', is a critique of the postmodern idea that the world is constructed by our conceptual schemas, all the more so as we have entered the age of digitality and virtuality. The second thesis, 'positivity', proposes the fundamental ontological assertion of New Realism, namely that not only are there parts of reality that are independent of thought, but these parts are also able to act causally over thought and the human world. The third thesis, 'normativity,' applies New Realism to the sphere of the social world. Finally, an afterword written by two young scholars explains in more detail the relationship between New Realism and other forms of contemporary realism.
This volume brings to the attention of contemporary readers a tradition of psychological thought that has received little attention over the last century. Psychology’s history has been unimaginatively presented as a fight between behaviorists and mentalists. A third alternative, the New Realism, which cuts through that dichotomy, has been lost. "The New Realism" was indeed once new. This volume provides a glimpse of how this school of thought attempted to redefine the notion of mental processes, including consciousness, in psychological theorizing. Holt’s rejected the nativity of iconoclastic Watsonian behaviorists, and thus the New Realism was thoughtful in ways that behaviorist social engineering was not. The implications of these innovations in psychological theorizing are traced from the beginning of the twentieth century to the contemporary period. The contributors provide these intellectual links, along with efforts to look at the relatedness of the human organism and its world. At their beginning, these ideas are embedded in a reverence for William James’s work, particularly his later Radical Empiricism. In contemporary psychology, this legacy has given us the framework of ecological psychology as we know it today, and provides the basis for several modern critiques of cognitive psychology. The present volume opens the door for future historical inquiries. This is an exemplary addition to the series on the History of Psychological Ideas.
This book explores all aspects of an important scholarly debate that has widespread implications for the political world, including the making of foreign policy--i.e., a debate over whether the contemporary theory of the balance of power as presented by Kenneth Waltz is a scientifically acceptable theory. It allows readers to examine and analyze the different views (in their original form) by all those in the debate and to come to their own conclusions. An Introduction gives an overview of the debate, defines and clarifies in simple language some of the major concepts used in philosophy of science, sets the historical context of the debate, and explains why it is important for both international relations theory and foreign policy making. An editorial commentary for each article highlights areas of agreement and disagreement with the other authors. First presents the original articles in the initial debate with responses from several of the leading international relations theorists in the field--Kenneth Waltz, Thomas Christensen, Jack Snyder, Colin Elman, Miriam Fendius Elman, Randall Schweller, and Stephen Walt. Then features response from scholars who take differing methodological approaches and who have disparate views on realism and balancing of power (e.g., Jack S. Levy, Paul W. Schroeder, Bruce Bueno de Mesquita, Zeev Maoz, Richard Rosecrance, Charles L. Glaser, William C. Wohlforth, Michael Barnett). For anyone interested in the philosophical underpinnings of international relations.
The human figure made a spectacular return in visual art and literature in the 1920s. Following modernism's withdrawal, nonobjective painting gave way to realistic depictions of the body and experimental literary techniques were abandoned for novels with powerfully individuated characters. But the celebrated return of the human in the interwar years was not as straightforward as it may seem. In Realism after Modernism, Devin Fore challenges the widely accepted view that this period represented a return to traditional realist representation and its humanist postulates. Interwar realism, he argues, did not reinstate its nineteenth-century predecessor but invoked realism as a strategy of mimicry that anticipates postmodernist pastiche. Through close readings of a series of works by German artists and writers of the period, Fore investigates five artistic devices that were central to interwar realism. He analyzes Bauhaus polymath László Moholy-Nagy's use of linear perspective; three industrial novels riven by the conflict between the temporality of capital and that of labor; Brecht's socialist realist plays, which explore new dramaturgical principles for depicting a collective subject; a memoir by Carl Einstein that oscillates between recollection and self-erasure; and the idiom of physiognomy in the photomontages of John Heartfield. Fore's readings reveal that each of these "rehumanized" works in fact calls into question the very categories of the human upon which realist figuration is based. Paradoxically, even as the human seemed to make a triumphal return in the culture of the interwar period, the definition of the human and the integrity of the body were becoming more tenuous than ever before. Interwar realism did not hearken back to earlier artistic modes but posited new and unfamiliar syntaxes of aesthetic encounter, revealing the emergence of a human subject quite unlike anything that had come before.
The tradition of British realism has changed dramatically over the last 20 years, where films by directors such as Duane Hopkins, Joanna Hogg, Andrea Arnold, Shane Meadows and Clio Barnard have suggested a markedly poetic turn. This new realism rejects the instrumentalism and didacticism of filmmakers like Ken Loach in favour of lyrical and often ambiguous encounters with place, where the physical processes of lived experience interacts with the rhythms of everyday life. Taking these 5 filmmakers as case studies, this book seeks to explore in depth this new tradition of British cinema - and in the process, it reignites debates over realism that have concerned scholars for decades.
America today faces a world more complicated than ever before, but our politicians have failed to envision a foreign policy that addresses our greatest threats. Ethical Realism shows how the United States can successfully combine genuine morality with tough and practical common sense. By outlining core principles and a set of concrete proposals for tackling the terrorist threat and contend with Iran, Russia, the Middle East, and China, Anatol Lieven and John Hulsman show us how to strengthen our security, pursue our national interests, and restore American leadership in the world.
In assessing the current state of feminism and gender studies, whether on a theoretical or a practical level, it has become increasingly challenging to avoid the conclusion that these fields are in a state of disarray. Indeed, feminist and gender studies discussions are beset with persistent splits and disagreements. This reader suggests that returning to, and placing centre-stage, the role of philosophy, especially critical realist philosophy of science, is invaluable for efforts that seek to overcome or mitigate the uncertainty and acrimony that have resulted from this situation. In particular, it claims that the dialectical logic that runs through critical realist philosophy is ideally suited to advancing feminist and gender studies discussions about broad ontological and epistemological questions and considerations, intersectionality, and methodology, methods, and empirical research. By bringing together four new and eight existing writings this reader provides both a focal point for renewed discussions about the potential and actual contributions of critical realist philosophy to feminism and gender studies and a timely contribution to these discussions.
Realist Vision explores the claim to represent the world “as it is.” Peter Brooks takes a new look at the realist tradition and its intense interest in the visual. Discussing major English and French novels and paintings from the nineteenth and twentieth centuries, Brooks provides a lively and perceptive view of the realist project. Centering each chapter on a single novel or group of paintings, Brooks examines the “invention” of realism beginning with Balzac and Dickens, its apogee in the work of such as Flaubert, Eliot, and Zola, and its continuing force in James and modernists such as Woolf. He considers also the painting of Courbet, Manet, Caillebotte, Tissot, and Lucian Freud, and such recent phenomena as “photorealism” and “reality TV.”