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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.
Forfatterens mål med denne bog er: 1) Analyse af de gældende teorier for international politik og hvad der heri er lagt størst vægt på. 2) Konstruktion af en teori for international politik som kan kan råde bod på de mangler, der er i de nu gældende. 3) Afprøvning af den rekonstruerede teori på faktiske hændelsesforløb.
Realism has not only shaped important schools and periods in literary history, but has also been a fundamental constant of all literature, its first theoretical formulation being the principle of mimesis in Aristotle's Poetics. Realism can be considered by extension one of the main aspects of literary theory, the aims of which must be to define its concepts clearly and to neutralize the imprecision, polysemy, and ambiguity that often characterized the application of realism.
In The Atlantic Realists, intellectual historian Matthew Specter offers a boldly revisionist interpretation of "realism," a prevalent stance in post-WWII US foreign policy and public discourse and the dominant international relations theory during the Cold War. Challenging the common view of realism as a set of universally binding truths about international affairs, Specter argues that its major features emerged from a century-long dialogue between American and German intellectuals beginning in the late nineteenth century. Specter uncovers an "Atlantic realist" tradition of reflection on the prerogatives of empire and the nature of power politics conditioned by fin de siècle imperial competition, two world wars, the Holocaust, and the Cold War. Focusing on key figures in the evolution of realist thought, including Carl Schmitt, Hans Morgenthau, and Wilhelm Grewe, this book traces the development of the realist worldview over a century, dismantling myths about the national interest, Realpolitik, and the "art" of statesmanship.
1. The realist tradition
Dave has the usual adolescent problems, mitigated by the consoling company of his cat. Recounted with humor and a realistic teenage voice, this Newbery Award winner unfolds amid the excitement of 1960s New York City. "Superb." — The New York Times.
Structural realism has rapidly gained in popularity in recent years, but it has splintered into many distinct denominations, often underpinned by diverse motivations. There is, no monolithic position known as ‘structural realism,’ but there is a general convergence on the idea that a central role is to be played by relational aspects over object-based aspects of ontology. What becomes of causality in a world without fundamental objects? In this book, the foremost authorities on structural realism attempt to answer this and related questions: ‘what is structure?’ and ‘what is an object?’ Also featured are the most recent advances in structural realism, including the intersection of mathematical structuralism and structural realism, and the latest treatments of laws and modality in the context of structural realism. The book will be of interest to philosophers of science, philosophers of physics, metaphysicians, and those interested in foundational aspects of science.
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.
This is the story of a youngster who is entrusted to the household of a member of the Santiago elite. While living there he falls in love with his guardian's daughter, and their love provides a commentary about the mores of Chilean society.