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Originally published in 1954, Creative Realism: A New Method of Winning provides a simple process of self-hypnosis whereby you can free the mind from its fragmentation in the subconscious. Dr. Rolf Alexander theorizes that we are all hypnotized to a considerable degree by what has happened to or around us in our lives. Assigning many of our personality troubles on “hypnosis-without-a-hypnotist,” he offers a method which he calls ‘self-realization,’ and which is used to dehypnotize ourselves. The use of this method is urged as a preliminary to the administering of autosuggestion, and provides an antidote to remaining in a suggestible trance to some extent after the use of autohypnosis. Dr. Rolf Alexander devoted himself to a lifelong program of private research and experimentation, and following extensive worldwide travel and the meticulous investigation of many little-known systems, he discovered the new and revolutionary philosophy named ‘Creative Realism,’ which this book outlines.
The Space that Separates: A Realist Theory of Art radically challenges our assumptions about what art is, what art does, who is doing it, and why it matters. Rejecting the modernist and market-driven misconception that art is only what artists do, Wilson instead presents a realist case for living artfully. Art is defined as the skilled practice of giving shareable form to our experiences of being-in-relation with the real; that is to say, the causally generative domain of the world that extends beyond our direct observation, comprising relations, structures, mechanisms, possibilities, powers, processes, systems, forces, values, ways of being. In communicating such aesthetic experience we behold life’s betweenness – "the space that separates", so coming to know ourselves as connected. Providing the first dedicated and comprehensive account of art and aesthetics from a critical realist perspective – Aesthetic Critical Realism (ACR), Wilson argues for a profound paradigm shift in how we understand and care for culture in terms of our system(s) of value recognition. Fortunately, we have just the right tool to help us achieve this transformation – and it’s called art. Offering novel explanatory accounts of art, aesthetic experience, value, play, culture, creativity, artistic truth and beauty, this book will appeal to a wide audience of students and scholars of art, aesthetics, human development, philosophy and critical realism, as well as cultural practitioners and policy-makers.
First Published in 2008. Now acknowledged as a classic in the philosophy of science, A Realist Theory of Science is one of the very few books which has transformed not only our understanding of science, but that of the nature of the world it studies. Since its original publication in 1975, the book has inspired the multi-disciplinary and international movement of thought known as "critical realism"; and its ideas have been influential across the whole spectrum of the sciences, arts and humanities and in a diverse array of social practices and professions. In this book, Roy Bhaskar sets out to revindicate ontology, critiquing the reduction of being in favor of knowledge, which he calls the "epistemic fallacy". Employing a transcendental argument from the nature of experimental activity, he establishes a critique of the dominant positivist and neo-Kantian traditions in the philosophy of science, developing a new ontology in which concepts of structure, difference and change come to the fore. Then, analyzing the nature of scientific discovery and development, he shows how, against both the empiricist and rationalist traditions, science can come to have a posteriori knowledge of natural necessity. The resultant position, which the author characterizes as transcendental realism, has the power to resolve many traditional philosophical problems, such as the problem of induction. At the same time it lays the basis for radically new accounts of social science, ethics and the project of human emancipation. A new introduction to this edition by Mervyn Hartwig decribes the significance of A Realist Theory of Science throughout the humanities world, and offers an expert critique of its content.
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In this 1996 book Roger Spegele argues that in the past international theorists have failed to recognise that there is not one conception of international relations, subdivided into different theories and approaches, but at least three wholly different conceptions of the subject. Though scholars are increasingly prepared to accept this, there is still no consensus about what to call these conceptions, how to describe them, and why they should be studied. This book attempts to fill this gap. The author first examines two conceptions of IR - positivism-empiricism and emancipatory international relations - which challenge political realism. He then defends a revised version of realism, called 'evaluative political realism', from challenges arising from its rivals, with the aim of defining a conception of political realism which is coherent, viable, and attractive.
This book fills a gap in the literature of 21st century international visual arts education by providing a structured approach to understanding the benefits of Philosophical Realism in art education, an approach that has received little international attention until now. The framework as presented provides a powerful interface between research and practical reconceptualisations of critical issues and practice in the domains of art, design, and education that involve implications for curriculum in visual arts, teaching and learning, cognitive development, and creativity. The book extends understanding of Philosophical Realism in its practical application to teaching practice in visual arts in the way it relates to the fields of art, design, and education. Researchers, teacher educators and specialist art teachers are informed about how Philosophical Realism provides insights into art, design, and education. These insights vary from clearer knowledge about art to the examination of beliefs and assumptions about the art object. Readers learn how cognitive reflection, and social and practical reasoning in the classroom help cultivate students’ artistic performances, and understand how constraints function in students’ reasoning at different ages/stages of education.
The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Realist Film Theory and Bicycle Thieves offers a concise introduction to realist film theory in jargon-free language and shows how this theory can be deployed to interpret Vittorio De Sica's 1948 Italian neo realist masterpiece Bicycle Thieves. Hilary Neroni explores the original realist film theorists from the 1940s: André Bazin, Siegfried Kracauer, and Cesare Zavattini, among others. But rather than seeing realist film theory as simply a theory of the past to be moved beyond, the book argues that the prevalence of realism in many different forms within practice and theory suggests the importance of updating this original realist film theory with an understanding of realism that would sustain its viability. Throughout the book, Neroni analyzes neorealist film movements-such as Italian Neorealism, Parallel Cinema of India, and the Iranian New Wave-that challenge mainstream realism with a more radical form that exposes the social order instead of hiding it. Her in-depth investigation of Bicycle Thieves provides a realist methodology that reveals the radicality of its combination of realist techniques, a melodramatic story, and humanist values.