The years of the Weimar Republic saw complex cultural change in Germany as well as political turmoil. Writing Weimar draws on the large amount of research done on the period since the 1980s in order to show how literary writers developed critical perspectives on the social and political issues of the time, and how those perspectives were related to longer-term developments in German culture which run beyond the watershed events of 1918 and 1933. Individual chapters discuss the dominant trends in (...) the poetry, the theatre, and the novel, as well as the literary representation of the city, of technology, and of the First World War. The book also sheds new light on one of the abiding mysteries of German culture in the 1920s: precisely what were the implications of the term Neue Sachlichkeit as it came to be applied to the cultural trends of the time? (shrink)

Critical realism, a philosophical framework originally developed by Roy Bhaskar in the 1970s, represents a relatively new approach to research generally and to nursing research in particular. This article explores the ontological and epistemological tenets of critical realism and examines the application of critical realist principles to nursing research and practice through a review of the literature. It is evident that few published nursing research studies have, as of yet, utilized critical realism as their paradigm of (...) choice. Both the strengths and limitations of the presentation and use of critical realism in these studies are discussed in this article. Given the varying degrees of success of the authors in explicating critical realism as a philosophical framework, the value of critical realism to the research study, and the ways in which usage of the critical realist framework influenced development of the study and interpretation of findings, it is evident that the quality of future publications espousing the use of critical realism must continue to be strengthened significantly. (shrink)

The Saga of Dharmapuri by O.V. Vijayan is a dystopian fantasy set in the imaginary country of Dharmapuri, which could be a depiction of India or any other newly independent country in the post-colonial era. Mikhail Bakhtin in his treatise Rabelais and his World justifies the use of Grotesque Realism, a literary trope that allows the author to move away from the conventions of propriety and decency to convey messages that are real and powerful nevertheless. Usually exaggeration and hyperbole (...) are key elements of this style. Through the centuries, literature has often been a medium through which contemporary concerns have been transmitted. This paper argues that O.V. Vijayan uses Grotesque Realism in his novel to depict the political, social and economic condition of India of the 1970s- specifically a country that was under emergency. Like all dystopian fables, The Saga of Dharmapuri has been prophetic in anticipating some of the social issues that we face even today. The paper aims at examining how Vijayan uses explicit language and scatological and sexual imagery so as to achieve this sense of realism within his novel. (shrink)

The concept of “magic realism” raises many problems, both theoretical and historical. I first encountered it in the context of American painting in the mid-1950s; at about the same time, Angle Flores published an influential article in which the term was applied to the work of Borges;1 but Alejo Carpentier’s conception of the real maravilloso at once seemed to offer a related or alternative conception, while his own work and that of Miguel Angel Asturias seemed to demand an enlargement (...) of its application.2 Finally, with the novels of Gabriel García Márquez in the 1960s, a whole new realm of magic realism opened up whose exact relations to preceding theory and novelistic practice remained undetermined. These conceptual problems emerge most clearly when one juxtaposes the notion of magic realism with competing or overlapping terms. In the beginning, for instance, it was not clear how it was to be distinguished from that vaster category generally simply called fantastic literature; at this point, what is presumably at issue is a certain type of narrative or representation to be distinguished from realism. Carpentier, however, explicitly staged his version as a more authentic Latin American realization of what in the more reified European context took the form of surrealism: his emphasis would seem to have been on a certain poetic transfiguration of the object world itself—not so much a fantastic narrative, then, as a metamorphosis in perception and in things perceived . In García Márquez, finally, these two tendencies seemed to achieve a new kind of synthesis—a transfigured object world in which fantastic events are also narrated. But at this point, the focus of the conception of magic realism would appear to have shifted to what must be called an anthropological perspective: magic realism now comes to be understood as a kind of narrative raw material derived essentially from peasant society, drawing in sophisticated ways on the world of village or even tribal myth. Recent debates, meanwhile, have complicated all this with yet a different kind of issue: namely, the problem of the political or mystificatory value, respectively, of such texts, many of which we owe to overtly left-wing revolutionary writers .3 In spite of these terminological complexities—which might be grounds for abandoning the concept altogether—it retains a strange seductiveness which I will try to explore further, adding to the confusion with reference points drawn from the work of Jacques Lacan and from Freud’s notion of the “uncanny,” and compounding it by an argument that magic realism is to be grasped as a possible alternative to the narrative logic of contemporary postmodernism.4 1. See Angel Flores, “Magical Realism in Spanish American Fiction,” Hispania 38 : 187-92.2. See Alejo Carpentier, “Prólogo” to his novel El Reino de este mundo ; the most useful survey of the debate remains Roberto Gonzalez Echeverria, “Carpentier y el realism magico,” in Otros Mundos, otros fuegos, ed. Donald Yates, Congreso International de Literature Iberoamericana 16 , pp. 221-31.3. See Angel Rama, La Novel en America Latina , and especially Carlos Blanco Aguinaga, De Mitólogos y novelistas , in particular the discussions of Gabriel García Márques and Alejo Carpentier.4. My own general frame of reference for “postmodernism” is outlined in my “Postmodernism; or, The Cultural Logic of Late Capitalism,” New Left Review 146 : 53-92. Frederic Jameson, William A. Lane Professor of Comparative Literature at Duke University, is the author of The Prison-House of Language and The Political Unconscious: Narrative as a Socially Symbolic Act. He is also a member of the editorial collective of Social Text. His previous contributions to Critical Inquiry are “The Symbolic Inference; or, Kenneth Burke and Ideological Analysis” and “Ideology and Symbolic Action”. (shrink)

Semantic realism can be characterised as the idea that scientific theories are truth-bearers, and that they are true or false in virtue of the world. This notion is often assumed, but rarely discussed in the literature. I examine how it fares in the context of the semantic view of theories and in connection with the literature on scientific representation. Making sense of semantic realism requires specifying the conditions of application of theoretical models, even for models that (...) are not actually used, which leads to several difficulties. My conclusion is that semantic realism is far more demanding than one would expect. Finally, I briefly examine some pragmatist alternatives. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

Despite the alarming drop in numbers of students studying science throughout the Western world today there is no more important subject in our time than science broadly construed, and these three books provide some of the reasons. Their diversity indicates the shape of the debates occurring about the scientist in Western culture, science's tortured philosophical realism and representation as troubled categories, and, most predictably, life on the screen in the age of the Internet.

The concept of alienation has taken firm root in the field of esthetics. One cannot say that its content is identical in everything one reads. Nonetheless, employment of this concept is always for the purpose, so to speak, of "clarification." It is often employed on the assumption that its use permits one to make clear whatever may be incomprehensible in the form and content of a work of art. It has become customary to have recourse to the concept of alienation (...) in esthetic analysis of modern foreign works of literature and art. As an example, we may cite the international discussion around the work of Franz Kafka, many participants in which hold that Kafka is a "product of alienation," "a prisoner of alienation," and that his work either expresses "his self-alienation" or involves depiction of the "consequences of alienation.". (shrink)

This dissertation aims to address literary texts written in English by diasporic writers of African descent in the context of trauma. Drawing on Michael Rothberg’s concept of “traumatic realism,” it seeks to question the Eurocentrism that marks cultural trauma studies and bring into focus the anxieties of home and (un)belonging as indicators of post-traumatic African cultures. The three analyzed works by Abdulrazak Gurnah, Chimamanda Ngozi Adichie, and Caryl Phillips are placed at the crossroads of cultures, beyond the victim/perpetrator dichotomy, (...) in order to construct new cartographies that question the history of colonial modernity. The spatiotemporal intricacies of postmemory in the texts problematize the “realism” of nationalist narratives and question the prefix “post” in “post-colonial” that claims a “working through” the ills of the past. Confronted with the detritus of the “real,” the African diaspora seeks to provide an ethical understanding of the past as it lays bare the far-reaching aftereffects of colonial and slave-holding enterprises on the daily lives of the displaced Africans. In “traumatic realist” terms, the writers negotiate the politics of space and race as they are constantly implicated as postgenerations of colonialism and slavery, while engaging contemporary readers ethically in the repercussions of a painful past. Several studies have addressed displacement as a traumatic aftereffect of colonialism and slavery. Yet, “traumatic realism” and its exploration of the overarching notion of “the implicated subject” by writers of African descent has not been given enough consideration. This dissertation follows a chronotopic (Bakhtin) line of investigation that realigns the dichotomous past and present, or the extreme and the everyday, as it draws on the intricacies of postmemory that bring forth the “lived” manifestations of the colonial discourse. Central to this study is the way in which the structures of nation-states, especially in Africa and/or Britain, continue to foster the forces of forgetting and separation that blight the realities of the displaced African subjects. Today, we bear witness to the growing numbers of refugees, exiles, and immigrants, particularly African ones, who are confronted with oppression, genocide, and racism between the structures of the nation-states in Africa and Europe. This context stresses the need to address pressing questions that highlight what Michael Rothberg refers to as “historical responsibility which engages other subjects, be they descendants or non-descendants of colonial violence, to bear responsible witness to the lasting aftereffects of the colonial and slaveholding pasts. The critical double bind of their representation of the past brings two issues to the fore: Although they need to provide a particularized documentation of the past, the writers resort to a non-competitive model that locates the violence inflicted on the displaced Africans side by side with those suffering from other forms of violence centered in the West. Keywords: African literature, trauma, realism, memory, diaspora, Abdulrazak Gurnah, Chimamanda Ngozi Adichie, Caryl Phillips. (shrink)

A study of the reception and utilization of realism in literature outside of Europe during and after the nineteenth century, the area and period of its prominence, grants us some insight into how theories, practices and cultures travel and change in the process. In particular, it allows us to see how realism has been relativized in such a way as to open up the possibilities of redefinition of the notion and practice and moving beyond them. For these (...) reasons I am undertaking a short survey in this paper of the transculturation, after Fernando Ortiz, of realism in Africa, tracing its genesis from the primary mode of the western novel form to its utilization in anticolonial resistance literature and transmogrification into the magical realism and postmodernism of postcolonial experimental writing. (shrink)

Even though there do seem to be moves towards interdisciplinary rapprochement in most of the essays collected here, I am not sure that the editor's goal of "breaking down the absoluteness of the relativist/antirealist positions of the literary camp and the objectivist/realist positions of the scientific one" is accomplished. Analytically inclined philosophers may well find it eye-opening to discover first hand what Levine details in his excellent essay: that the literary theorists proceed by assuming anti-realism to be the received (...) position and a commonsense starting position. Although there is talk about the problem of theoretical entities, only Livingston seems to be primarily concerned with this notion, treating the aesthetic object as a theoretical entity because of the radically differing interpretations typically proposed for a literary work. Most of the literary theorists' contributions seem to be concerned with the problems engendered by representative realism. Thus the early placement of Churchland's clear description of connectionism is apt. Rorty's observations in his short comment on Scholes, that contextual or holistic accounts of meaning such as those of Davidson and Derrida actually undercut anything interesting to be made of the connection between reality and representation, seem devastating to the presuppositions of the literary theorists. (shrink)

Theodor W. Adorno’s writings are often categorized as either political, aesthetic or critical. While all of these characteristics are legitimate, it is problematic to view Adorno from only one of these angles. In fact, many literary critics consider his thoughts about literature to be simple cultural criticism, i.e., something that leaves the realm of pure scholarship by defiling the argumentation with philosophy or politics. Political theorists and philosophers, on the other hand, often view his literary concerns as superfluous. It (...) is my thesis that Adorno’s way of thinking can only be adequately understood when these categories are not seen as mutually exclusive. In order to demonstrate this point, I will concentrate on his use of the term realism which can be seen as paradigmatic for this question. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pleasure and Pain in LiteratureOliver ConollyWhy do we enjoy the depiction, in imaginative literature, of situations that typically arouse negative emotions such as pity, sadness, and horror? One view, which aims to dissolve rather than solve the problem, is that we do not enjoy them at all. According to this theory—the pure pain theory—the problem does not arise in the first place. But the theory must explain why (...) we chose to undergo such painful experiences. Are we simply aesthetic masochists? The pure pleasure theory, by contrast, denies that there are any painful aspects to our experience of such literature. This theory must explain how we can take pure delight in the literary depiction of suffering. Are we simply aesthetic sadists? Lying between both extremes is the hybrid theory, which asserts that there are both painful and pleasant aspects of such experiences. The hybrid theory must specify which aspects of the experience are painful and which pleasant. In this paper a version of the hybrid theory is advanced and defended.IThe pure pleasure theory denies that we feel painful emotional identification with fictional characters. Why take this view? One reason is that it is a way of resolving the paradox of fiction, as formulated by Colin Radford.1 The paradox asserts that there is an inconsistency between the propositions that: (1) we have emotions for fictional characters, (2) we know that they do not exist, (3) it is irrational to have emotions for non-existent objects. Each proposition seems plausible, yet one must be false. Whilst most of the participants in the debate have attacked the notion that feelings for fictions are irrational, some have [End Page 305] denied that we have such feelings in the first place. One intuition guiding this denial is that the depiction of a fictional horrible event is likely to be less painful than the depiction of an identical but real event. In other words, the mere fictionality of an event is liable, by itself, to diminish the pain we are liable to feel at its depiction in comparison with a real event: I label this the fictionality gap. If the fictionality gap exists, it applies across the board, to the sufferings of Pip in Great Expectations as well as those of King Lear. The characters in those works are fictional, and so the lessening of the pain we feel at their fates must, if the fictionality gap holds, hold merely in virtue of the fact that they are fictional.It has often been noted—rather than argued, but this is question of impression rather than logic—that one would feel more affected were the stories real rather than fictional. The kinds of events depicted in King Lear—ugly struggles for power, the manipulation of the naïve, the impotence of the good, inconsolable grief—are not in themselves other-worldly, and can be imagined taking place in reality. However it is much more difficult to imagine King Lear in its full particularity taking place in the real world, given the theatricality of its form and language. In order to imagine King Lear as real, one would have to rob it of Shakespeare's poetry, which is other-worldly in its eloquence. French proponents of the Three Unities thought that theatre should aim at, among other things, verisimilitude, but never overcame the problem that the fact that characters in French theatre speak in rhyming couplets might detract from that verisimilitude, which it clearly does. This worry about the transplantability of King Lear into the real world appears to be less of a problem in relation to realist novels, which, as their appellation suggests, are easier to imagine taking place in the real world. Not only is the language used in realist novels less exalted than that used in tragedies, the situations such novels depict tend to be more likely to occur. Clearly, the realist novel is capable of depicting horrible or unpleasant events. About such novels, say, Madame Bovary, it seems to make sense to ask ourselves how we would feel about them if we read them as true stories.I would like however to question the very intelligibility of the... (shrink)

Originally published in the 1930s, these essays on realism, expressionism, and modernism in literature present Lukacs's side of the controversy among Marxist writers and critics now known as the Lukacs-Brecht debate. The book also includes an exchange of letters between Lukács, writing in exile in the Soviet Union, and the German Communist novelist, Anna Seghers, in which they discuss realism, the European literary heritage, and the situation of the artist in capitalist culture.

Hayden White and Jacques Rancière both drew on the account of the history of European literature offered by Erich Auerbach to construct their own theoretical treatments of historical and literary writing: White conceptualized the figure-fulfillment model, modernist realism, and figural realism, while Rancière critically commented on the undemocratic character of the writings of the Annales school and sought egalitarian moments in Western literature. I will examine White’s and Rancière’s readings of Auerbach and partially compare the two (...) theoretical endeavors. The purpose of this analysis will be, first, to critically compare some of the two authors’ proposals and, second, to include Rancière’s work into the English-language debate on historical theory. In bringing them together, I will primarily ask how White and Rancière have articulated the relationship between politics and historical and literary writing in their commentaries on Auerbach’s work. (shrink)

Great scholars in philosophy possess a keen analytical mind, excel in logical reasoning, and exhibit meticulous attention to detail. They rigorously define terms, avoiding ambiguities and errors. Originality and the willingness to challenge conventions are their hallmarks. They make significant contributions across various philosophical fields. They transparently address the exact aim of their research, and what it is not. Finally, they anticipate the impact of their theories on the current literature, and how such an impact should blossom across the (...) future generations. In this respect, great philosophers address open problems and propose big questions for the foreseeable research efforts of those who will follow. Mario Alai embodies the qualities of a great scholar in philosophy, and the various essays in this volume are an evidence to that. It is challenging to condense a lifetime of research in one book. However, the Editors of the present volume’s aim was to face this challenge, to make a collection dedicated to Mario Alai’s work not only possible but, as metaphysicians would say, actual. The book attempts to bring together the reflections of three different generations of scholars - i.e., mentors, colleagues, and students - on Alai’s thought. Viewed from this perspective, the extensive and valuable contributions that follow, crafted in honor of Mario Alai and his scholarly endeavors, come as no surprise. All the chapters focus on a theme that was very dear to the philosophical curiosity of Mario Alai. Moreover, in engaging with these different topics, the plethora of contributions gives us a sense of the work by Alai. To make sense of the different contributions as a unified enterprise, this volume is organized into three sections, which seek to gather writings that revolve around Mario’s most substantial contributions, while elucidating their contemporary significance in the global discourse. Moreover, it endeavors to offer precious insights into the origins and development of these contributions, as observed through Mario’s writings and responses. This represents a sort of closure of the theoretical circle, clearly showing how the work by Mario Alai has been appreciated through different generations, originating from his relation to his mentors, on the one hand, while also shedding new light on his students’ research interests, on the other. Editing such a wealth of material was, again, no small feat. Still, the taxonomy we have chosen for this book will assist readers in navigating the profound depths of Alai’s philosophical research. Consequently, the book is structured into the following three parts: 1. Realism in History of Philosophy, History of Science, and Metaphysics. 2. Scientific Realism. 3. Realism in Philosophy of Language, Epistemology, and Experimental Philosophy. Each contribution actively participates in a substantial conversation with Alai’s body of work, as a deep theoretical dialogue between the author and Mario. Consequently, it appeared fitting to let Alai conclude this conversation, with direct responses to these philosophy-provoking pieces in his honor. We shall refrain from further commentary on the works within this book and allow them to express their significance independently to appreciate the river of ideas flowing through Mario’s work1. Beyond their philosophical substance, they are a vivid testament to Alai’s enduring dedication and ongoing contributions, in different moments of his research life. (shrink)

This book demonstrates instead the writers' use of irony and allegory in struggling against the deceitfulness of their own texts.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Deeper Than Reason: Emotion and Its Role in Literature, Music, and ArtSusan FeaginDeeper Than Reason: Emotion and Its Role in Literature, Music, and Art, by Jenefer Robinson; 516 pp. Oxford: Clarendon Press, 2005, $35.00.Jenefer Robinson's lucid yet closely-argued book has four parts. The first part presents a theory of the emotions in general. The second part develops and defends the view that "some works of (...) class='Hi'>literature... need to be experienced emotionally if they are to be properly understood" (p. 3) and draws some implications for other arts. Part Three develops a new theory of expression, and Part Four examines the expression of emotion in and listeners' emotional responses to music. Robinson applies her theory of emotions and how they arise and are expressed in response to individual works of art throughout, and the extended discussions of Edith Wharton's The Reef and one of the intermezzi from Brahms's Opus 117 set are not to be missed.Robinson's use of psychological research to develop a philosophical theory of emotion is characteristic of an increasingly popular practice in the philosophy of mind. Her descriptions of this often highly technical literature are among the best with respect to accuracy and clarity. On most accounts, emotions are mental states; on Robinson's, they are mental processes. These processes are always initiated by "an automatic 'affective appraisal' [that] induces characteristic physiological and behavioral changes and is succeeded by... 'cognitive monitoring' of the situation" (p. 3). The appraisal is also referred to as a 'non-cognitive' appraisal, which may sound like an oxymoron. Robinson explains: these appraisals are non-cognitive "in the sense that they occur without any conscious deliberation or awareness, and that they do not involve any complex information processing" (p. 45; see also p. 59). Appraisals have a valence, positive or negative, sufficient to induce a characteristic pattern of physiological and (roughly, involuntary) behavioral responses, such as alterations in galvanic skin response and movements of facial muscles. These changes are succeeded by cognitive monitoring of the situation, resulting in conceptually more sophisticated assessments of one's initial response with respect to its suitability to the circumstances and in relation to one's beliefs. Thus, cognitive monitoring generates the more cognitively complex emotions, and here she is in agreement [End Page 420] with the "judgment theorists" (p. 90) that these emotions are individuated by cognitions. Robinson seeks a univocal account of emotions for humans and other sentient creatures, though with humans it is possible for a "complex cognition" to trigger the process that constitutes having an emotion and cognitive feedback may occur in general throughout the process in ways that are not possible for creatures lacking the relevant complex mental capacities (p. 93).The fact that complex cognitions can constitute the initial stage of an emotion makes it possible to respond emotionally to literature. As in emotional situations in real life, emotions are initiated by automatic affective appraisals that have to do with one's own wants and interests, calling our attention to something important in the novel, which may lay down its own memory system, linked with bodily feelings, which is then subject to cognitive appraisal and reappraisal. Cognitive reflection facilitates the understanding of narratives as well as characters, and with respect to the latter, she argues, deploys the same mental systems that are engaged in understanding people. Further, it is not merely the beliefs that one may acquire as a result of the process that is educational, but the process of emotional understanding itself (p. 155). Indeed, Robinson endorses the strong claim that for at least some novels, those that are part of the "Great Tradition" of nineteenth-century realistic British and American literature, it is necessary to experience them emotionally to understand them.Part Three exposits a theory of the expression of emotion simpliciter and then makes adjustments to it to build a theory of expression in art, taking advantage of Romantic theories of expression developed in the works of, for example, Collingwood. Reflection on ordinary expression allows an artist to clarify and articulate "what it is like to go through the emotion process," which may be revealed both in the... (shrink)

For a Ruthless Critique of All that Exists takes as its point of departure two profound and interrelated phenomena. The first is the pervasive sense of what Mark Fisher had called "capitalist realism", in which (to cite the famous expression variously attributed to Fredric Jameson and Slavoj Žižek) it is easier to imagine the end of the world than then end of capitalism. As Jameson in particular has noted, "perhaps this is due to some weakness in our imaginations," and (...) the attenuation of the imaginative function in cultural criticism has far-reaching implications for the organization and reformation of institutions more generally. This manifests itself as a waning of speculative or theoretical energy, which in turn leads to a general capitulation to the tyranny of "what is," the actually existing state of affairs, and the preemptive disavowal of alternative possibilities. Connected to this is the second phenomenon: the prevalent tendency in literary and cultural criticism over the past 30 or more years to eschew critical theory and even critique itself, while championing approaches to cultural study that emphasize surface reading, thin description, ordinary language philosophy, object-oriented ontology, and post-critique. Together these forms of anticritical and antitheoretical criticism have constituted a tendency that has in its various incarnations come to dominate the humanities and other areas of higher education in recent years. The latter has served to reinforce the former, and the result has been to align literary and cultural criticism with the broad-based forces of neoliberalism whose influence has so deleteriously transformed not only higher education but the whole of society at large. Robert T. Tally Jr. argues that, in order to counter these trends and empower the imagination, the time is ripe for "a ruthless critique of all that exists," to borrow a phrase from the young Marx. This book is intended as a provocation, at once a polemic and a call to action for cultural critics. (shrink)

In the framework of Japanese studies, the relationship between Buddhism and Japanese poetry has received very little academic consideration. The noticeable founded narrative forms and potent and substantial philosophical influence of classical Chinese writings have resulted in the image of China being recontextualized during the process of fantasy, development, and encounters on the part of Japanese writers or investigators, with the result that many distortions and mischaracterizations have occurred as a result of this process. This work employs a comparative method (...) that incorporates literature and philosophy to examine the poetry of Hagiwara Sakutarô (1886–1942). The comparative analysis is seen from the viewpoint of Naturalism's impact and the use of description in the development of Japanese contemporary poetry. This has led to several inaccurate depictions of the country. The image of China that is presented in Japanese literature is both a perception and an illusion that is produced when cultural knowledge and creative achievements are combined. This combination creates the image of China. In the article, an examination and classification of the depiction of China in Japanese literature is provided. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Temporal Registers in the Realist NovelIlya BernsteinIThere are two ways of thinking about time: in terms of sequences of events, and in terms of time-scales. In the first case, each event is conceived of as having a "before" and an "after": it is categorized as part of a sequence and distinguished from other events by its position in that sequence. In the second case, there is no "before" and (...) "after": events are conceived of as occupying different time-scales and distinguished from one another by being associated with durations of greater or lesser magnitude.1 Thus, the same situation may be categorized alternatively as an unfolding succession of events (event 1, event 2, event 3...) or as a progression of overlapping events on expanding time-scales (the second-event, the minute-event, the hour-event...). In what follows, I will argue that this distinction can shed light on narrative structure—as well as musical form—and that it has particularly interesting implications for literary realism.It may be claimed that this distinction between two ways of approaching time has been an explicit theme in the arts over the course of their history. Different musical forms, for instance, may be seen as being oriented toward one paradigm or the other. Thus, melody aesthetically suggests a sequential conception of time. Melodic forms are supposed to take listeners on a journey from point A to point B, by way of a succession of points in between. By contrast, a form such as the fugue addresses itself to discovering different degrees of density and intensity within the [End Page 173] same event, as it were. It adds layer upon layer, aesthetically dilating the event without moving away from it. The ideology of melody, we might say, thus leans toward a conception of time as a sequence, while the ideology of the fugue suggests a scaling notion of time.Echoes of the distinction between these two aesthetic alternatives may also be found in literature, as embodied in different approaches to narrative. Narrative, conceived of as a succession of episodes, suggests a sequential conception of time, oriented around a "before" and an "after." Yet within these parameters, a spectrum of tendencies may be identified. In some literary forms, the succession of episodes is organized to suggest the idea of a passage from one event to the next (Shakespearean drama, the realist novel), as the notions of "before" and "after" are projected onto ideas of past and future. In others, the succession of episodes represents the layer-by-layer assembly of some larger imaginative or conceptual construct (as is true, in different ways, of such texts as Plato's dialogues, the Divine Comedy, and any number of religious, philosophical, or allegorical narratives): "before" and "after" are interpreted not so much in terms of a past and a future, as in terms of premises and conclusions.Within this spectrum, the novel—and perhaps the realist novel in particular—would appear to be the literary form par excellence that embodies a sequential conception of time. It thematizes and dramatizes time's passage—the unknowability of the future and the irretrievability of the past—more exhaustively than any other narrative genre. Yet as I hope to show below, while the explicit themes of literary realism treat fictional events as a sequence (event 1, event 2, event 3...), its implicit organization is grounded in time-scales and directs readers' attention to differentiations among events taking place at different temporal registers (the sentence-event, the chapter-event, the novel-event...).III would like to begin exploring the theoretical distinction laid out above by going back to music and focusing on an empirical observation that has been made about a variety of musical forms. It has been pointed out that when people listen to a piece of music, they retain in their memory, at greater or lesser degrees of awareness, a certain segment of what they have just heard; this memory serves as a background for their perception of incoming sounds and as a frame of reference for their experience of them. Consequently, musical forms may be characterized, [End Page 174] compared, and distinguished from one another based... (shrink)

Provides a broad European and cross-cultural perspective on the theory and practice of literature and the Left over the past 50 years.

`Written with elegance and irony, the book is a searching enquiry into realism in the novel... ' Leon Edel.

In the contemporary epistemological debate on social reality, characterized by the crisis of post-modern theories and the emergence of new forms of realism, are there any approaches not acknowledging some specific ontological character to the construction of social objects? The question is apparently rhetorical, but the implication of this problem are not obvious. In the sociological literature the opposition between reality and construction is not clearly defined. Sometimes it is considered a dichotomy, in other situations the synthesis of (...) alternative theses in a dialectical horizon. The more systematic attempt considers reality and construction as analytical macro-dimensions where the relation between social ontology and epistemology operates. From this stance, the acknowledgement of the role of social construction in a wider realist horizon is the true overtaking of postmodern philosophy. If it is true that facts exist beyond representations, it is also true that representations themselves have a specific effect on reality, who continually re-structures itself around specific relations of emergent power. Stating that reality is socially constructed is an evident limit of postmodern theories. On the other hand, stating that only facts exist constitute an impoverishment of realism and its replacement in neo-positivism. Social phenomena are real because they are based on specific properties of the inter-subjective construction of social reality. This thesis represents the revitalization of an advanced, anti-positivistic realism and the definition of the specificity of social objects. The aim of this essay is to search for a specific place of construction within the development of realist social ontology. (shrink)

The third section considers the relevance of Levinas's work for reassessments of the realist novel through essays on Austen, Dickens, and George Eliot.

Metaphysics has had a long history of debate over its viability, and substantivity. This thesis explores issues connected to the realism question within the domain of metaphysics, ultimately aiming to defend a realist, substantive metaphysics by responding to so-called deflationary approaches, which have become prominent, and well supported within the recent metametaphysical and metaontological literature. To this end, I begin by examining the changing nature of the realism question. I argue that characterising realism and anti-realism (...) through theories of truth unduly places epistemology prior to ontology, and is unwarranted in assuming a non-neutrality between theories of truth and positions within the realism debate. I therefore propose a characterisation of realism and anti-realism understood through truthmaking. This produces a suitable working characterisation of realism that will be used within the remainder of this project. In the second section, I trace the historical influences upon current deflationary approaches to metaphysics, most prominently those of Carnap, and Putnam. I argue that Quine’s supposed attack on Carnap’s anti-metaphysical thought fails, and show how current deflationary thought, most prominently exhibited by Hirsch, came to focus on linguistically derived concerns over the substantivity of metaphysics. In the third section, I outline a number of issues for the deflationist, and defend the coherency and legitimacy of the unrestricted existential quantifier. Focusing on the linguistic aspect of deflationism, I argue that the conception of language that the deflationist relies upon lacks suitable empirical and theoretical support within linguistics and other related domains. Furthermore, I suggest that linguistic analysis in fact supports the claim that the quantifier carries no inherent restrictions. This restores our ability to suitably posit the unrestricted existential quantifier, as a quantifier wherein the domain is only restricted by metaphysically substantive restrictions. Through this, I argue that metaphysics is a substantive domain of discourse. Lastly, I sketch a positive account of how, under an empirically and theoretically justified conception of language, metaphysics can be coherently held to be a realist, substantive enterprise, contra claims that hold that the nature of language inherently prevents metaphysics being considered to be a substantive domain of discourse. (shrink)

The tenets of critical and social realism are well supported in the literature. However, researchers following a realist paradigm have concerns about the lack of methodical guidance for qualitative...

There are two distinct approaches to Bayesian modelling in cognitive science. Black-box approaches use Bayesian theory to model the relationship between the inputs and outputs of a cognitive system without reference to the mediating causal processes; while mechanistic approaches make claims about the neural mechanisms which generate the outputs from the inputs. This paper concerns the relationship between these two approaches. We argue that the dominant trend in the philosophical literature, which characterizes the relationship between black-box and mechanistic approaches (...) to Bayesian cognitive science in terms of the dichotomy between instrumentalism and realism, is misguided. We propose that the two distinctions are orthogonal: black-box and mechanistic approaches to Bayesian modelling can each be given either an instrumentalist or a realist interpretation. We argue that the current tendency to conflate black-box approaches with instrumentalism and mechanistic approaches with realism stems from unwarranted assumptions about the nature of scientific explanation, the ontological commitments of scientific theories, and the role of abstraction and idealization in scientific models. We challenge each of these assumptions to reframe the debates over Bayesian modelling in cognitive science. (shrink)

Historians of French politics, art, philosophy and literature have long known the tensions and fascinations of Louis XV's reign, the 1750s in particular. David Charlton's study comprehensively re-examines this period, from Rameau to Gluck and elucidates the long-term issues surrounding opera. Taking Rousseau's Le Devin du Village as one narrative centrepiece, Charlton investigates this opera's origins and influences in the 1740s and goes on to use past and present research to create a new structural model that explains the elements (...) of reform in Gluck's tragédies for Paris. Charlton's book opens many new perspectives on the musical practices and politics of the period, including the Querelle des Bouffons. It gives the first detailed account of intermezzi and opere buffe performed by Eustachio Bambini's troupe at the Paris Opéra from August 1752 to February 1754 and discusses Rameau's comedies Platée and Les Paladins and their origins. (shrink)