Philosophical realism has taken a number of different forms, each applied to different topics and set against different forms of idealism and subjectivism. Maurizio Ferraris's Manifesto of New Realism takes aim at postmodernism and hermeneutics, arguing against their emphasis on reality as constructed and interpreted. While acknowledging the value of these criticisms of traditional, dogmatic realism, Ferraris insists that the insights of postmodernism have reached a dead end. Calling for the discipline to turn its focus back to truth and the external world, Ferraris's manifesto—which sparked lively debate in Italy and beyond—offers a wiser realism with social and political relevance.
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.
Positive Realism could be seen as the "sequel" to Maurizio Ferraris' Manifesto of New Realism and Introduction to New Realism. The focus here is the other side of unamendability: a notion, described in his previous books, according to which reality is "unamendable", it cannot be corrected at will. This "resistance" of the real is what ultimately tells us that, in opposition to the claims of post-Kantian philosophy, the world is not a result of our conceptual work: if it were so, our power over reality would be much greater. Now, the often disappointing limits that the real sets against our expectations are also a resource: and this is the key point of the present book. Things exist, and therefore undoubtedly resist us, but in doing so they offer affordances, resources, opportunities. And that the greatest opportunity, which underlies all the other ones, is the fact that we share a world that is far from liquid: on the contrary, it provides the solid ground on which everything rests, starting from our happiness or unhappiness.
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.
A landmark book, “brilliant, thoughtful” (The Atlantic) and “raw and gorgeous” (LA Times), that fast-forwards the discussion of the central artistic issues of our time, from the bestselling author of The Thing About Life Is That One Day You'll Be Dead. Who owns ideas? How clear is the distinction between fiction and nonfiction? Has the velocity of digital culture rendered traditional modes obsolete? Exploring these and related questions, Shields orchestrates a chorus of voices, past and present, to reframe debates about the veracity of memoir and the relevance of the novel. He argues that our culture is obsessed with “reality,” precisely because we experience hardly any, and urgently calls for new forms that embody and convey the fractured nature of contemporary experience.
The neo-avant-garde of the 1950s, 60s and 70s, is due for a thoroughgoing reassessment. This collection of essays represents the first full-scale attempt to deal with the concept from an interdisciplinary standpoint. A number of essays in this book concentrate on fine art, particularly painting and sculpture, thereby adding significantly to the growing art historical literature in the field, but a number of the contributions also focus on poetry, performance, theatre, film, architecture and music. Given that there are also major essays here dealing with geographical blindspots in current neo-avant-garde studies, with thematic issues such as art’s entanglement with gender, mass culture and politics, with key neo-avant-garde publications, and with the purely theoretical problems attaching to the theorisation of the topic, this collection offers a multi-dimensional approach to the subject which is noticeably lacking elsewhere. Taken together these essays represent a consolidated attempt at re-thinking the ‘cultural logic’ of the immediate post-World War II period.
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.
As ever, but especially in our present age of raging post-truth unreality, we ought to heed Pope Benedict XVI's summons to "ask rather more carefully what 'the real' actually is." So-called "realism," when relegated to material tangibilities, can blind us-instead of binding us-to things as they are. "Are we not interested in the cosmos anymore?" Benedict asks. "Are we today really hopelessly huddled in our own little circle? Is it not important, precisely today, to pray with the whole of creation?" If this preeminent mind of our time is not wrong, and "the man who puts to one side the reality of God is a realist only in appearance," then we ought to ask with unflinching intensity and openness: what is real? Like liturgy, literature asks this question with a range of forms that answer it very differently. At times, both art and worship seem to devolve into the manners and mood of self-referential and inconsequential play, gestures without meaning, or "bank notes" (says Benedict) "without funds to cover them." These too-closed circles of communication wall off transcendence. In living cruciform liturgy-on the contrary-"the congregation does not offer its own thoughts or poetry but is taken out of itself and given the privilege of sharing in the cosmic song of praise of the cherubim and seraphim." In living contemplative literature something analogous happens: we suffer and praise with the whole of creation; the prose cultivates a grateful disposition, prompting us to yearn for a vision of the whole. But this manifesto on behalf of a "contemplative realism" makes no claims to create, ex nihilo, a new aesthetical species. Nor does it advance this rough school of literary fish as some preeminent or sole "way forward" for fiction in our time. Rather, it seeks to articulate a literary approach that exists already in diffuse books as well as in the potencies of living artists. It seeks to gather and galvanize those souls. More than anything, it yearns to quicken a contemplative realist disposition among as many comers as possible-literary chops or no. For, in a very bad way (to borrow from Josef Pieper), "man's ability to see is in decline."
By mid-2015, the Obama presidency will be entering its final stages, and the race among the successors in both parties will be well underway. And while experts have already formed a provisional understanding of the Obama administration's foreign policy goals, the shape of the "Obama Doctrine" is finally coming into full view. It has been consistently cautious since Obama was inaugurated in 2009, but recent events in the Middle East, Eastern Europe, and the Far East have led an increasingly large number of foreign policy experts to conclude that caution has transformed into weakness. In The Obama Doctrine, Colin Dueck analyzes and explains what the Obama Doctrine in foreign policy actually is, and maps out the competing visions on offer from the Republican Party. Dueck, a leading scholar of US foreign policy, contends it is now becoming clear that Obama's policy of international retrenchment is in large part a function of his emphasis on achieving domestic policy goals. There have been some successes in the approach, but there have also been costs. For instance, much of the world no longer trusts the US to exert its will in international politics, and America's adversaries overseas have asserted themselves with increasing frequency. The Republican Party will target these perceived weaknesses in the 2016 presidential campaign and develop competing counter-doctrines in the process. Dueck explains that within the Republican Party, there are two basic impulses vying with each other: neo-isolationism and forceful internationalism. Dueck subdivides each impulse into the specific agenda of the various factions within the party: Tea Party nationalism, neoconservatism, conservative internationalism, and neo-isolationism. He favors a realistic but forceful US internationalism, and sees the willingness to disengage from the world by some elements of the party as dangerous. After dissecting the various strands, he articulates an agenda of forward-leaning American realism--that is, a policy in which the US engages with the world and is willing to use threats of force for realist ends. The Obama Doctrine not only provides a sharp appraisal of foreign policy in the Obama era; it lays out an alternative approach to marshaling American power that will help shape the foreign policy debate in the run-up to the 2016 elections.
