Acclaimed Israeli cartoonist Asaf Hanuka's weekly strips unfold an emotional autobiography full of humor and melancholy, wild imagination, and quiet desperation. Collected for the first time in English and including never-before-collected strips, The Realist delivers both honesty and whimsy from a master of his craft. With echoes of R. Crumb and Daniel Clowes, Hanuka moves readers with his depictions of everyday life, commenting on everything from marriage to technology to social activism through intimate moments of triumph and failure.
The Realist was a legendary satirical periodical that ran from 1958 to 2001 and published some of the most incendiary cartoons that ever appeared in an American magazine. The Realist Cartoons collects, for the first time, the best, the wittiest, and the most provocative drawings that appeared in its pages, including work by R. Crumb, Art Spiegelman, S. Clay Wilson, Jay Lynch, Trina Robbins, Mort Gerberg, Jay Kinney, Richard Guindon, Nicole Hollander, Skip Williamson, and many others.
The long-awaited third collection of the Eisner Award-winning series of New York Times bestselling cartoonist Asaf Hanuka’s one-page autobiographical weekly comics returns to captivate, inspire, and challenge readers. Through scenes both real and imagined, the acclaimed Israeli cartoonist examines the joys (and pitfalls) of parenting in a politically divisive world and the ongoing struggle to manifest art even as real life humor and pathos keeps getting in the way. The internationally acclaimed and Hugo Award-nominated cartoonist’s beautifully drawn stories about self, family, society, and everything in between conjure a deeply rich and unforgettable reading experience.
Honorable Mention, Barnard Hewitt Award from the American Society for Theater Research Explores the intersection and history of American literary realism and the performance of spiritual and racial embodiment. Recovering a series of ecstatic performances in late nineteenth- and early twentieth-century American realism, Realist Ecstasy travels from camp meetings to Native American ghost dances to storefront church revivals to explore realism’s relationship to spiritual experience. In her approach to realism as both an unruly archive of performance and a wide-ranging repertoire of media practices—including literature, photography, audio recording, and early film—Lindsay V. Reckson argues that the real was repetitively enacted and reenacted through bodily practice. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped construct and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities embedded in ecstatic performance: its production of new and immanent forms of being beside. Across her readings of Stephen Crane, James Weldon Johnson, and Nella Larsen, among others, Reckson triangulates secularism, realism, and racial formation in the post-Reconstruction moment. Realist Ecstasy shows how post-Reconstruction realist texts mobilized gestures—especially the gestures associated with religious ecstasy—to racialize secularism itself. Reckson offers us a distinctly new vision of American realism as a performative practice, a sustained account of how performance lives in and through literary archives, and a rich sense of how closely secularization and racialization were linked in Jim Crow America.
Unlike many other art books only give recipes for mixing colors or describe step-by-step painting techniques, *Color and Light* answers the questions that realist painters continually ask, such as: "What happens with sky colors at sunset?", "How do colors change with distance?", and "What makes a form look three-dimensional?" Author James Gurney draws on his experience as a plain-air painter and science illustrator to share a wealth of information about the realist painter's most fundamental tools: color and light. He bridges the gap between abstract theory and practical knowledge for traditional and digital artists of all levels of experience.
Douglas B. Rasmussen and Douglas J. Den Uyl maintain that a realist turn—namely, one in which the natural order is the basis for individual rights—is needed to bring about a proper understanding and defense of liberty. They argue that the critical character of individual rights results from their being tethered to metaphysical realism. After reprising their explanation and defense of natural rights, Rasmussen and Den Uyl explain metaphysical realism and defend it against neo-pragmatist objections. They show it to be a formidable and preferable alternative to epistemic constructivism and crucial for a suitable understanding of ideal theory.
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.
One of the most important Anglo-American philosophers of our time here joins the current philosophical debate about the nature of truth. William P. Alston formulates and defends a realist conception of truth, which he calls alethic realism (from "aletheia," Greek for truth). This idea holds that the truth value of a statement (belief or proposition) depends on whether what the statement is about is as the statement says it is. Michael Dummett and Hilary Putnam are two of the prominent and widely influential contemporary philosophers whose anti-realist ideas Alston attacks.
The Realist: Plug and Play continues the journey of Eisner-Award winning, husband, father, and ordinary Israeli citizen Asaf Hanuka (The Divine) as he plumbs the depths of human existence with humor and melancholy, imagination, and quiet desperation. This new volume of the series brings the mix of pathos and politics that makes Hanuka a modern master of cartooning.
