This paper argues that Cora Diamond's interpretation of Wittgenstein's early and later work, and her specific attempts to apply it in religious and ethical contexts, show a willingness to sacrifice elements of Wittgenstein's signature concepts to the demands of what she calls his 'realistic spirit'. The paper also argues that this willingness relates her project to a certain understanding of modernism in the arts.

This paper argues that Cora Diamond's interpretation of Wittgenstein's early and later work, and her specific attempts to apply it in religious and ethical contexts, show a willingness to sacrifice elements of Wittgenstein's signature concepts to the demands of what she calls his 'realistic spirit'. The paper also argues that this willingness relates her project to a certain understanding of modernism in the arts.

MORAL COMMITMENT OF THE REALISTIC, MODERNIST AND POSTMODERN NOVEL S u m m a r y The present paper discusses moral ideas expressed in the contemporary novel of the realistic, modernist and postmodern conventions. More precisely, it tries to define how the poetics of a given convention determines the novel’s ethical thought. It is argued that both the modernist and postmodern fiction, which are often perceived as amoral or relativist, are morally committed, though perhaps not as much (...) as the realistic convention. The shape of this moral commitment is consistent with the dominant of each convention (epistemological in modernism and ontological in postmodernism). These theoretical considerations are subsequently illustrated with three case studies of Virginia Woolf’s novels (each of which represents a different convention). Throughout the whole essay the emphasis falls on the meaning of the novelistic form, i.e. on the way that the novel’s form conveys the novel’s interpretation of reality. (shrink)

Philosophers writing on J. M. Coetzee’s literary project have described it as “realist-modernist”. This is due to a combination of the prose’s stylistic features and more substantial issues developed in his novels. Coetzee’s prose is extremely sober, compact, dry, and overtly self-conscious; it contains his reflections on features of the prose itself and on the historic-literary conflict between realism and modernism in the modern novel. In this paper, I discuss the relevance of Coetzee’s use of the split page (...) in Diary of a Bad Year, focusing on its role in undermining “ersatz ethical thought”, and develop a model for explaining Coetzee’s realist modernism. This model is situated within a broader, self-critical project that traces the significance of my analysis for the form of philosophical discourse. (shrink)

Sheehan deals with relatively recent authors—Conrad, D. H. Lawrence, Virginia Woolf, Beckett. He is critical of humanism, by which he seems to understand a kind of anthropocentric and limitative image of human beings, imposed on the public by narrative, among other things. As against this, he is setting the animal, the mechanical, and the transcendental, but the definition of the latter is, to say the least, bizarre—“the ability to evade compromise and contingency”. Reformulating narrativity is, according to Sheehan, the best (...) attempt or search by the moderns to define a new kind of human. His whole project is, to put it bluntly, rather confused. There are some intelligent and original commentaries on Schopenhauer, for instance but Sheehan soon falls back under the spell of Michel Foucault, Edward Said, and Terry Eagleton and seems to contribute rather few original comments to the discussion. In a word, this is a good example of how the interface philosophy/literature ought not to be visited. (shrink)

This article is about a period of technology transfer – the late 1910s and 1920s – when wartime aerial reconnaissance techniques and operations were being adapted to a range of civilian uses, including urban planning, land use analysis, traffic control, tax equalization, and even archaeology. At the center of the discussion is the ‘photomosaic’: a patchwork of overlapping aerial photographs that have been rectified and fit together so as to form a continuous survey of a territory. Initially developed during the (...) First World War to provide coverage of fronts, photomosaic mapping was widely practiced and celebrated during the postwar years as an aid to urban development. The article traces both the refinements in photomosaic technology after the Armistice and the rhetorical means by which the form’s avant-garde wartime reputation was domesticated into an ‘applied realism’ that often effaced its site-specific perspective, its elaborately rectified optics, and the oppositionality of both its military and civilian uses. The article has a broader theoretical aim as well. Classic statements of both structuralist and post-structuralist spatial theory (Barthes and de Certeau are the primary examples here) have produced an ossified geometry wherein the vertical is the axis of paradigm, top-down strategy, and manipulative distance and the horizontal the axis of syntagm, grassroots tactics, and resistant proximities and differences. In its close study of the technology and rhetoric surrounding interwar photogrammetry, the article provides an example of how one might reverse the long-standing misrecognition of high-altitude optics as effacing time, difference, and materiality – and what it might mean to view such optics as, instead, a resource in turning from abstract toward differential conceptions of both aerial photography and our theoretical habits. This turn I call ‘applied modernism’, a term that accesses both the wartime photomosaic’s affiliation with avant-garde painting and its insistence that portraits of the total are always projections from partial, specific vantages. (shrink)

Introduction. Modernism as a culture -- Culture and cognition -- Culture, mythology, politics -- Culture, community, cartography -- Cultural spaces and their travelers -- The toponymical labyrinth of Russian modernist culture. Early Russian modernism and its "isms" ; The Russian domestication of the term Modernism ; New names, old problems ; Politics and cultural toponymy ; Naming the field -- The errant compass rose of Russian modernist studies. Realism as a cardinal direction ; Tradition and innovation as (...) cardinal directions -- Russian modernism in time and space. The myth of 1917 ; Culture and border patrol ; Putting late Russian modernism on the map ; Chronologies of Russian modernism -- Navigating Russia's cultures of modernity. The intelligentsia and the two avant-gardes ; The two avant-gardes and mass culture -- Russian modernism in the cultural market. The economics of Russian cultural modernity ; The formalist writer-type and the evolving institution of authorship ; The political economy of Russian modernism -- Conclusion. (shrink)

The promise of a new cultural periodization:Realism, Modernism, PostmodernismThis article discusses the problem of a possibility of finding a comprehensive narrative encompassing the entire course of history and forming an interpretive framework for cultural studies. The author presents Fredric Jameson’s original concept of the history of aesthetic forms: realism, modernism, postmodernism and argues that if offers a promising interpretative framework for Polish studies.

This book locates the paradoxical process of collecting (as an activity that necessarily involves displacement and dispersal) in the ways nineteenth- and twentieth-century German-language literature (and in one case, cinema) attempts to represent ephemeral, discarded, and trivial things.

Political realists have argued that ‘the political’ is an autonomous domain with its own distinctive concepts, distinctive methodology, and distinctive ‘source of normativity’. I here explore the metanormative commitments of realism (of the radical realist branch, in particular) and question the viability of exploring the ontology of the normative altogether. I argue that the escape into the metanormative realm was something of a wrong turn within the realism debates – an intellectual error. My central argument, building on recent (...) metatheoretical work on normativity, is meant to discredit the sheer possibility of metanormative distinctness. If realists can neither prove metanormative, nor traditional, nor methodological distinctness, there is a valid question as to its standing. I speculate, perhaps realism is little more than a new semantic label for ‘continental’ practices of social analysis as they leak into the analytic tradition. But then again it can be argued that most contemporary continental thought, and certainly much of what passes as critical theory these days, is thoroughly moralist, anti-positivist, and postmodern, and those sentiments are not shared by radical realists, who are, or so I’ll argue, far more faithful to the modernist tradition of social theory. (shrink)

"The standard historical image of Jean-Luc Godard is that of a resolute iconoclast breaking with the representational norms and codes of classical cinema in the name of liberating film from the deadening weight of its past. His numerous formal innovations—syncopated montage, unconventional framing, unique experiments with dialogue, etc.—along with his abandonment of traditional narrative and character development, his playful pastiche of genres, his debunking of the representational illusions of cinematic realism, his reflexive preoccupation with film itself and the general (...) dissolution of the distinction between high and low art have created a potent new form of cinema that continues to have far-reaching effects. More experimental than Truffaut, more temerarious than Chabrol, but less fastidious than Resnais, less obtuse and prolix than Rivette, Godard is seen as the bumptious enfant terrible of the Cahiers du cinéma who set the agenda for a new era of modernist filmmaking...". (shrink)

_Five Faces of Modernity_ is a series of semantic and cultural biographies of words that have taken on special significance in the last century and a half or so: _modernity_, _avant-garde_, _decadence_, _kitsch_, and _postmodernism_. The concept of modernity—the notion that we, the living, are different and somehow superior to our predecessors and that our civilization is likely to be succeeded by one even superior to ours—is a relatively recent Western invention and one whose time may already have passed, if (...) we believe its postmodern challengers. Calinescu documents the rise of cultural modernity and, in tracing the shifting senses of the five terms under scrutiny, illustrates the intricate value judgments, conflicting orientations, and intellectual paradoxes to which it has given rise. _Five Faces of Modernity_ attempts to do for the foundations of the modernist critical lexicon what earlier terminological studies have done for such complex categories as _classicism_, _baroque_, _romanticism_, _realism_, or _symbolism_ and thereby fill a gap in literary scholarship. On another, more ambitious level, Calinescu deals at length with the larger issues, dilemmas, ideological tensions, and perplexities brought about by the assertion of modernity. (shrink)

Modernism is both a contested aesthetic category and a powerful political statement. Modernist music was condemned as degenerate by the Nazis and forcibly replaced by socialist realism under the Soviets. Sympathetic philosophers and critics have interpreted it as a vital intellectual defence against totalitarianism, yet some American critics consider it elitist, undemocratic, and even unnatural. Drawing extensively on the philosophy of Heidegger and Badiou, Quilting Points proposes a new dialectical theory of faithful, reactive, and obscure subjective responses to (...) musical modernism, which embraces all the music of Western modernity. (shrink)

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)

Bertolt Brecht and Theodor W. Adorno stand for opposing modes and stances within an artistic modernism oriented toward radical social transformation. In his 1962 essay ‘Commitment’, Adorno advanced a biting critique of Brecht’s work and artistic position. Adorno’s arguments have often been dismissed but, surprisingly, are seldom closely engaged with. This paper assesses these two approaches that have been so central to twentieth-century debates in aesthetics: Brecht’s dialectical realism and Adorno’s sublime or dissonant modernism. It provides what still has (...) been missing: a close reading and immanent critique of Adorno’s case against Brecht. And it clarifies one methodological blind spot of Adorno’s formalist conceptualisation of autonomy: he fails to provide the detailed analysis of context that his own dialectical method immanently calls for. The paper shows how and why Brecht’s dialectical realism holds up under Adorno’s attack, and draws conclusions for contemporary artistic practice. (shrink)

This is a bold and controversial feminist, philosophical critique of postmodernism. While providing a brief and accessible introduction to postmodernist feminist thought, Enlightened Women is also a unique defence of realism and enlightenment philosophy. The first half of the book covers an analysis of some of the most influential postmodernist theorists, such as Luce Irigaray and Judith Butler. In the second half Alison Assiter advocates a return to modernism in feminism. She argues, against the current orthodoxy, that there can (...) be a distinction between "sex" and "gender". For students trying to pick their way through the maze of literature in the area of postmodernist feminism, Enlightened Women is a concise guide to contemporary thought - as well as a radical contribution to the debate. (shrink)

The journal Prúdy served the liberal-democratic part of the Slovak intelligentsia as a platform for promoting Masarykian ideology. The young intellectuals grouped around it were familiar with the progressive thinking of that time and promoted the positivist realistic attitude and world-view. Similarly to Czech intellectuals the Slovak adherents of Masaryk contributed to introducing the rational approach, the principle of criticism and other progressive trends in Slovak cultural millieu. The journal offered the place for discussing the burning political and social, as (...) well as cultural and scientific issues. Although the journal was not a purely theoretical one, many of the authors contributed considerably to the philosophical and sociological debates. (shrink)

Since the early 1990s, high-resolution satellite imagery and imagery data, made by a vast system of architectures that were formally developed and monopolized by the U.S. military—industrial command economy, have become more widely available to the civilian public through a combination of declassified data sets, commercial satellite operators and imagery vendors, and value-added resellers of imagery data. In the various discourses surrounding imagery and the systems that collect, interpret, and construct them, this wider availability is associated with an increasing ‘‘global (...) transparency.’’ This article suggests that, specific to fields like nuclear non-proliferation, these techno-discursive discourses have a common narrative theme associated with mechanically augmented visual systems, that of the transparent window on the world. First, the author considers an epistemological problem of satellite imagery that has been contemplated for both the map and the photographic image, which is, does the image/map constitute a window or a text? Next, through a historical comparison between map making, photography, and satellite imagery interpretation, the author briefly explores different articulations of transparency, with a contemporary focus on the use of satellite imagery in the discourses surrounding nuclear non-proliferation. Finally, the author suggests that the discourses of satellite imagery, which include practices and what these practices are imagined to produce, are a crucial site where sociotechnical articulations of a modernist, positivist, or realist narrative are played out. These narratives account for the relation between subjective experience and the external ‘‘real’’ world and are associated with various and often contradictory concepts of transparency. (shrink)

A Bazinian commitment to cinematic realism, grounded as it is in the ontology of the photograph, sets up the aesthetic ambition of cinema as irreparably opposed to the structures and ambitions of high modernism ? whether high modernism be taken to have its essence in formal experiment, medium specificity, or negation. Bazin himself licenses such an opposition, but the sense of a divide here is not his alone: there are structural and grammatical reasons why realism (photographic or otherwise) (...) and modernism appear as incompatible. Yet however strong this opposition is ? and however much he himself sometimes endorses it ? Bazin equally offers us resources for closing the gap. In his distinction between aesthetic and psychological realism, his sense of the importance of automatism in cinema's significance, and finally in his insistence that true representation is achieved through poetry, Bazin uncovers a concept of realism as transformative, not transparent, fidelity. This idea of poetic, formalist realism allows for a tentative reconciliation between modernism and realism generally. However, it does so by giving up on a robust idea of photographic transparency as the basis of cinema's power, and thus threatens to efface its specificity as a medium. Stanley Cavell's redescription of medium as automatism helps uncover a Bazinian version of cinematic specificity, one which allows for cinema's appetite for realism without reducing that capacity to a mere inflexible fact of the medium. (shrink)

I appreciate Norton Wise’s comparison of my project in Explaining Science (1988) with that of Enlightenment scientists and philosophers. When rejecting one’s immediate philosophical predecessors, it is comforting to be able to portray oneself not as a heretic who has abandoned philosophy, but as a reformer who would return philosophy to the correct path from which his predecessors had strayed. -/- But we cannot simply return to the ideals of the Enlightenment. Some doctrines that were fundamental to the Enlightenment picture (...) of science must be rejected. In particular, I think we must reject the idea that the content of science is encapsulated in universal laws. And we must reject the notion that there are universal principles of rationality that justify our belief in the truth of universal laws. As Wise notes, these latter are typically “postmodern” themes, and, as such, are usually posed in explicit opposition to the modernism of the Enlightenment. It is my view that this opposition must be overcome. The overall project for the philosophy of science now is to develop an image of science that is appropriately postmodern while retaining something of the Enlightenment respect for the genuine accomplishments of modern science. To many the idea of an “enlightened postmodernism” may seem contradictory. I see it merely as an example of postmodern irony. (shrink)

One of the key achievements of critical realism has been to expose the modernist myth of universal reason, which holds that authentic knowledge claims must be objectively ‘pure’, uncontaminated by the subjectivity of local place, specific time and particular culture. Wright aims to address the lack of any substantial and sustained engagement between critical realism and theological critical realism with particular regard to: (a) the distinctive ontological claims of Christianity; (b) their epistemic warrant and intellectual legitimacy; (...) and (c) scrutiny of the primary source of the ontological claims of Christianity, namely the historical figure of Jesus of Nazareth. As such, it functions as a prolegomena to a much needed wider debate, guided by the under-labouring services of critical realism, between Christianity and various other religious and secular worldviews. This important new text will help stimulate a debate that has yet to get out of first gear. This book will appeal to academics, graduate and post-graduate students especially, but also Christian clergy, ministers and informed laity, and members of the general public concerned with the nature of religion and its place in contemporary society. (shrink)

One of the basic assumptions about André Bazin's theory of cinema has been that his idea of realism stands in direct opposition to modernism. In this article, I further develop a revised account of Bazin's realism that I have offered elsewhere, which rethinks the basic assumptions of ontology and realism in his work. This brings Bazin into a surprising affinity with tenets of high modernism. From this position, a re-examination of his engagement with the films of Orson (...) Welles not only shows Bazin to be wrestling with those issues in his criticism but also provides a way to rethink a number of positions in film theory that have historically been associated with a stringently reflexive modernism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:88 Reviews EPISTEMOLOGY OFMODERNISM WILLIAM R. EVERDELL History/ St. Ann'sSchool Brooklyn, NY 11201, USA [email protected] Ann Banfield. The Phantom Table:Woolf,Fry,Russelland the Epistemology of Modernism. Cambridge and New York: Cambridge U.P., 2000. £35.00; US$49.95. In Virginia Woolf's difficult masterpiece, The Waves(1931),each of several separate interior monologues-"streams of consciousness" in the American critical idiom-is separated from the next by an interpolated "Interlude". The interior monologues are assigned co different characters, bur (...) the Interludes are rendered from no perspectiveat all, verymuch like the "Time Passes"chapter of Woolf's earlier and better known novel, Tothe Lighthouse (1927).The passive voice and the demonstrative and indefinite pronotms are essential, removing from the scene not only the characters' points of view, but the author's as well. Numbered among the consequences of the new twentieth-century technique of interior monologue, the Interludes can be accepted today as one more trick of literary "Modernism", but for Woolf it was new, and the task of preventing any of her Interludes from becoming just another report from the rypical "omniscient narrator" of Victorian fiction was one of the most demanding she ever set herself as a writer. Like her friend the Post-Impressionist critic Roger Fry, she wanted to analyze the world outside the self into its smallest sensible elements, then show human selvesasthey formed by accumulating the experience of these myriad, random, discontinuous components, and finally to recombine these components in their two kinds, selvesand sense-able things, into a meaningful whole-a work of art. Rejecting both the idealism of Bradley and the British philosophical generation of the 1890sand the naive positivist materialism coming out of the 1850s, Bertrand Russell eventually settled on an ontology most philosophers call "realist " in that it rejected the view that the world accessible to the senses was no more than a mental construct and considered it naive to assign the origin of subjectivity to matter. The material world was, Russell thought, actually external -"out there". He did think, however,that all we knew of the external world was what wassensed by the sensesand pictured by the mind. He alsoconcluded (in essayslike "The Relation of Sense-data to Physics"written in 1910-17)d1at both that world and what we knew of it was presented in very small parts, and Reviews 89 analyzable down to them, or, in other words, that both ontology and epistemology were atomized. Each mind, with its senses, occupied, he thought, one of an infinite number of occupied and unoccupied "perspectives", each of which Lmiquely focused che "sensibilia"-whatever was perceived in che external world-like a Leibnizian monad. Machemacicallogic, on which Russell set che highest store, would be able, he thought, to bring together perspectives by providing a minimal secof cruchswhich, though abscracc,were objective in che sense chaccheywere noc private and could be agreed to by all. Something similar though rougher mighc be done for chesensibilia in cheworld "ouc chere" by che science of physics. Did Virginia Woolflearn from Bertrand Russell?To a latcer-dayacademic ic sounds too urrerly improbable, for che simple reason (obvious to academics) chat anyone who has made icto the upper levelsof English literature must have chosen cheseparticular heights to scale because the trail was so blessedlyfreeof chosenasry mathematical burrs and logical reazles,and the air so filledwith che pure chatter of French phenomenologisrs, that no hiker would ever have to struggle with analytical philosophy again. Lessmetaphorically, the separation of departments of literature from those of philosophy has come so close to divorce chat few in U.S. English Departments can make head or cail of che graduate thesis that one of Russell's philosophy students wrote on F.H. Bradley, and fewer still can trace the term "objective correlative" used by thac student (who was in fact T. S. Eliot) back to an early work of Husserl. Meanwhile, ic is taken for granted by those in Philosophy that there are no ideas worth discussing in Woolf, or, indeed, in any other novelise,greacthough she may be, Lmlessone is to descend from ontology and epistemology to the foothills of ethics and politics, or worse, aesthetics. (Among... (shrink)

Postmodernist thinkers have often claimed that there is something like a `modernist' model of theory and metatheory in the social sciences which is objectivistic, dogmatic, and generally over-ambitious, aiming to dominate the theoretical landscape like a modernist skyscraper. This paper suggests that there is little to support such a view, and that most sociologists and social anthropologists, and many other social scientists, have been much more cautious and tentative in their claims than postmodernists have claimed. The alleged distinctiveness (...) of postmodern social science is therefore itself open to question. The paper includes a discussion of reflection and reflexivity in realist philosophy of science and in the social theory of Habermas and Bourdieu. (shrink)

Rather than focusing on German philosophy or the French avant-gardes, as many books on the history of aesthetics do, Teukolsky takes up British responses to modern art controversies, thus providing a unique view on the development of artistic forms and art history. She considers the plentiful archive of Victorian "art writing"-essays addressed to the visual arts- to reveal the key role played by nineteenth-century writers in the rise of modernist Anglo-American aesthetics. Though Victorians are most often associated with (...) class='Hi'>realism, certain art writers promoted a formalism that would come to dominate canons of twentieth-century art. Teukolsky analyzes the canonical writing of authors like John Ruskin, Walter Pater, and Oscar Wilde alongside texts belonging to the rich field of Victorian print culture--gallery reviews, scientific treatises, satirical cartoons, advertisements, and early photography monographs among them. Spanning the years 1840 to 1910, her argument also adds substance to our understanding of the transition from Victorianism to modernism, a period of especially lively exchange between artists and intellectuals, here narrated with careful attention given to the historical particularities and real events that stamped their imprint on such interactions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 11.1 (2004) 55-64 [Access article in PDF] Delusions and Discourse:Moving beyond the Constraints of the Modernist Paradigm David J. Harper This special issue provides a good opportunity to reflect on the range of views about delusions,1 and it is good to see all the authors taking the issue of how to approach this topic seriously. Here I wish to argue that the traditional psychiatric (...) view of delusions is problematic. In the first half of this article I will group my comments on the issues raised by the papers by Klee and Bayne and Pacherie together as I think that, for their differences, they share modernist philosophical assumptions. I will argue that the modernist paradigm runs into considerable problems in considering beliefs felt by some to be unusual and I will go on to argue that we need to move beyond this paradigm and embrace different approaches, of which the work by Georgaca is an exemplar. The Trouble with (traditional Views of) Delusions The traditional psychiatric view of delusion has come under increasing attack over recent years. As Georgaca has noted, a number of problems with the assumptions in definitions of delusion can be identified when they are viewed from a social constructionist perspective (Georgaca 2000, 2004; Harper 1992, 1996; Heise 1988). For convenience I will group these under four main headings. They Are Based on a Naively Realist View of the World The criterion of inaccuracy or falsity implies that deciding on the veracity of a belief is a relatively unproblematic matter. However, the reality of claims does not always seem so important in judgments about whether a belief is delusional or not. For example, there is little evidence that mental health professionals systematically investigate the basis for people's beliefs; rather, they decide whether a belief is plausible. Thus Maher has argued that the assessment of the plausibility of beliefs is "typically made by a clinician on the basis of "common sense," and not on the basis of a systematic evaluation of empirical data" (1992, 261). He notes that it is not "customary to present counterevidence to the patient; it is not even common to present vigorous counterargument" (1992, 261) and there appears to be some empirical evidence of this (McCabe et al. 2002). Here then, we begin to see [End Page 55] how psychiatry, while claiming to have the power to judge the truth of beliefs on the basis of its status as an empirical scientific discipline, can be seen to make judgments on the basis of common sense and taken-for-granted social and cultural assumptions.Some commentators have suggested that delusions should be identified less by whether they seem to accord with reality but more by whether a person gives evidence for their belief (Gillett 1995; Spitzer 1990). However, this seems to be based on an idealized view of how people manage their beliefs in everyday life. For example, I would question how many of us have evidence for many of the beliefs (e.g., political, ethical, religious, etc.) we hold dear; indeed it would be hard to think of what evidence we could have for some of them (e.g., religious and ethical beliefs). Some recent work has suggested that the diagnosis of delusion is made on the basis of how people with delusions talk and interact; for example, some have argued that they do not appear to appreciate the hearer's point of view (Palmer 2000). However, here and in previous work, Georgaca (2000, 2004) has shown that people with delusions are able to talk about and negotiate disagreements about their beliefs and that many disputes of fact cannot be settled in conversation. People Said to Have Delusions Are Seen to Vary in the Conviction With Which Those Beliefs Are Held There is evidence that people considered to be deluded vary in the conviction with which they hold beliefs (Garety 1985) and can also be persuaded to modify their beliefs if this is conducted in a sensitive and collaborative manner (e.g., Chadwick, Birchwood, and Trower 1996). This... (shrink)

By recognizing Immanuel Kant as the founder of the so-called being-knowing fallacy, the Italian new realism proposed and defended by Maurizio Ferraris argues for the autonomy of ontology from epistemology. The dependence of reality on our conceptual framework would in fact transform our world in a system of beliefs that loses its connection with the “hardness” of the given data. This paper discusses Ferraris’s claims by maintaining that they are based upon an insufficient reading of history of philosophy, particularly, (...) upon a misinterpretation of Kant’s philosophy. Firstly, we shortly analyze the relationship between transcendental philosophy and post-modernism through a comparison with Friedrich Nietzsche: we criticize their conflation. Secondly, we take into consideration Kant’s arguments about science and answer a particular objection of Ferraris by investigating how we can legitimately acquire knowledge in the deep past without contradicting Kantianism. In this sense, we believe that the new realism presents inconsistent arguments. (shrink)

In An Introduction to Metaphysics Heidegger asserted that “it wasnot German idealism that collapsed; rather, the age was no longer strong enough to sustain the greatness, breadth, and originality of that spiritual world, i.e., truly to realize it”. He was at this point launchinginto one of the major themes of his later work: the “darkening of the world” in the form of the materialism and “demonism” typified by the antitheses of the USSR and the USA, a polarity of seeming opposites (...) obscuring an underlying fundamental similarity. This was the modernist faith of both cultures in the power of science to solve all of the problems that have plagued humanity for untold centuries, a faith in the power of science to tell us the absolute truth about the nature of reality. In 1955 Heidegger also characterized science and technology in “The Question Concerning Technology” as an “enframing”, a particular dominant interpretation of reality dependent on the interest of control and which conceals far more than it reveals. For one thing, “the essence of technology isin a lofty sense ambiguous. Such ambiguity points to the mystery of all revealing, i.e., of truth”. Although enframing “lets man endure,” only art as the successor of philosophy transcends techne by allowing us to see that “the essence of technologyis nothing technological”. Much earlier, in Being and Time, he gave his first sustained account of science as the interpretationof reality driven by technological interests, and spoke of Being as the “transcendens” lying beyond “every possible character which an entity can possess” [p. 38]. It remains debatable whether this characterization of Being survived into Heidegger's later period, but despite his nostalgia for the spirituality of the early nineteenth century, the role of Beingin these earlier works might best be explained as some kind of realism. (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.

The anti-realist nihilism of post-modernist thought provides a constant challenge for science and scientists not only to refute this view but to make clear what constitutes science and the scientific method. The author reviews the major arguments of post-modern thought and its criticism of science and then provides a point by point refutation. The Popperian notion of refutability and empiricality provide the cornerstone of this discussion. 2012 APA, all rights reserved).

There is no serious work of which I am aware that does not consider the artistic and literary doctrine of “socialist realism” an intellectual disaster. When Zhdanov announced this doctrine as official Soviet policy at the First Congress of Soviet Writers in 1934, his words put an end to a variety of artistic experiments which had taken place within the context of the Russian and European Left during the previous two decades. Suddenly socialist realism, or Zhdanovism, became the (...) only “correct” Marxist approach to the question of what art in general, and literature in particular, should say, and how it should say it. (shrink)

Bazin's distinction between different kinds of realism discriminates between an authentic mode of apprehension and mere sight, or between revelation and spectacle, as it were, where spectacle, significantly, is connected with the arousal of physical sensation. My argument is that this resonates in unexpected ways with a ‘modernist’ conceptual paradigm, specifically in relation to the persistent prioritization of the temporal over the spatial as the superior aesthetic register, itself based upon a residual resistance to the visual realm. To (...) pursue this, I shall return to some of Bazin's most influential texts and concepts. In addition, a consideration of his more marginal discussions of cinema, sex and censorship will offer an oblique entry point into some of these broader issues at play in his work. (shrink)

The aim in this chapter is to explore the similarities and differences between the city symphony film genre of the 1920s and 1930s and the contemporary virtual city walking tours that are popular on YouTube these days, eventually discussing the change in representation of the individual in daily life over a century. The city symphony was born with modernism in the early 20th century initially to present an interpretation of the city with daily activities, human beings, their interaction with industrial (...) technology and the urban environment. A significant and pioneering film of the genre is by Walter Ruttmann titled Berlin: Symphony of a Metropolis (1927) which I will try to analyze its filmic elements in order to draft a summary of the style and vision of the director and his contemporaries. On the other hand, the virtual city walking tours on YouTube represent a very different representation of urban exploration. These videos show various cities through the act of simple walking recorded in a long one-take POV shot with a gimbal-camera. Despite minor differences in terms of commentary and music use, these videos are quite similar to each other when compared to city symphony films in general. The methodological approach for analyzing and interpreting these films and videos is guided by the neoformalist approach proposed by Bordwell and Thompson in the 1980s, along with Noël Carroll’s view on critical evaluation. Since this post-theoretical approach is non-formulaic in terms of its methodology, it fits the two examples I will provide that are stylistically very distant. After establishing the form and style of the works, I will try to follow Carroll’s suggestions in order to critically interpret, analyze and evaluate the works. The comparison between the city symphony film and virtual city walking tour reveals a complex interplay between continuity and change in regards to the individual. While both share a rather common goal of capturing the essence of urban life their differences are to be found in their stylistic choices and their interpretations of the goal itself. The city films of the 1920s and 30s were avant-garde expressions that combined artistic innovation with socio-political commentary. They were often experimental, using montage sequences, juxtaposition and abstract imagery to convey the ever changing industrialized modern city life. Ruttmann’s Berlin is emblematic of this approach, offering a poetic and critical reflection on urban existence. In contrast, the virtual city walking tours on YouTube are more accessible and immediate. They provide a first-person perspective that allows viewers to virtually traverse different cities, experiencing sights and sounds without the mediation of artistic abstraction. The similarity in these videos suggests a standardized format that prioritizes immersion over critique. This article offers a valuable contribution to the understanding of urban representation of the individual in film and digital media. By comparing the city symphony film with virtual city walking tours, I try to illuminate the evolving relationship between art, technology and urban life. I argue that not only is there a completely different representation of the individual within the frame, but there is also ethical considerations to be put forth regarding the one that makes the frame, or the camera. In the end I argue that the human-ness of a work of art or any type of video is more important than immersiveness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 462-464 [Access article in PDF] The Phantom Table: Woolf, Fry, Russell and the Epistemology of Modernism,by Ann Banfield; 452 pp. Cambridge: Cambridge University Press, 2000, $55.00. We have grown accustomed to reading Woolf philosophically. Lucio Ruotolo, Mark Hussey, Gillian Beer, and Pamela Caughie are just a few notable scholars who have used philosophical texts and themes to shed light on Woolf's novels and life, (...) but Ann Banfield's The Phantom Table marks the beginning of a new approach. Contrary to the poststructuralist readings of the last two decades, Banfield treats Woolf as a "philosophical realist" (p. 294), an interpretation that presupposes that "Truth, although logically constructed, remains nonetheless objective, a discovery, as opposed to a creation, of the mind" (p. 94). To justify this approach, Banfield makes a case for privileging Bertrand Russell's "symbolic logic" (p. 42) as "a key if limited influence on Woolf's thinking about language" (pp. 42-43). Simply appropriating elements of Russell's rigorous epistemology, however, is not enough to determine Woolf's thinking, for as Banfield claims: "Woolf's philosophically inflected aesthetic is not one Russell would have foreseen" (p. 54). Roger Fry's astute reflections on Post-Impressionism aesthetics complement Russell's philosophical approach and thereby provide Woolf with a framework for the "novel's realism [which] must relate two competing realities, the private world and the public persona" (p. 324). Through an extraordinarily insightful analysis of the work of Russell and Fry, Banfield offers an intelligent interdisciplinary interpretation of the rigorous epistemological presuppositions at the base of Woolf's aesthetic.Central to Banfield's project is the conviction that reality is mind-independent (p. 101). On this view, "modern fiction ultimately aims to describe a reality beyond privacy" (p. 298), but to understand how we can access that reality we must carefully distinguish sensations, sense-data, and sensibilia. According to Russell, sensations are the private experiences or awareness of a subject, whereas a sense-datum is "that external object of which in sensation the subject is aware" (p. 70). Sensibilia, the lynchpin of Russell's and Banfield's theory, have the same ontological status as sense-data, though they are not necessarily data to a specific mind. Banfield cleverly articulates the ontological priority of sensibilia by reversing Berkeley's famous dictum: "What brings about" sensibilia's "actualization is the perspective's occupation by a subject and the corresponding interception of sensibilia by sense-organs located in time and space" (pp. 74-75). Sensibilia need not be perceived to exist, which places the perceiving subject at the mercy of sensibilia, rather than making sensibilia ontologically dependent upon the perceiving mind.Given the primacy of sensibilia, the epistemological "goal is now to leave one's perspective and imaginatively project oneself into other perspectives, even the possible ones inhumanly occupied, to experience the world as it would be without the thinker" (p. 213). According to this system, the perceiving [End Page 462] subject and the modernist artist become irrelevant because they can inhibit our experience and/or understanding of sensibilia. Eliminating the subject and effacing the author, therefore, become necessary so that "artistic creativity" (p. 173) is given free flow, which means that for art to achieve its goal of seeing "the world 'as far as possible as it is in itself, and not merely through the distorting medium of personal desire'" (p. 382), the death of the subject is mandatory—though this death of the subject differs considerably from Roland Barthes's, Michel Foucault's, and Paul de Man's. Once the subject is eliminated, which occurs in Woolf's novels according to Banfield, the novelist will be able to create a "method of multiple perspectives" which functions as a "route to wider knowledge" (p. 312) of sensibilia.In the last part of the book, Banfield examines how "Fry's aesthetic derives from analytic philosophy" (p. 248) and then argues that Woolf incorporates much of this aesthetic into her work. Fry makes a clear distinction between Impressionism and Post-Impressionism. Impressionism represents the "totality... (shrink)

The paper aims at reopening a relevant issue into the actual debate about the ‘new realism’, with its critical taking distance from ‘hermeneutical’ perspective of the post-modernism. Against the predominance of the interpretations and socio-cultural constructions of the reality, the new realism strongly underlines the objective ‘truth’ of the world in its not amendable ontological character with respect to conceptual patterns of epistemology. This ‘return’ to the truth takes its distances from the experience of ‘certainty’, still seen as (...) a pre-theoretical way, like a subjective faith as access to reality. Here, instead, I try to demonstrate the essential nexus occurring between truth and certainty, the last one intended as the necessary assent which allows us to perceive the true as it is, also through referring to some crucial moments within history of philosophy . In other words, it is about focusing on the very concept of reality as relationship between the ‘I’ and the world, between real data and our interpretations, avoiding that the firsts could be merely intended in an objectivist sense and the seconds left to the field of bare subjectivity. (shrink)

This collection’s basic theme and thesis, explained by Curtis L. Hancock, “A Critique of Social Construct Theory” and “A Counterfeit Choice,” is that the seeds of contemporary relativism were sown by modern philosophy, primarily Descartes himself, its founder. Following a lead from Gilson, these authors pursue the benefits of classical realism and existential Thomism compared with the Cartesian legacy of subjectivism in modern philosophy. Indeed, Peter Redpath, “Why Descartes was not a Philosopher,” explains why Descartes may not be a (...) philosopher at all, if the significance of the term be properly considered as a love of wisdom and a search for true being. As Maritain coined the phrase, he is an “ideosopher,” in pursuit of the effective idea and rhetorical success, not the contemplation of being. Christopher Cullen, “Transcendental Thomism: Realism Rejected,” argues that the attempt by Karl Rahner, Joseph Donceel, and others to absorb the Cartesian and Kantian approach into Thomism has not proved successful. Robert Geis, “Descartes’s Res: An Interactionist Difficulty,” explains how the objectifying of mind as a thing sets up insoluble difficulties; he argues that a more adequate account is found in Aristotle. Donald DeMarco, “Descartes, Mathematics and Music,” traces out the effect in music when the physical is reduced to the mathematical. The imposition of a uniform method leads to a distortion of what musicians do. William J. Fossati, “Maximum Influence from Minimum Abilities: La Mettrie and Radical Materialism,” traces the Cartesian heritage of reductionism through Julien Offroy de Le Mettrie to the most contemporary attempts to explain human beings as mere biological organisms. (shrink)

Richard Rorty and Edmund Husserl would appear to be poles apart, facing each other from opposite corners of the philosophical ring. Husserl is a rationalist searching for an absolute foundation for science which will guarantee its apodeictic truth. Rorty is a post-modernist for whom science is but one discourse among many, none of which corresponds with reality.

Crazily, Christopher Norris seems to think sociology is at war with philosophy; it is not. I respond to his hostile comments on the sociology of scientific knowledge, which was inspired by Wittgenstein, by explaining the need for symmetry in the explanation of scientific knowledge, methodological relativism, elective modernism and a number of other issues.

For about the last three decades, postmodernists have exposed the weaknesses of modernist formalism. Western modernist formalism effectively locates art’s meaning in its formal qualities. Clive Bell’s twentieth-century significant form aesthetic theory, Clement Greenberg and abstract art, and art educators’ preoccupation with design elements and principles typify this modernist tendency.1 In contrast, postmodernists generally insist that sociocultural context supplies art’s meaning. Within contemporary art education, postmodernist theory relies strongly on semiotics, neopragmatism, and social constructivist theories of culture; (...) these tend to reduce form to being an arbitrary vehicle for content supplied by cultural.. (shrink)

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)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Creating Life: The Aesthetic Utopia of Russian ModernismJohn GoodliffeCreating Life: The Aesthetic Utopia of Russian Modernism, edited by Irina Paperno and Joan Delaney Grossman; x & 288 pp. Stanford: Stanford University Press, 1994, $39.95.In describing the history of a country’s literature, one may well be tempted to divide it into separate compartments and so lose sight of the continuity which is, in the final analysis, more worthy of (...) attention. Historians of Russian literature have often succumbed to this temptation and it became almost commonplace to read that in Russia the Realism of the nineteenth century gave way to the Symbolism which began in the twentieth; that Symbolism gave way to Futurism; and that in due course all the earlier “-isms” were swept aside by the Socialist Realism of the Soviet period. For Marxist-oriented Soviet [End Page 371] historians such preoccupation with compartmentalization was obsessive. This makes more than welcome a series of essays which is at pains to emphasize the essential connections and kinship between these various “-isms.”Four of the seven essays are intended to demonstrate how the Symbolists, while ostensibly breaking with the earlier tradition of positivism (the idea that art’s essential purpose is to help build a better world), were, in a number of important respects, continuing and even reinforcing what they claimed to despise. Thus, regarding art and life as indissolubly linked, they attempted to turn life into art and art into life. Their endeavors frequently led them into behavior that now appears “eccentric, at times even ridiculous” (p. 166). Olga Matich describes how Blok, Bely, Dmitry Merezhkovsky, and Zinaida Gippius attempted to model their sexual relationships on the pattern of the “erotic utopia” described by Vladimir Solov’ev in his seminal The Meaning of Love (1892–94). Joan Delaney Grossman discusses Nina Petrovskaia’s relationships with Bely and Valery Briusov. Michael Wachtel shows how Viacheslav Ivanov attempted to overcome his grief at the death of his first wife by using his creative powers to make contact with her “beyond the grave.”Irene Masing-Delic traces the Pygmalion myth through Pushkin, Baratynsky, Turgenev, and Chernyshevsky to the Symbolists who were especially attracted by a myth which showed how an artist could create life and even conquer death. In “Andrei Bely and the Argonauts’ mythmaking,” Alexander Lavrov considers the role of the “Argonaut” circle in establishing a Russian Symbolist culture in the first years of the twentieth century. The Argonauts’ credo was “life-creation” rather than “art-creation,” and they claimed to make no distinction between “talent for living” and “talent for writing.” Lavrov argues that the failure of the relationship between Bely and Nina Petrovskaia marked the disintegration of “Argonautism” and the culture they sought to create. It is left to Irina Gutkin in the concluding essay to guide us through the grotesqueries of Futurism into the apparently diametrically opposed, sanitized world of Socialist Realism, by way of Constructivism, Marxism, and Meyerholdian bio-mechanics, leaving us in little doubt that, appearances to the contrary, each of these movements was concerned with turning art into life and using it to create a better world. So ultimately, as she neatly sums up the thesis of the whole collection, “The aesthetic utopian ideal of art creating life, which took shape at the beginning of the twentieth century, was fused with the utilitarian tradition of the 1860s” (p. 181).I have deliberately reserved for the end comment on Irina Paperno’s introduction and opening article (“The Meaning of Art: Symbolist Theories”) in order to emphasize the manifest contribution she and her co-editor, Joan Delaney Grossman, have made to ensuring the coherence of this admirable collection. Professor Paperno’s clear and concise coverage of her topics makes it evident that she was determined that the book should not turn into the kind of bits-and-pieces patchwork that too many publications of this sort tend to [End Page 372] become without a firm editorial hand at the helm. Her earlier book on Chernyshevsky (Chernyshevsky and the Age of Realism, 1988) and Irene Masing-Delic’s Abolishing Death; a Salvation Myth of Russian Twentieth-Century Literature (1992), form the first two parts of... (shrink)

Indigenous critiques of postcolonialism are as diverse as First Nations or Original Peoples communities themselves. Yet, within that diversity, there is often claimed to be a set of core universal teachings. My article engages this field in a three-step process that begins with examining the incorporation of two Indigenous critiques into a Handbook of Qualitative Research edited by Norman Denzin and Yvonna Lincoln. Focusing on justice through their lens of an ethics and politics of interpretation, Denzin and Lincoln simultaneously reject (...) much of what they claim critical realism advocates. They then deny any significant emancipatory potential to critical realism. This article immanently critiques their denial. In doing so it argues a case, on the one hand, for the explanatory potential of dialectical critical realism and the philosophy of meta-Reality both generally and in the case of postcolonialism as decolonizing praxis. On the other hand, viewing Indigenous critiques within an interpretive paradigm risks ensnaring them within modernist dualist categories, postmodernist unconstrained deconstruction or poststructuralist formless flux. Such a reading thus restricts their capacity to contribute to depth-totalizing praxis. I introduce a critical realist reading of Indigenous critiques and conclude that the political programme of emancipation is strengthened through an interweaving of critical realism and Indigenous political philosophy. (shrink)

This essay is a study of the writer William Golding’s distinctive ways of generating what one might call a sense of reality in his novel Darkness Visible, which appeared at a point in the history of English literature at which the project of literary RealismLiterary realism found itself in a condition of modernism. I understand this condition as one in which one’s relation to history has become an undismissable problem: in the case of Golding’s novel, this relationship is at (...) once to the history of England, the history of religion, and the history of literature. Exploring these links involves exploiting resources from the philosophy of Wittgenstein, and from work I have previously published on J.M. Coetzee’s exemplification of modernist realism in literature. (shrink)