Introduces artists to the painting techniques and compositional approaches needed to develop an abstract style of work in all art media.

Beyond Realism: Naturalist Film in Theory and Practice is the first major critical study of international naturalist cinema. Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. From its earliest representation in silent films such as Walsh's Regeneration (1915), and Eisenstein's Stachka/Strike (1925), to recent productions such as Chukwu's Clemency (2019), and Aronofsky's The Whale (2022), the naturalist film narrative encompasses the whole of film history, traversing language, movement, and genre. The naturalist film is predicated on two foundational, intersecting paradigms that configure as one ideological system in an overarching scientific and social experimental narrative. Either the scientific or social paradigm may be dominant in the film narrative or they may simply co-exist, but a naturalist film reveals both templates and, most significantly, suggests an implicit cinematic anthropology that renders the body as an observed spectacle.

Perhaps the most significant development in American philosophy in recent times has been the extraordinary renaissance of Pragmatism, marked most notably by the reformulations of the so-called "Neopragmatists" Richard Rorty and Hilary Putnam. With Pragmatism offering the allure of potentially resolving the impasse between epistemological realists and antirealists, analytic and continental philosophers, as well as thinkers across the disciplines, have been energized and engaged by this movement. In Beyond Realism and Antirealism: John Dewey and the Neopragmatists, David L. Hildebrand asks two important questions: first, how faithful are the Neopragmatists' reformulations of Classical Pragmatism (particularly Deweyan Pragmatism)? Second, and more significantly, can their Neopragmatisms work? In assessing Neopragmatism, Hildebrand advances a number of historical and critical points: • Current debates between realists and antirealists (as well as objectivists and relativists) are similar to early twentieth-century debates between realists and idealists that Pragmatism addressed extensively. • Despite their debts to Dewey, the Neopragmatists are reenacting realist and idealist stands in their debate over realism, thus giving life to something shown fruitless by earlier Pragmatists. • What is absent from the Neopragmatist's position is precisely what makes Pragmatism enduring: namely, its metaphysical conception of experience and a practical starting point for philosophical inquiry that such experience dictates. • Pragmatism cannot take the "linguistic turn" insofar as that turn mandates a theoretical starting point. • While Pragmatism's view of truth is perspectival, it is nevertheless not a relativism. • Pace Rorty, Pragmatism need not be hostile to metaphysics; indeed, it demonstrates how pragmatic instrumentalism and metaphysics are complementary. In examining these and other difficulties in Neopragmatism, Hildebrand is able to propose some distinct directions for Pragmatism. Beyond Realism and Antirealism will provoke specialists and non-specialists alike to rethink not only the definition of Pragmatism, but its very purpose.

This book discusses the challenge to realism which proponents of international political economy and critical theory have mounted in the last few years, and examines the changing relationship between realism and Marxism. It is aimed at students of approaches to international relations.

Critical studies of Turgenev have tended to focus on his realistic portrayals of nineteenth-century Russian life and have therefore closely allied Turgenev with the dominant literary movement of that time, Realism. By contrast, this book reveals the non-Realist literary patterns that distinguish Turgenev's fiction. In so doing, it newly uncovers an intricate, imaginative vision of human experience that unites poetics and ethics. The first part of the book identifies and assesses the ethical values associated with Realism, finding them rooted in the virtues of the traditional rural community. It then elucidates the very different ethical values that inform Turgenev's art, which are rooted not in the virtues of the community but in those of the individual who creatively conceives and independent ethical stance. Turgenev is thus shown to prize art not as a means of merely representing reality but as a means of demonstrating how human lives can be artistically shaped to achieve psychological and moral fulfillment. In its second part this study addresses various facets of Turgenev's poetics, and the ethical motives behind them, as exemplified in disparate works. One chapter examines how Turgenev orchestrates time and space to illuminate the moral advantages of self-constraint. Another explores Turgenev's adroit management of language to foster imprecision and ambiguity and thereby to prevent explicit articulation of psychologically and morally threatening ideas. Still another chapter concentrates on Turgenev's manipulations of narrative points of view as he displays the benefits of bringing multiple perspectives to bear on painful experience. And a final chapter probes the techniques of characterization Turgenev employs to evaluate varieties of success and failure in pursuit of self-fulfillment. The book concludes by indicating how Turgenev faltered in his last novel precisely by undertaking the Realist enterprise, and how he then reasserted non-Realist aesthetic and ethical principles in his final literary creations, prose poems. Throughout this book, a series of close reading discloses the very rhythm of Turgenev's thought—the nexus between his aesthetic and moral imaginations. These reading reveal Turgenev's belief in "secular salvation," a belief inspired not by faith in otherworldly redemption but by confidence in individual human beings' ability to save themselves from suffering in this world. This study therefore shows Turgenev to be at once more complex and more creative, more modern and more moral, than readers confining him to the realm of Realism have acknowledged.

Perhaps the most significant development in American philosophy in recent times has been the extraordinary renaissance of Pragmatism, marked most notably by the reformulations of the so-called "Neopragmatists" Richard Rorty and Hilary Putnam. With Pragmatism offering the allure of potentially resolving the impasse between epistemological realists and antirealists, analytic and continental philosophers, as well as thinkers across the disciplines, have been energized and engaged by this movement. In Beyond Realism and Antirealism: John Dewey and the Neopragmatists, David L. Hildebrand asks two important questions: first, how faithful are the Neopragmatists' reformulations of Classical Pragmatism (particularly Deweyan Pragmatism)? Second, and more significantly, can their Neopragmatisms work? In assessing Neopragmatism, Hildebrand advances a number of historical and critical points: • Current debates between realists and antirealists (as well as objectivists and relativists) are similar to early twentieth-century debates between realists and idealists that Pragmatism addressed extensively. • Despite their debts to Dewey, the Neopragmatists are reenacting realist and idealist stands in their debate over realism, thus giving life to something shown fruitless by earlier Pragmatists. • What is absent from the Neopragmatist's position is precisely what makes Pragmatism enduring: namely, its metaphysical conception of experience and a practical starting point for philosophical inquiry that such experience dictates. • Pragmatism cannot take the "linguistic turn" insofar as that turn mandates a theoretical starting point. • While Pragmatism's view of truth is perspectival, it is nevertheless not a relativism. • Pace Rorty, Pragmatism need not be hostile to metaphysics; indeed, it demonstrates how pragmatic instrumentalism and metaphysics are complementary. In examining these and other difficulties in Neopragmatism, Hildebrand is able to propose some distinct directions for Pragmatism. Beyond Realism and Antirealism will provoke specialists and non-specialists alike to rethink not only the definition of Pragmatism, but its very purpose.

Verbatim theatre, a type of performance based on actual words spoken by ''real people'', has been at the heart of a remarkable and unexpected renaissance of the genre in Great Britain since the mid-nineties. The central aim of the book is to critically explore and account for the relationship between contemporary British verbatim theatre and realism whilst questioning the much-debated mediation of the real in theses theatre practices.

First published in 1949, Beyond Realism and Idealism argues for a consistency of idealism with realism, or synthesis of the two positions which should retain the essential cognitive meanings and values of both. The argument of this book falls into two main parts: chapters one to six are concerned with the argument for the transcendence of the opposition and chapter seven to ten with an attempt to develop in detail a position which can be described as beyond realism and idealism. The method of the first part of the study is dialectical in the broad sense of the term and chapters seven to ten are of a different character. The final chapter, the Epilogue, discusses the significance of a transcendence of realism and idealism for modern culture and philosophy. This is an important read for scholars and researchers of philosophy.

According to conventional wisdom in American legal culture, the 1870s to 1920s was the age of legal formalism, when judges believed that the law was autonomous and logically ordered, and that they mechanically deduced right answers in cases. In the 1920s and 1930s, the story continues, the legal realists discredited this view by demonstrating that the law is marked by gaps and contradictions, arguing that judges construct legal justifications to support desired outcomes. This often-repeated historical account is virtually taken for granted today, and continues to shape understandings about judging. In this groundbreaking book, esteemed legal theorist Brian Tamanaha thoroughly debunks the formalist-realist divide. Drawing from extensive research into the writings of judges and scholars, Tamanaha shows how, over the past century and a half, jurists have regularly expressed a balanced view of judging that acknowledges the limitations of law and of judges, yet recognizes that judges can and do render rule-bound decisions. He reveals how the story about the formalist age was an invention of politically motivated critics of the courts, and how it has led to significant misunderstandings about legal realism. Beyond the Formalist-Realist Divide traces how this false tale has distorted studies of judging by political scientists and debates among legal theorists. Recovering a balanced realism about judging, this book fundamentally rewrites legal history and offers a fresh perspective for theorists, judges, and practitioners of law.

This new textbook offers a succinct yet broad introduction to critical realism, an increasingly popular approach to the philosophy of science that provides a holistic alternative to both positivism and postmodernism. This text sets out the central concepts, arguments and understandings in critical realism and relates them to social scientific practice. In addition to answering the question 'what is critical realism?', the authors consider critical realism in light of two crucial themes in contemporary society – neoliberalism and climate change – which run as common threads throughout the chapters. While some introductions to the topic focus exclusively on the work of Roy Bhaskar – critical realism's best-known proponent – this text covers a much wider range of thinkers and social researchers, and also features Key Concept boxes and CR in Action boxes throughout to aid the reader through this complex yet rewarding subject. This text is the perfect entry point for all those studying critical realism for the first time, or for those seeking to re-familiarise themselves with this approach. Whether you're studying critical realism as part of a broader course on the philosophy of science or seeking to apply critical realist methods to a particular research project, this book is essential reading for the social sciences, humanities and beyond.