Mixed Realism is about how we interact with media. Timothy J. Welsh shows how videogames, like novels, both promise and trouble experiences of “immersion.” His innovative methodology offers a new understanding of the expanding role of virtuality in contemporary life. Today’s wired culture is a mixed reality, conducted as exchanges between virtual and material contexts. We make balance transfers at an ATM, update Facebook timelines, and squeeze in sessions of Angry Birds on the subway. However, the “virtual” is still frequently figured as imaginary, as opposed to “real.” The vision of 1990s writers of a future that would pit virtual reality against actual reality has never materialized, yet it continues to haunt cultural criticism. Our ongoing anxiety about immersive media now surrounds videogames, especially “shooter games,” and manifests as a fear that gamers might not know the difference between the virtual world and the real world. As Welsh notes, this is the paradox of real virtuality. We understand that the media-generated virtualities that fill our lives are not what they represent. But what are they if they are not real? Do they have presence, significance, or influence exceeding their material presence and the user processes that invoke them? What relationships do they establish through and beyond our interactions with them? Mixed Realism brims with fresh analyses of literary works such as Truman Capote’s In Cold Blood and Mark Z. Danielewski’s House of Leaves, along with sustained readings of controversial videogames such as Super Columbine Massacre and Call of Duty: Modern Warfare 2. Continually connecting the dots between surprising groupings of texts and thinkers, from David Foster Wallace to the cult-classic videogame Eternal Darkness and from Cormac McCarthy to Grand Theft Auto, it offers a fresh perspective on both digital games and contemporary literature.

This book contains new articles by leading philosophers and linguists discussing a promising philosophical framework distinct from currently dominant ones: Linguistic Realism. As opposed to Nominalism and Chomskyian Conceptualism, this approach distinguishes between use of language, knowledge of language, and language as such. The latter is conceived as part of the realm of abstract objects. The authors show how adopting Linguistic Realism overcomes entrenched problems with other frameworks and suggest that Linguistic Realism will best serve those interested in formal linguistics, the cognitive dimension of natural language, and linguistic philosophy. The essays offer different perspectives on Linguistic Realism, either supporting this paradigm or taking it as a starting point for developing modified conceptions of linguistics and for further tying linguistics to the kind of formal theories of sensory cognition that were pioneered in visual perception by David Marr—whose work is predicated on exactly the object/knowledge distinction made by Linguistic Realists.

After September 11, 2001, ordinary citizens faced a new world ruled by political and religious machinations against the threat of terrorism. While political leaders pursued a policy of militarism, many religious leaders advocated pacifism. Ronald H. Stone advocates a middle road between these two extremes, what he calls prophetic realism. Taking up Reinhold Niebuhr's notion of Christian realism, Stone argues that our current situation calls for hard answers to hard questions. Stone offers compelling evidence that Jesus provides the prophetic model of our interaction with our enemies. This book will change people's minds about the relationship of religion and politics in the contemporary world.

The Antinomies of Realism is a history ofthe nineteenth-century realist novel and its legacy told without a glimmer of nostalgia for artistic achievements that the movement of history makes it impossible to recreate. The works of Zola, Tolstoy, Pérez Galdós, and George Eliot are in the most profound sense inimitable, yet continue to dominate the novel form to this day. Novels to emerge since struggle to reconcile the social conditions of their own creation with the history of this mode of writing: the so-called modernist novel is one attempted solution to this conflict, as is the ever-more impoverished variety of commercial narratives – what today’s book reviewers dub “serious novels,” which are an attempt at the impossible endeavor to roll back the past. Fredric Jameson examines the most influential theories of artistic and literary realism, approaching the subject himself in terms of the social and historical preconditions for realism’s emergence. The realist novel combined an attention to the body and its states of feeling with a focus on the quest for individual realization within the confines of history. In contemporary writing, other forms of representation – for which the term “postmodern” is too glib – have become visible: for example, in the historical fiction of Hilary Mantel or the stylistic plurality of David Mitchell’s novels. Contemporary fiction is shown to be conducting startling experiments in the representation of new realities of a global social totality, modern technological warfare, and historical developments that, although they saturate every corner of our lives, only become apparent on rare occasions and by way of the strangest formal and artistic devices. In a coda, Jameson explains how “realistic” narratives survived the end of classical realism. In effect, he provides an argument for the serious study of popular fiction and mass culture that transcends lazy journalism and the easy platitudes of recent cultural studies.

Provides an important examination of Charles Chesnutt as a practitioner of realism Although Chesnutt is typically acknowledged as the most prominent African American writer of the realist period, scholars have paid little attention to the central question of this study: what does it mean to call Chesnutt a realist? As a writer whose career was restricted by the dismal racial politics of his era, Chesnutt refused to conform to literary conventions for depicting race. Nor did he use his imaginative skills to evade the realities he and other African Americans faced. Rather, he experimented with ways of portraying reality that could elicit an appropriate, proportionate response to it, as Ryan Simmons demonstrates in extended readings of each of Chesnutt’s novels, including important unpublished works overlooked by previous critics. In addition, Chesnutt and Realism addresses a curiously neglected subject in American literary studies—the relationship between American literary realism and race. By taking Chesnutt seriously as a contributor to realism, this book articulates the strategies by which one African American intellectual helped to define the discourses that influenced his fate.

Philosophical Foundations of Mixed Methods Research provides a comprehensive examination of the philosophical foundations of mixed methods research. It offers new defences of the seven main approaches to mixed methods (the pragmatist approach, the transformative approach, the indigenous approach, the dialectical approach, the dialectical pluralist approach, the performative approach, and the realist approach) written by leading mixed methods researchers. Each approach is accompanied by critical reflections chapter from philosophers’ point of view. The book shows the value of the use of mixed methods from a philosophical point of view and offers a systematic and critical examination of these positions and approaches from a philosophical point of view. The volume also offers a platform to promote a dialogue between mixed methods researchers and philosophers of science and provides foundations for further research and teaching of this hotly debated topic. This volume is ideal for researchers and advanced students, and anyone who is interested in research methods and the social sciences more generally.

Beijing International Conference, 1992

The book provides an argument why realism is a viable metatheoretical framework for psychological science. By looking at some variations of realism such as scientific realism, critical realism, situational realism and Ferraris’ new realism, a realist view of science is outlined that can feature as a metatheory for psychological science. Realism is a necessary correction for the mythical image of science responsible for and maintained by a number of dichotomies and polarities in psychology. Thus, the quantitative-qualitative dichotomy, scientist-practitioner polarity and positivist-constructionist opposition feed off and maintains a mythic image of science on levels of practice, methods and metatheory. Realism makes a clear distinction between ontology and epistemic access to reality, the latter which easily fits with softer versions of constructionism, and the former which grounds science in resistance and possibility, loosely translated as criticism. By taking science as a critical activity an issue such as the quantitative imperative looses its defining force as a hallmark of science - it provides epistemic access to certain parts of reality. In addition, essentially critical activities characteristic of various qualitative approaches may be welcomed as proper science. Academics, professionals and researchers in psychology would find value in situating their scholarly work in a realist metatheory avoiding the pitfalls of traditional methodologies and theories.

Bestselling novels by Angela Carter, Salman Rushdie, Gabriel Garcia Marquez and a multitude of others have enchanted us by blurring the lines between reality and fantasy. Their genre of writing has been variously defined as 'magic', 'magical' or 'marvellous' realism and is quickly becoming a core area of literary studies. This guide offers a first step for those wishing to consider this area in greater depth, by: exploring the many definitions and terms used in relation to the genre tracing the origins of the movement in painting and fiction offering an historical overview of the contexts for magic(al) realism providing analysis of key works of magic(al) realist fiction, film and art. This is an essential guide for those interested in or studying one of today's most popular genres.