Sandy Petrey here looks at the emergence of nineteenth-century French realism in the light of the concept of speech acts as defined by J. L. Austin and as exemplified by the history of the French Revolution. Through analysis of the techniques of representation in works by Balzac, Stendhal, and Zola, Petrey suggests that the expression of a truth depends on the same collective forces necessary to change a regime. According to Petrey, political legitimacy in the Revolution, the Empire, and the Restoration was established by means of a series of demonstrations that what words say cannot be interpreted without reference to the community to which they speak. Petrey first discusses the creation of France's National Assembly in 1789 as a foundational example of how speech acts can bring about historical transformation. He then challenges the most powerful twentieth-century assault on realist aesthetics, Roland Barthes's S/Z, and also considers the views of such contemporary critics as Jacques Derrida, Barbara Johnson, and Stanley Fish. During the Revolution, Petrey says, statements of truth were not descriptions of what was, but rather exhortations to produce what was not. Nineteenth-century French fiction represents in literary form a similar collectively authorized linguistic performance; the "real" in realism comes from representing facts not as they are in themselves but as they are produced and rejected in society. In the course of illuminating readings of three central realist works—Balzac's Pere Goriot, Stendhal's The Red and the Black, and Zola's Germinal—Petrey takes the position that the dilemmas of representation, far from being one of realism's blind spots, figure among its major narrative subjects.

This book considers the theoretical lessons to be gleaned from a study of revolutionary conflict through case studies of the Iranian, French, Turkish, and Bolivian Revolutions, as well the Arab Spring, and offers some thoughts regarding its future.

This is a novel, transnational exploration of the major Chinese intellectual debates on radicalism in history, culture, and politics after 1989.

Revolution within a state almost invariably leads to intense security competition between states, and often to war. In Revolution and War, Stephen M. Walt explains why this is so, and suggests how the risk of conflicts brought on by domestic upheaval might be reduced in the future. In doing so, he explores one of the basic questions of international relations: What are the connections between domestic politics and foreign policy? Walt begins by exposing the flaws in existing theories about the relationship between revolution and war. Drawing on the theoretical literature about revolution and the realist perspective on international politics, he argues that revolutions cause wars by altering the balance of threats between a revolutionary state and its rivals. Each state sees the other as both a looming danger and a vulnerable adversary, making war seem both necessary and attractive. Walt traces the dynamics of this argument through detailed studies of the French, Russian, and Iranian revolutions, and through briefer treatment of the American, Mexican, Turkish, and Chinese cases. He also considers the experience of the Soviet Union, whose revolutionary transformation led to conflict within the former Soviet empire but not with the outside world. An important refinement of realist approaches to international politics, this book unites the study of revolution with scholarship on the causes of war.

Cold Revolution. Central and Eastern European Societies in Times of Socialist Realism, 1948?1959' is the outcome of an international conference organized by the Zach?ta ? National Gallery of Art, Warsaw, in January 2020, and an exhibition project.0Both the conference and the show deal with Socialist Realism, a sensitive and problematic period in contemporary art history. The publication inquires about the relationship between the visual culture of the 1950s and the radical social revolution that took place in Central and Eastern Europe in the ?cold? climate of growing international tensions and the strengthening of communist dictatorships. Covering and linking together a wide range of areas of study?art history, but also social, political, and cultural history?thirty contributors explore deeply the 1950s? social transformations, presenting intersectional essays on cultural and art history, short key study texts and profound analysis examples from the fields of painting, architecture and urban planning, design, photography, film and graphic design, representative of different countries, such as Poland, GDR, Czechoslovakia, Bulgaria, Romania, and Hungary.00Exhibition: Zach?ta ? National Gallery of Art, Warsaw, Poland (23.04 ? 01.08.2021).

What is a realist response to nuclear weapons? This book is animated by the idea that contemporary attempts to confront the challenge of nuclear weapons and other global security problems would benefit from richer historical foundations. Returning to the decade of deep, thermonuclear anxiety inaugurated in the early 1950s, the authors focus on four creative intellectuals – Günther Anders, John H. Herz, Lewis Mumford and Bertrand Russell – whose work they reclaim under the label of ‘nuclear realism’. This book brings out an important, oppositional and resolutely global strand of political thought that combines realist insights about nuclear weapons with radical proposals for social and political transformation as the only escape from a profoundly endangered planet. Nuclear Realism is a highly original and provocative study that will be of great use to advanced undergraduates, graduates and scholars of political theory, International Relations and Cold War history.

When Trisha Low moves west, her journey is motivated by the need to arrive “somewhere better”—someplace utopian, like revolution; or safe, like home; or even clarifying, like identity. Instead, she faces the end of her relationships, a family whose values she has difficulty sharing, and America’s casual racism, sexism, and homophobia. In this book-length essay, the problem of how to account for one's life comes to the fore—sliding unpredictably between memory, speculation, self-criticism, and art criticism, Low seeks answers that she knows she won't find. Attempting to reconcile her desires with her radical politics, she asks: do our quests to fulfill our deepest wishes propel us forward, or keep us trapped in the rubble of our deteriorating world?

Wittgenstein's Copernican Revolution is concerned with how one is to conceive of the relation between language and reality without embracing Linguistic Realism and without courting any form of Linguistic Idealism either. It argues that this is precisely what Wittgenstein does and also examines some well known contemporary philosophers who have been concerned with this same question.

Russia’s Capitalist Realism examines how the literary tradition that produced the great works of Leo Tolstoy, Fyodor Dostoevsky, and Anton Chekhov responded to the dangers and possibilities posed by Russia’s industrial revolution. During Russia’s first tumultuous transition to capitalism, social problems became issues of literary form for writers trying to make sense of economic change. The new environments created by industry, such as giant factories and mills, demanded some kind of response from writers but defied all existing forms of language. This book recovers the rich and lively public discourse of this volatile historical period, which Tolstoy, Dostoevsky, and Chekhov transformed into some of the world’s greatest works of literature. Russia’s Capitalist Realism will appeal to readers interested in nineteenth‐century Russian literature and history, the relationship between capitalism and literary form, and theories of the novel.