As the theoretical alignments within academia shift, this book introduces a surprising variety of realism to abolish the old positivist-theory dichotomy that has haunted Art History. Demanding frankly the referential detachment of the objects under study, the book proposes a stratified, multi-causal account of art history that addresses postmodern concerns while saving it from its errors of self-refutation. Building from the very basic distinction between intransitive being and transitive knowing, objects can be affirmed as real while our knowledge of them is held to be fallible. Several focused chapters address basic problems while introducing philosophical reflection into art history. These include basic ontological distinctions between society and culture, general and “special” history, the discontinuity of cultural objects, the importance of definition for special history, scales, facets and fiat objects as forms of historical structure, the nature of evidence and proof, historical truth and controversies. Stressing Critical Realism as the stratified, multi-causal approach needed for productive research today in the academy, this book creates the subject of the ontology of art history and sets aside a theoretical space for metaphysical reflection, thus clarifying the usually muddy distinction between theory, methodology, and historiography in art history.

The Space that Separates: A Realist Theory of Art radically challenges our assumptions about what art is, what art does, who is doing it, and why it matters. Rejecting the modernist and market-driven misconception that art is only what artists do, Wilson instead presents a realist case for living artfully. Art is defined as the skilled practice of giving shareable form to our experiences of being-in-relation with the real; that is to say, the causally generative domain of the world that extends beyond our direct observation, comprising relations, structures, mechanisms, possibilities, powers, processes, systems, forces, values, ways of being. In communicating such aesthetic experience we behold life’s betweenness – "the space that separates", so coming to know ourselves as connected. Providing the first dedicated and comprehensive account of art and aesthetics from a critical realist perspective – Aesthetic Critical Realism (ACR), Wilson argues for a profound paradigm shift in how we understand and care for culture in terms of our system(s) of value recognition. Fortunately, we have just the right tool to help us achieve this transformation – and it’s called art. Offering novel explanatory accounts of art, aesthetic experience, value, play, culture, creativity, artistic truth and beauty, this book will appeal to a wide audience of students and scholars of art, aesthetics, human development, philosophy and critical realism, as well as cultural practitioners and policy-makers.

Art History and Its Institutions focuses on the institutional discourses that shaped and continue to shape the field from its foundations in the nineteenth century. From museums and universities to law courts, labour organizations and photography studios, contributors examine a range of institutions, considering their impact on movements such as modernism; their role in conveying or denying legitimacy; and their impact on defining the parameters of the discipline.

Arguing for the necessity of taking art's contribution to contemporary realism seriously, this edited collection intervenes on contemporary debates about realism by demonstrating that the arts do not simply illustrate philosophical theories. The significance of art's realism in times characterised by the normalisation of fake, manipulated and distorted representations of reality can only be fully understood by attending to the ways that the arts mediate, visualise and even shape reality. Each chapter features a different approach to realism and its aesthetic dimensions not only in the visual arts, but also in sound art, film, scientific imaging and literature.

Due to the influence of postmodernism, historical anti-realism has come to exercise a massive influence in contemporary philosophy of history. Edited by Tor Egil Førland and Branko Mitrović, The Povery of Anti-realism: Critical Perspectives on Postmodernist Philosophy of History presents perspectives that oppose anti-realist understanding of historians' work. The first part of the book gives an overview of contemporary anti-realist philosophy of history and shows that its claims are either so wide-ranging that they apply to all scientific knowledge, or pertain only to a select part of historians’ work. In the second part, the authors criticize major anti-realist tenets. These include: the assertion that the colligatory concepts historians use are without reference in the past; the idea that historical facts are theory-dependent and therefore unable to upend prevailing theories; Paul Roth’s application of Nelson Goodman’s “irrealist” theory of worldmaking to suggest a plurality of pasts; and the belief that multiple describability prevents historians from providing true and testable accounts of the past. The third and final part shows that the political implications of anti-realism are often other than left-leaning anti-realists think. Their reactions when confronted with the consequences of their theories indicate the inconsistency and untenability of postmodernist philosophy of history.

Preface: Natural products chemistry has a long history, and could be regarded as having its roots in the use of many kinds of herbal mixtures as crude drugs in traditional medicine. Systems of traditional medicine have been practiced in China and Japan for thousands of years, and virtually all regions of the world have used natural materials to treat human disease. It was clear that many plants, herbs, etc. contain components with powerful biological activities. The dawn of modern natural products chemistry began with the isolation of the active component, morphine, from opium. Subsequently, various alkaloids were isolated from medicinal plants and employed clinically. The discovery and the development of penicillin as a microbial metabolite opened up the era of antibiotics, which have saved countless lives in the past half century or so. The isolation and synthesis of steroid hormones resulted in the development of new concepts in molecular stereochemistry and organic synthetic techniques, as did the discovery of bioactive lipids such as prostaglandins and leukatrienes, bioactive peptides such as enkephalins and endetherines, and oligosaccharides, including glycoproteins. Further, the discovery of plant hormones has led to great strides in plant biotechnology, including plant tissue cultures, and derivatives of insect hormones and pheromones are now used as pesticides. Thus, applications of natural products chemistry have become all-pervasive in modern society. Apart from the extensive practical applications of natural products and their derivatives, natural products chemistry has played a central role in the development of modern organic chemistry as a result of its focus on structural and synthetic studies of often highly complex and inaccessible molecules. Biosynthetic studies have also attracted much attention, aiming to answer the questions of why and how such a large number and variety of compounds are synthesised by organisms. Researchers in the field of biosynthesis first focused on elucidation of the pathways of secondary metabolism, and then on the mechanisms, of the enzymes catalyzing the biosynthetic reactions. This was an extremely difficult task, because rather large amounts of enzymes are required for the investigation of reaction mechanisms and the enzyme proteins are often unstable and not easy to purify. However, in recent years the development of molecular biology has made gene and protein engineering rather routine. Thus, studies of mechanistic enzymology can now be conducted with cloned and overexpressed enzyme proteins. It has been shown that the enzymes responsible for the biosynthesis of antibiotics in Streptomyces spp. are encoded in gene clusters. Further, cloning and functional analysis of the genes associated with flavonoid biosynthesis should soon cast light on the interesting question of why flavonoids are ubiquitously present in plant leaves. Life is maintained not only by large molecules such as proteins and nucleic acids, but also by many small molecules which have essential and diverse roles in the physiology of living organisms. Such compounds often have highly specific interactions with target receptors, but the mechanisms involved largely remain to be explored. Current methodology means that this task can be addressed, and this in turn should lead to a host of new applications for natural products and their derivatives. The key may be an interdisciplinary approach taking account of both biological function and molecular behaviour based on precise structure recognition. As we increasingly understand the mechanisms of molecular recognition that operate in nature, many possibilities should open up for artificial control or modification of biological functions, as well as new challenges for synthetic organic chemists. Our intention in this book is to focus on such dynamic aspects of natural products chemistry. By dealing in detail with representative topics to which the most modern techniques of research have been applied, we hope to emphasize the value of combining traditional approaches to natural products chemists with current biochemical and molecular-biological ideas. Each chapter provides sufficient background information and experimental detail to make the subject accessible to non-specialists. It is our hope that these examples of recent progress in key areas of natural products chemistry will stimulate work in related topics by illustrating the power of a modern interdisciplinary approach to the subject.

How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds. Ranging widely, though taking writing within the Western tradition of art history as its primary focus, Interpreting Art highlights the norms, premises, and patterns that tend to guide interpretation along the way. Why, for example, is the concept of artistic ‘intention’ at once so reviled and yet so hard to let go of? What does it really involve when an interpretation appeals to an artwork’s ‘reception’? How can ‘context’ be used by some to keep things under control and by others to make the interpretation of art seem limitless? And how is it that artworks only seem to grow in complexity over time? Interpreting Art reveals subtle features of art writing central to the often unnoticed interpretative practices through which we understand works of art. In doing so, the book also sheds light on possible alternatives, pointing to how writers on art might choose to operate differently in the future.

The two volumes of this encyclopedia seek to explore myriad ways in which we define ourselves in our daily lives. Comprising 300 entries, the Encyclopedia of Identity offers readers an opportunity to understand identity as a socially constructed phenomenon - a dynamic process both public and private, shaped by past experiences and present circumstances, and evolving over time. Offering a broad, comprehensive overview of the definitions, politics, manifestations, concepts, and ideas related to identity, the entries include short biographies of major thinkers and leaders, as well as discussions of events, personalities, and concepts. The Encyclopedia of Identity is designed for readers to grasp the nature and breadth of identity as a psychological, social, anthropological, and popular idea. Key ThemesArtClassDeveloping IdentitiesGender, Sex, and SexualityIdentities in ConflictLanguage and DiscourseLiving EthicallyMedia and Popular CultureNationality Protecting IdentityRace, Culture, and EthnicityRelating Across CulturesReligionRepresentations of IdentityTheories of Identity

The essays in this volume, first presented at an international conference held at the University of Urbino, Italy, in 2011, explore the different senses of realism, arguing both for and against its distinctive theses and considering these senses from a historical point of view. The first sense is the metaphysical thesis that whatever exists does so, and has the properties it has, independently of whether it is the object of a person's thought or perception. The second sense of realism is epistemological, wherein realism claims that, in some cases, it is possible to know the world as it exists in and of itself. A third sense, which has become known as ontological realism, states that universals exist as well as individuals. The essays collected here make new contributions to these fundamental philosophical issues, which have largely defined western analytic philosophy, from Plato and Aristotle to the present day.