Beer and Hariman provide a coherent set of essays that trace and challenge the tradition of realism which has dominated the thinking of academics and practitioners alike. These timely essays set out a systematic investigation of the major realist writers of the Post- War era, the foundational concepts of international politics, and representative case studies of political discourse.

This book explores the contribution to recent developments in post-secularism, philosophical realism and utopianism made by key thinkers in the Hegelian tradition. It challenges dominant assumptions about what the relationship between religion and our so-called "secular age" should be that have sought to reduce or even eliminate religiosity from the public sphere. It draws upon utopian thinkers within the Hegelian tradition whose work has challenged this narrow secularism. In particular it explores the importance of philosophical transcendence to Hegelian and post-Hegelian religious, social and political theorising. This includes philosophers whose thinking is sympathetic or at least compatible with transcendence (such as Hegel, Taylor, Bhaskar and Bloch) but also those who have a reputation for rejecting transcendence and instead embracing immanence and even atheism (Feuerbach, Marx and Engels). By drawing on the utopian content of these thinkers it seeks to shed new light on the importance religious ideas have played in a range of philosophical positions within the broadly Hegelian tradition from theism, idealism, materialism and atheism to new ideas, especially new research on Hegel's so-called "panentheism". The book will be of interest to those working in the areas of post-secularism and utopian studies. It should also be of interest to academics and students of the recent turn within Critical Realism to "meta-reality" and its implications for Hegelianism and Marxism.

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.

Groff defends 'realism about causality' through close discussions of Kant, Hilary Putnam, Brian Ellis and Charles Taylor, among others. In so doing she affirms critical realism, but with several important qualifications. In particular, she rejects the theory of truth advanced by Roy Bhaskar. She also attempts to both clarify and correct earlier critical realist attempts to apply realism about causality to the social sciences. By connecting issues in metaphysics and philosophy of science to the problem of relativism, Groff bridges the gap between the philosophical literature and broader debates surrounding socio-political theory and poststructuralist thought. This unique approach will make the book of interest to philosophers and socio-political theorists alike.

We’ve all seen the images from Abu Ghraib: stress positions, US soldiers kneeling on the heads of prisoners, and dehumanizing pyramids formed from black-hooded bodies. We have watched officials elected to our highest offices defend enhanced interrogation in terms of efficacy and justify drone strikes in terms of retribution and deterrence. But the mainstream secular media rarely addresses the morality of these choices, leaving us to ask individually: Is this right? In this singular examination of the American discourse over war and torture, Douglas V. Porpora, Alexander Nikolaev, Julia Hagemann May, and Alexander Jenkins investigate the opinion pages of American newspapers, television commentary, and online discussion groups to offer the first empirical study of the national conversation about the 2003 invasion of Iraq and the revelations of prisoner abuse at Abu Ghraib a year later. Post-Ethical Society is not just another shot fired in the ongoing culture war between conservatives and liberals, but a pensive and ethically engaged reflection of America’s feelings about itself and our actions as a nation. And while many writers and commentators have opined about our moral place in the world, the vast amount of empirical data amassed in Post-Ethical Society sets it apart—and makes its findings that much more damning.

The real represents to my perception the things that we cannot possibly not know, sooner or later, in one way or another', wrote Henry James in 1907. This description, riven with double negatives, hesitation, and uncertainty, encapsulates the epistemological difficulties of realism, for underlying its narrative and descriptive apparatus as an aesthetic mode lies a philosophical quandary. What grounds the 'real' of the realist novel? What kind of perception is required to validate the experience of reality? How does the realist novel represent the difficulty of knowing? What comes to the fore in James's account, as in so many, is how the forms of realism are constituted by a relation to unknowing, absence, and ineffability. Realism, Form, and Representation in the Edwardian Novel recovers a neglected literary history centred on the intricate relationship between fictional representation and philosophical commitment. It asks how—or if—we can conceptualize realist novels when the objects of their representational intentions are realities that might exist beyond what is empirically verifiable by sense data or analytically verifiable by logic, and are thus irreducible to conceptual schemes or linguistic practices—a formulation Charlotte Jones refers to as 'synthetic realism'. In new readings of Edwardian novels including Conrad's Nostromo and The Secret Agent, Wells's Tono-Bungay, and Ford's The Good Soldier, this volume revises and reconsiders key elements of realist novel theory—metaphor and metonymy; character interiority; the insignificant detail; omniscient narration and free indirect discourse; causal linearity—to uncover the representational strategies by which realist writers grapple with the recalcitrance of reality as a referential anchor, and seek to give form to the force, opacity, and uncertain scope of realities that may lie beyond the material. In restoring a metaphysical dimension to the realist novel's imaginary, Realism, Form, and Representation in the Edwardian Novel offers a new conceptualization of realism both within early twentieth-century literary culture and as a transhistorical mode of representation.

This work examines Gutiérrez’s Centro Habana Cycle (1998-2003) as a literary response to the social, political, and economic crisis of Cuba’s Special Period with a series of thematically arranged close readings that explore Gutiérrez’s interpretation of life and reality via his signature semi-autobiographical narrative.

Critical realism is a movement in philosophy and the human sciences most closely associated with the work of Roy Bhaskar. Since the publication of Bhaskars A Realist Theory of Science, critical realism has had a profound influence on a wide range of subjects. This reader makes accessible, in one volume, key readings to stimulate debate about and within critical realism. It explores the following themes: * transcendental realist * the theory of explanatory critique * dialectics * Bhaskar's critical naturalist philosophy of science.

The characteristics, nature, and content of the language used in the public sphere of various Western and non-Western societies are examined in this collection of essays. They also analyze the link between culture, political culture, and the language politicians use in their symbolic interaction.

What has contemporary China inherited from its revolutionary past? How do the realities and memories, aesthetics and practices of the Mao era still reverberate in the post-Mao cultural landscape? The essays in this volume propose “red legacies” as a new critical framework from which to examine the profusion of cultural productions and afterlives of the communist revolution in order to understand China’s continuities and transformations from socialism to postsocialism. Organized into five parts—red foundations, red icons, red classics, red bodies, and red shadows—the book’s interdisciplinary contributions focus on visual and performing arts, literature and film, language and thought, architecture, museums, and memorials. Mediating at once unfulfilled ideals and unmourned ghosts across generations, red cultural legacies suggest both inheritance and debt, and can be mobilized to support as well as to critique the status quo.