Rhetorical Realism responds to the surging interest in nonhumans across the humanities by exploring how realist commitments have historically accompanied understandings of rhetoric from antiquity to the present. For a discipline that often defines itself according to human speech and writing, the nonhuman turn poses a number of challenges and opportunities for rhetoric. To date, many of the responses to the nonhuman turn in rhetoric have sought to address rhetoric’s compatibility with new conceptions of materiality. In Rhetorical Realism, Scot Barnett extends this work by transforming it into a new historiographic methodology attuned to the presence and occlusion of things in rhetorical history. Through investigations of rhetoric’s place in Aristotelian metaphysics, the language invention movement of the seventeenth century, and postmodern conceptions of rhetoric as an epistemic art, Barnett’s study expands the scope of rhetorical inquiry by showing how realist ideas have worked to frame rhetoric’s scope and meanings during key moments in its history. Ultimately, Barnett argues that all versions of rhetoric depend upon some realist assumptions about the world. Rather than conceive of the nonhuman as a dramatic turning point in rhetorical theory, Rhetorical Realism encourages rhetorical theorists to turn another eye toward what rhetoricians have always done—defining and configuring rhetoric within a broader ontology of things.

The scholarship devoted to American literary realism has long wrestled with problems of definition: is realism a genre, with a particular form, content, and technique? Is it a style, with a distinctive artistic arrangement of words, characters, and description? Or is it a period, usually placed as occurring after the Civil War and concluding somewhere around the onset of World War I? This volume aims to widen the scope of study beyond mere definition, however, by expanding the boundaries of the subject through essays that reconsider and enlarge upon such questions. The Oxford Handbook of American Literary Realism aims to take stock of the scholarly work in the area and map out paths for future directions of study. The Handbook offers 35 vibrant and original essays of new interpretations of the artistic and political challenges of representing life. It is the first book to treat the subject topically and thematically, in wide scope, with essays that draw upon recent scholarship in literary and cultural studies to offer an authoritative and in-depth reassessment of major and minor figures and the contexts that shaped their work. Contributors here tease out the workings of a particular concept through a variety of authors and their cultural contexts. A set of essays explores realism's genesis and its connection to previous and subsequent movements. Others examine the inclusiveness of representation, the circulation of texts, and the aesthetic representation of science, time, space, and the subjects of medicine, the New Woman, and the middle class. Still others trace the connection to other arts--poetry, drama, illustration, photography, painting, and film--and to pedagogic issues in the teaching of realism. As a whole, this volume forges exciting new paths in the study of realism and writers' unending labor to represent life accurately.

A challenging rethinking of traditional theories, and redefinition of the genre, of realism.

Untouchable Fictions considers the crisis of literary realism--progressive, rural, regionalist, experimental--in order to derive a literary genealogy for the recent explosion of Dalit ("untouchable caste") fiction. Drawing on a wide array of writings from Premchand and Renu in Hindi to Mulk Raj Anand and V. S. Naipaul in English, Gajarawala illuminates the dark side of realist complicity: a hidden aesthetics and politics of caste. How does caste color the novel? What are its formal tendencies? What generic constraints does it produce?

This critical study traces the connections between the rising economic importance of the garment industry and the advent of a powerful movement towards literary realism in American fiction. Examining the works of Henry James, Theodor Dreiser, Abraham Cahan, Anzia Yezierska, and Willa Cather and the shifting of the American ideal from the "homespun" to the "ready made," it explains how that cultural and psychological change appeared in the new literature of the nation.

Explores the possibilities and limits of a concept of realism that seeks a point of equilibrium between the principle of autonomy of the literary work vis-a-vis reality and the relations that the work clearly establishes with this reality. Argues that by concentrating on the study of the literary work as a verbal construction, the traditional of formalism and New Criticism has neglected the mimetic aspect of the literary problematic, dissociating literature from life. Annotation copyright by Book News, Inc., Portland, OR

Focusing on key works of late nineteenth- and early twentieth-century American literary realism, Phillip Barrish traces the emergence of new ways of gaining intellectual prestige - that is, new ways of gaining cultural recognition as unusually intelligent, sensitive or even wise. Through extended readings of works by Henry James, William Dean Howells, Abraham Cahan and Edith Wharton, Barrish emphasises the differences between literary realist modes of intellectual and cultural authority and those associated with the rise of the social sciences. In doing so, he greatly refines our understanding of the complex relationship between realist writing and masculinity. Barrish further argues that understanding the dynamics of intellectual status in realist literature provides new analytic purchase on intellectual prestige in recent critical theory. Here he focuses on such figures as Lionel Trilling, Paul de Man, John Guillory and Judith Butler.

The postbellum period saw many privileged Americans pursuing a civilized ideal premised on insulation from pain. Medico-scientific advances in anesthetics and analgesics and emergent religious sects like Christian Science made pain avoidance seem newly possible. The upper classes could increasingly afford to distance themselves from the suffering they claimed to feel more exquisitely than did their supposedly less refined contemporaries and antecedents. The five US literary realists examined in this study resisted this contemporary revulsion from pain without going so far as to join those who celebrated suffering for its invigorating effects. William Dean Howells, Henry James, Edith Wharton, Mark Twain, and Charles Chesnutt embraced the concept of a heightened sensitivity to pain as a consequence of the civilizing process but departed from their peers by delineating alternative definitions of a superior sensibility indebted to suffering. Although the treatment of pain in other influential nineteenth century literary modes including sentimentalism and naturalism has attracted ample scholarly attention, this book offers the first sustained analysis of pain's importance to US literary realism as practiced by five of its most influential proponents.

The end of the Cold War encourages new perspectives on international relations. Beer and Hariman provide a comprehensive set of essays that challenge and reinterpret the tradition of realism which has dominated the thinking of academics and foreign policy makers. Post-Realism: The Rhetorical Turn in International Relations systematically discusses the major realist writers of the Post-War era, the foundational concepts of international politics, and representative case studies of foreign policy discourse. These essays demonstrate how realism operates rhetorically and point the way toward a richer understanding of world politics.

Contemporary essays address the central problem of power in assent rhetoric.