This Pivot engages with current debates about anthropocentrism and the Anthropocene to propose a reappraisal of the realist novel in the second half of the nineteenth century. Through three case studies, it argues for ‘human tissue’ as a conceptual tool for reading that brings together biology, literature and questions of layering. This new approach is shown to be especially salient to the Victorian period, when the application of ‘tissue’ to biology first emerges. The book is distinctive in bringing together theoretical concerns around realism and the Anthropocene – two major topics in literary criticism – and presenting a new methodology to approach this conjunction, demonstrated through original readings of Charles Kingsley, George Eliot, and Emile Zola and two English-language writers he influenced (George Moore and Vernon Lee).

Over the past decade, an intellectual movement known as "realism" has challenged the reigning orthodoxy in political theory and political philosophy. Realists take issue with what they see as the excessive moralism and utopianism associated with prominent philosophers like John Rawls, Ronald Dworkin, and G.A. Cohen; but what they would put in its place has not always been clear. The contributors to this volume seek to bring realism into a new phase, constructive rather than merely combative. To this end they examine three distinct kinds of realism. The first seeks to place questions of feasibility at the center of political theory and philosophy; the second seeks to reorient our interpretations of key works in the canon; the third seeks new interpretations or specifications of prominent ideologies such as liberalism, radicalism, and republicanism such that they no longer rely on abstract or systematic philosophic systems. Contributors include: David Estlund, Edward Hall, Alison McQueen, Terry Nardin, Philip Pettit, Janosch Prinz, Enzo Rossi, Andrew Sabl, Rahul Sagar, and Matt Sleat. The chapters originally published as a special issue of Critical Review of International Social and Political Philosophy.

Scientific realism is the position that the aim of science is to advance on truth and increase knowledge about observable and unobservable aspects of the mind-independent world which we inhabit. This book articulates and defends that position. In presenting a clear formulation and addressing the major arguments for scientific realism Sankey appeals to philosophers beyond the community of, typically Anglo-American, analytic philosophers of science to appreciate and understand the doctrine. The book emphasizes the epistemological aspects of scientific realism and contains an original solution to the problem of induction that rests on an appeal to the principle of uniformity of nature.

Although many philosophers espouse anti-realism, the only sustained arguments for the position are due to Michael Dummett and Hilary Putnam. Gardiner's unpretentious style and lucid organization make sense of Dummett's and Putnam's discourse.

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.

Ganson offers new hope in this work for the defense of scientific realism by undermining powerful anti-realist objections and advocating an abandonment of naturalist and externalist strategies.

Since World War I, when the movement toward a comprehensive and systematic examination of international relations began, two intensive debates about the nature and methodology of the discipline have helped shape the field. The first was between the realist and the idealist schools; the second, between the traditionalists and the behavioralists. Now, a third debate has emerged, pitting state-centric conceptualizations against the globalist focus on interdependence. At issue is the nature of the international system. Is it still one in which the sovereign nation-state constitutes the dominant actor? Or has a process of global political, economic, and even social integration transformed the world into a "global village"? This text presents seminal works that define and illuminate the third debate, focused by the editors' comments prefacing each chapter and their synthesizing introductory and concluding chapters. It is designed to allow students and scholars to compare and contrast the contending approaches in order to better understand and develop the discipline of international relations. Given the consensus among both realists and globalists that our assumptions about world affairs affect how we construct theories to explain events and that the model we impose on the world directly affects the policies we prescribe, it is difficult to overemphasize the importance of the subject.

Scientists, philosophers and theologians have wrestled repeatedly with the question of whether knowledge is similar or different in their various understandings of the world and God. Although agreement is still elusive, the epistemology of critical realism, associated with Ian Barbour, John Polkinghorne and Arthur Peacocke, remains widely credible. Relying on the lifetime work of philosopher Ernan McMullin, this book expands our understanding of critical realism beyond a permanent stand-off between the subjective and objective, whether in science or theology. Critical realism illuminates the subject and the objectively known simultaneously. Responding to criticisms made against it, this book defends critical realism in science and theology with a specific role to play in our understanding of God.

Realism for the Masses is an exploration of how the concept of realism entered mass culture, and from there, how it tried to remake “America.” The literary and artistic creations of American realism are generally associated with the late nineteenth century. But this book argues that the aesthetic actually saturated American culture in the 1930s and 1940s and that the Left social movements of the period were in no small part responsible. The book examines the prose of Carlos Bulosan and H. T. Tsiang; the photo essays of Margaret Bourke-White in Life magazine; the bestsellers of Erskine Caldwell and Margaret Mitchell; the boxing narratives of Clifford Odets, Richard Wright, Nelson Algren; and the Hollywood boxing film, radio soap operas, and the domestic dramas of Lillian Hellman and Shirley Graham, and more. These writers and artists infused realist aesthetics into American mass culture to an unprecedented degree and also built on a tradition of realism in order to inject influential definitions of “the people” into American popular entertainment. Central to this book is the relationship between these mass cultural realisms and emergent notions of pluralism. Significantly, Vials identifies three nascent pluralisms of the 1930s and 1940s: the New Deal pluralism of “We're the People” in The Grapes of Wrath; the racially inclusive pluralism of Vice President Henry Wallace's “The People's Century”; and the proto-Cold War pluralism of Henry Luce's “The American Century.”