Realism Reconsidered

Realism remains the most important and controversial vision of international politics. But what does it mean to be a realist? This collection addresses this key question by returning to the thinking of perhaps the most influential realist of modern times: Hans J. Morgenthau. In analyses of issues ranging from political philosophy, to international law, to the impact of nuclear weapons and the challenges of American foreign policy, the authors demonstrate that Morgenthau's thinkingexemplifies a rich realist tradition that is often lacking in contemporary analyses of international relations and foreign policy. At a time when realism is once again at the centre of both scholarly and political debates, this book shows that the legacy of classical realism can enrich ourunderstanding of world politics and contribute to its future direction.

Realism remains the most important and controversial vision of international politics. But what does it mean to be a realist? This collection addresses this key question by returning to the thinking of perhaps the most influential realist of modern times: Hans J. Morgenthau. In analyses of issues ranging from political philosophy, to international law, to the impact of nuclear weapons and the challenges of American foreign policy, the authors demonstrate that Morgenthau's thinking exemplifies a rich realist tradition that is often lacking in contemporary analyses of international relations and foreign policy. At a time when realism is once again at the centre of both scholarly and political debates, this book shows that the legacy of classical realism can enrich our understanding of world politics and contribute to its future direction.

This book elaborates a moral realism of phenomenological inspiration by introducing the idea that moral experience, primordially, constitutes a perceptual grasp of actions and of their solid traces in the world. The main thesis is that, before any reference to values or to criteria about good and evil—that is, before any reference to specific ethical outlooks—one should explain the very materiality of what necessarily constitutes the ‘moral world’. These claims are substantiated by means of a text- centered interpretation of Aristotle’s Nicomachean Ethics in dialogue with contemporary moral realism. The book concludes with a critique of Heidegger’s, Gadamer’s and Arendt’s approaches to Aristotle’s ethics.

Despite the active tradition of scholarship on Dutch painting of the seventeenth century, scholars continue to grapple with the problem of how the strikingly realistic characteristics of art from this period can be reconciled with its possible meanings. With the advent of new methodologies, these debates have gained momentum in the past decade. Looking at Seventeenth-Century Dutch Art, which includes classic essays as well as contributions especially written for this volume, provides a timely survey of the principal interpretative methods and debates, from their origins in the 1960s to current manifestations, while suggesting potential avenues of inquiry for the future. The book offers fascinating insights into the meaning of Dutch art in its original cultural context as well as into the world of scholarship that it has inspired.

International Relations and Scientific Progress contends that a theory focusing on the structure of the international system explains a wider and more interesting range of events in world politics than other theories. Such theorizing appears to be out of favor as the result of the apparent failure by structural realism, the most prominent system-level theory over the last two decades, on any number of fronts--most notably an inability to anticipate the ending of the Cold War and its aftermath. This new book is put forward as the most comprehensive and innovative theoretical work on paradigms in international relations since the publication of Theory of International Politics, which created structural realism, more than two decades ago. With appropriate revisions, however, structural realist theory can compete effectively and reclaim its primacy. The first part of International Relations and Scientific Progress assesses the meaning of progress in the discipline of international relations, a process that culminates in the creation of a new concept, the scientific research enterprise. The second part reviews structural realism within that context and identifies a lack of connection between theory and research that links power-based indicators to international conflict, crisis, and war. This part of the book makes the case for an elaboration of structural realism by showing that a system-level theory based on structure has great unrealized explanatory potential. By comparison, the current overwhelmingly research oriented agenda on state dyads imposes severe limitations on understanding that are not currently appreciated. Part Three sums up the work and explores new directions, most notablyas related to empirical testing of an elaborated version of structural realism that focuses on both continuity and change in the international system.

This book examines the fascinating story of how the chief architects of realism (Hans Morgenthau, Kenneth Waltz and John Mearsheimer) dealt with some of the most pressing political issues of our time through the lenses of fear. Pashakhanlou conducts the most comprehensive evaluation of their works to date, compromising of a meticulous analysis of 400 of their publications. As such, this book is an invaluable resource for practitioners, students and concerned citizens that seek to understand how three of the most influential International Relations scholars thought about the implications of fear at the global level. ‘In this important book, the author gets to the heart of the underlying emotional condition on which so much rational political thought in International Relations is built. By uncovering the role of fear within the modern classics of realism, the book sheds light on the role that fear plays in producing otherwise rational decision-making.’ David Galbreath, Professor of International Security, University of Bath, UK ‘The role played by fear in Realist international theory is under-explored and poorly theorised. This book addresses this lacuna and provides a thorough and systematic analysis of the significance of fear in Realism. In doing so, Arash Heydarian Pashakhanlou makes a major contribution to International Relations theory, and the ‘emotional turn’ in the study of contemporary international politics’. Adrian Hyde-Price, Professor of International Politics, Gothenburg University, Sweden

This second edition of Essentials of the Theory of Fiction provides a comprehensive view of the theory of fiction from the nineteenth century, through modernism and postmodernism, to the present. Expanded and revised, it has new selections from contemporary theorists, including Henry Louis Gates Jr., Peter Brooks, Linda Hutcheon, David Lodge, Barbara Foley, and others. Selections from: M. M. Bakhtin, John Barth, Roland Barthes, Wayne Booth, Peter Brooks, Seymour Chatman, Rachel Blau DuPlessis, Suzanne C. Ferguson, Barbara Foley, E. M. Forster, Joseph Frank, William Freedman, Norman Friedman, Joanne S. Frye, William H. Gass, Henry Louis Gates Jr., Gérard Genette, J. Arthur Honeywell, Linda Hutcheon, Henry James, Susan S. Lanser, Mitchell A. Leaska, George Levine, David Lodge, Georg Lukács, Gerald Prince, Patrocinio P. Schweickart, Tzvetan Todorov, Lionel Trilling, and Virginia Woolf

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yve-Alain Bois, and Thierry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollock, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.