The Rise Of Realism

Until quite recently, almost no philosophers trained in the continental tradition saw anything of value in realism. The situation in analytic philosophy was always different, but in continental philosophy realism was usually treated as a pseudo-problem. That is no longer the case. In this provocative new book, two leading philosophers examine the remarkable rise of realism in the continental tradition. While exploring the similarities and differences in their own positions, they also consider the work of others and assess rival trends in contemporary philosophy. They begin by discussing the relation between realism and materialism, which DeLanda links closely but which Harman tries to separate. Part Two covers the many different meanings of realism, with the two authors working together to develop an expanded definition of the term. Part Three features a spirited exchange on the respective virtues and drawbacks of DeLanda's realism of attractors and singularities and Harman's object-oriented theory. Part Four shifts to the question of the knowability of the real, as the authors discuss whether scientific knowledge does full justice to reality. In Part Five, they shift the focus to space, time, and science more generally, and here Harman offers a defence of actor-network theory despite its obvious anti-realist elements. Lively, accessible and engaging, this book is the best attempt so far to clarify the different paths for realism in continental philosophy. It will be of great value to students and scholars of continental philosophy and to anyone interested in the cutting-edge debates in philosophy and critical theory today.

Until quite recently, almost no philosophers trained in the continental tradition saw anything of value in realism. The situation in analytic philosophy was always different, but in continental philosophy realism was usually treated as a pseudo-problem. That is no longer the case. In this provocative new book, two leading philosophers examine the remarkable rise of realism in the continental tradition. While exploring the similarities and differences in their own positions, they also consider the work of others and assess rival trends in contemporary philosophy. They begin by discussing the relation between realism and materialism, which DeLanda links closely but which Harman tries to separate. Part Two covers the many different meanings of realism, with the two authors working together to develop an expanded definition of the term. Part Three features a spirited exchange on the respective virtues and drawbacks of DeLanda's realism of attractors and singularities and Harman's object-oriented theory. Part Four shifts to the question of the knowability of the real, as the authors discuss whether scientific knowledge does full justice to reality. In Part Five, they shift the focus to space, time, and science more generally, and here Harman offers a defence of actor-network theory despite its obvious anti-realist elements. Lively, accessible and engaging, this book is the best attempt so far to clarify the different paths for realism in continental philosophy. It will be of great value to students and scholars of continental philosophy and to anyone interested in the cutting-edge debates in philosophy and critical theory today.

Ever since William Dean Howells declared his "realism war" in the 1880s, literary historians have regarded the rise of "realism" and "naturalism" as the great development in American post-Civil War fiction. Yet there are many problems with this generalization. It is virtually impossible, for example, to extract from the novels and manifestoes of American writers of this period any consistent definitions of realism or naturalism as modes of literary representation. Rather than seek common traits in widely divergent "realist" and "naturalist" literary works, Michael Davitt Bell focuses here on the role that these terms played in the social and literary discourse of the 1880s and 1890s. Bell argues that in America, "realism" and "naturalism" never achieved the sort of theoretical rigor that they did in European literary debate. Instead, the function of these ideas in America was less aesthetic than ideological, promoting as "reality" a version of social normalcy based on radically anti-"literary" and heavily gendered assumptions. What effects, Bell asks, did ideas about realism and naturalism have on writers who embraced and resisted them? To answer this question, he devotes separate chapters to the work of Howells and Frank Norris (the principal American advocates of realism and naturalism in the 1880s and 1890s), Mark Twain, Henry James, Stephen Crane, Theodore Dreiser, and Sarah Orne Jewett. Bell reveals that a chief function of claiming to be a realist or a naturalist was to provide assurance that one was a "real" man rather than an "effeminate" artist. Since the 1880s, Bell asserts, all serious American fiction writers have had to contend with this problematic conception of literary realism. The true story of the transformation of American fiction after the Civil War is the history of this contention - a history of individual accommodations, evasions, holding actions, and occasional triumphs.

This is the story of a most ingenious invention: the novel. Desribed for the first time in The Rise of The Novel, Ian Watt's landmark classic reveals the origins and explains the success of the most popular literary form of all time. In the space of a single generation, three eighteenth-century writers -- Daniel Defoe, Samuel Richardson and Henry Fielding -- invented an entirely new genre of writing: the novel. With penetrating and original readings of their works, as well as those of Jane Austen, who further developed and popularised it, he explains why these authors wrote in the way that they did, and how the complex changes in society – the emergence of the middle-class and the new social position of women – gave rise to its success. Heralded as a revelation when it first appeared, The Rise of The Novel remains one of the most widely read and enjoyable books of literary criticism ever written, capturing precisely and satisfyingly what it is about the form that so enthrals us.

The Outline of American literature, newly revised, traces the paths of American narrative, fiction, poetry and drama as they move from pre-colonial times into the present, through such literary movements as romanticism, realism and experimentation. Contents: 1) Early American and Colonial Period to 1776. 2) Democratic Origins and Revolutionary Writers, 1776-1820. 3) The Romantic Period, 1820-1860, Essayists and Poets. 4) The Romantic Period, 1820-1860, Fiction. 5) The Rise of Realism: 1860-1914. 6) Modernism and Experimentation: 1914-1945. 7) American Poetry, 1945-1990: The Anti-Tradition. 8) American Prose, 1945-1990: Realism and Experimentation. 9) Contemporary American Poetry. 10) Contemporary American Literature.

Tool-Being offers a new assessment of Martin Heidegger's famous tool-analysis, and with it, an audacious reappraisal of Heidegger's legacy to twenty-first-century philosophy. Every reader of Being and Time is familiar with the opposition between readiness-to-hand (Zuhandenheit) and presence-at-hand (Vorhandenheit), but commentators usually follow Heidegger's wishes in giving this distinction a limited scope, as if it applied only to tools in a narrow sense. Graham Harman contests Heidegger's own interpretation of tool-being, arguing that the opposition between tool and broken tool is not merely a provisional stage in his philosophy, but rather its living core. The extended concept of tool-being developed here leads us not to a theory of human practical activity but to an ontology of objects themselves. Tool-Being urges a fresh and concrete research into the secret contours of objects. Written in a lively and colorful style, it will be of great interest to anyone intrigued by Heidegger and anyone open to new trends in present-day philosophy.