Realism

About: Realism is a research topic. Over the lifetime, 10799 publications have been published within this topic receiving 175785 citations.

Hans Morgenthau : realism and beyond

Abstract: Contents Acknowledgments Abbreviations Introduction: Morgenthau's Uneasy Realism Chapter I: Radical Roots of Realism Chapter II: Morality, Power, and Tragedy Chapter III: Defending the National Interest Chapter IV: Politics Among Nations and Beyond Chapter V: Utopian Realism and the Bomb Chapter VI: Vietnam and the Crisis of American Democracy Conclusion: Morgenthau as Classical Realist? Bibliography Index

The Currency of the Photograph

Abstract: On 6 October 1951 Berenice Abbott took part in a conference on photography at the Aspen Institute, Colorado. Here, she put forward her view that photography has a strong affinity to writing and that, in the USA, this is to ‘a glorious tradition of unsurpassed realist writers’.2 In the course of her argument she reminded her audience that: ‘Jack London in his powerful novel Martin Eden pleads not only for realism but impassioned realism, shot through with human aspirations and faith, life as it is, real characters in a real world — real conditions.’ She asked: ‘Is this not exactly what photography is meant to do with the sharp, realistic, image-forming lens?’ And a little later, as if in answer, she concluded: ‘Photography cannot ignore the great challenge to reveal and celebrate reality.’3

Key words in Brecht’s theory and practice of theatre

Abstract: Introduction: Dialectics The most damaging yet most common error in discussions of Brecht's theory has been to see it as fixed and unchanging, and to view it therefore as either dogmatic, communist-inspired abstraction or revered holy writ. Behind these views lie different perceptions of Marxism and the rights and wrongs of political art. Brecht began to think through the ideas with which he is most commonly associated in the late 1920s and early 1930s. His emphasis and terminology changed in these years, as well as subsequently, and many see in his later remarks and essays (especially A Short Organum for the Theatre , 1948) a belated acceptance of the conventions of realism and the realities of emotional experience suppressed by the supposed sterile intellectualism of his earlier years. In this way Brecht has often come to be admired as a great writer, particularly in the West, in spite of his theory: as at once reconciled with his own youthful hedonism and with the forms and verities of an art above theory and politics. In fact, this is simply to read Brecht in terms of one favoured aesthetic ideology rather than another, and to compromise his art and ideas as much, though in another direction, as a protective state socialism ever did. If we are to approach his ideas more constructively, we need to understand how they emerged and changed in particular artistic and social circumstances, and see them, moreover, as belonging with clusters of related terms and concepts in what was a developing self-critical aesthetic and theatre practice.