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This article addresses the issue of literary reflection on the artistic legacy of contemporary Russian writer Oleg Pavlov. The study is based on critical and journalistic articles, literary analyses of the author’s works, and selected literary pieces. It presents an attempt at a systematic description, generalization, and analysis of Oleg Pavlov’s poetics. For the first time, the article proposes a periodization of the writer’s oeuvre. The author identifies and interprets the classical stages of Pavlov’s creative biography — early (“biographical”), mature (“critical-journalistic”), and late (“reflective”). It is established that literary criticism has offered a mixed assessment of the writer’s artistic mastery, presenting contradictory judgments ranging from condescending and tolerant to sharp and accusatory. On one hand, his prose is associated with the classical literary tradition; on the other hand, a cliché of the “gloomy” writer has emerged. The article highlights a sustained interest in Oleg Pavlov’s works within academic literary studies, identifying mythopoetic, philosophical, historical-cultural, and linguistic research directions. The author concludes that current philological reflection opens up research perspectives in the study of Pavlov’s poetics as a representative of “new realism” in contemporary Russian literature.

Speculative Realism, New Realism or Postcontinental Realism is an eclectic current that comes to overcome the aporias and insufficiencies of continental philosophy from a perspective that could be attributed to the same problems as the idealist and constructivist perspective of continental philosophers. For the development of philosophy, it is important to engage in conversation with the authors of this movement. This article presents an approach to the successes and insufficiencies of the ontologies of two current authors such as Markus Gabriel and Graham Harman. The strengths and weaknesses of Markus Gabriel's neutral realism and Object-Oriented Ontology are presented, in this order. In the last section, by way of conclusions, the common points of the ontologies are pointed out and the idea of event is provided as a line of research that overcomes the aporias that emerge from the contrast between idealism and realism. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Korunk is the property of Korunk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The ideas linked to the formulation “Social Construction of Reality” (SoCo) have spilled over from the Social Sciences and Humanities to public discourses, e.g. on gender and truth, and form in epistemic terms the crossroads of the polarization of liberal and anti-liberal world views par excellence. By focusing on the “academic debate” about the theory of Social Construction of Reality we argue that the polemical misuse of “social construction,” quite common in public and political discourse, also characterizes New Realism. This recent philosophical movement frames its innovative character first by reframing the problem of the social construction of reality from social theory to philosophy and such failing the basic idea of the entire approach, and second, by referring not to Social Construction of Reality but to a specific understanding of “Social Constructionism.” However, the numerous critiques of SoCo over time have led to Communicative Constructivism (CoCo) as a comprehensive reformulation within Sociology of Knowledge. As an empirically grounded theory, CoCo relates to new forms of realisms constituted in their opposition to SoCo.

Copyright of Cinta de Moebio is the property of Universidad de Chile, Facultad de Ciencas Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes the «corporal turn» of Philosophy in XX Century. It parts from the revaluation of the body undertaken by Nietzsche against a tradition that probably emphasized too much the spirituality of the soul, ripping it from the body. A properly thought «Philosophy of the body» could bring back that reality which modern criticism has driven so far away. To offer a way out of universal solipsism, it is necessary a Philosophy of the body capable of rethinking Realism. MerlauPonty and Jean-Luc Nancy’s approaches to a Philosophy of corporality and of flesh are presented, then. The next section deals with the consequences of the corporal turn of Philosophy in relation to Ontology: it shows the way from the body to Being. The exemplar exteriority with which Nancy defines the body allows us to calibrate — in the sense of an immanent Philosophy which is not done, closed or definite — an atheism free from naïve and a kind of Ontological Realism free from abstractions or dogmatism. To close the cycle, «New Realism» approach, defended by Markus Gabril, Ferraris and Harman, amongst others, is presented and defended. The intention of this article is to present a way in which it is possible to formulate a new Ontology, a new conception of Being and existence, a realistic, materialistic ontology of the corporal being inasmuch the extra-corporal being.

Purpose: By engaging with recent debates between management historians over social constructionism, this paper aims to show the merits of adopting a new realist ontology of the business enterprise. In contrast with ANTi-History, the purpose is to provide a philosophically rigorous conception of social objects and to argue that enterprises are a member of this category. Design/methodology/approach: Insights from Maurizio Ferraris's documentality theory and Graham Harman's philosophy of social objects are used to identify the ontological forming ground and developmental pathway of an Antipodean stevedoring company that operated prior to the deregulation of New Zealand's ports in 1989. Findings: With regard to social entities in general and firms in particular, continental philosophy's resurgent realist movement provides a history-aware social ontology that incorporates the grain of truth lying within social constructionism. As exemplified by the writings of Ferraris and Harman, realism provides a viable conception of social objects and, in so doing, a more coherent ontological foundation for the business enterprise than the relational ontology embraced by management history ANTians. Originality/value: By drawing on two realist perspectives hitherto neglected by management historians, this paper resolves disagreements about the ontology of the business enterprise. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Shenzhen University Humanities & Social Sciences is the property of Journal of Shenzhen University (Humanities & Social Sciences) Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1937, Jiří Voskovec and Jan Werich wrote and staged the play Těžká Barbora [Heavy Barbara], which was inspired by the art of Pieter Brueghel the Elder and represents a unique experiment involving dramatisation and theatricalisation of his paintings. This article focuses on Alois Wachsman’s scenography for this play and explores it in relation to Brueghel’s paintings; the poetics and humour of Voskovec and Werich; trends and artists of the period; Wachsman’s scenography for the National Theatre; and his paintings. The study brings attention to the previously unknown fact that Wachsman created two different versions of the set design for Heavy Barbara. Both versions alluded to Brueghel; however, one was inspired by Surrealism/Wachsman’s imaginative painting, while the other accentuated the folk atmosphere of the play through its use of New Realism and New Objectivity. [ABSTRACT FROM AUTHOR]

This article presents the ideas of factfulness created by H. Rosling and “new realism” presented by R. Bregman in his book Homo Sapiens. The author connects these ideas with subjects and topics present in obligatory reading according to “Podstawa Programowa” [core curriculum]. The author is convinced that “people are better than we think” (Bregman, 2020) and that we should use critical thinking and the idea of factfulness. In this article, she analyses whether those obligatory books are somehow still up-to-date for primary school students and presents some alternative books worth reading in class in order to bring hope and an optimistic look at the future of humanity.

This text explores the rethinking of the term postmodernism as an analytical tool applied to the art of the 1960s. That proved to be a decade which, in terms of the then current temporal constructs, could not be differentiated by art history or from an aesthetic point of view. It was the decade when the end of the grand narratives was announced and when reflections on the "World of Art" first began. These two positions radically divided the theoretical understanding of the epoch; because while aesthetics and philosophy developed the thesis of the meta-narrative development of culture and the end of the great modern project, art history and sociology, in the persons of Arthur Danto and George Dickie, theorized on the "World of Art" and the role of institutions, emphasizing a concluded phase and a logical continuation of this modern project. As Gombrich writes in his book Art and Illusion, there is nothing closer to the human mind than the traditional acceptance of pictorial codes and their continuation (Gombrich 1988: 120). Therefore, the two historical views upon which this text is based were already posited during the twentieth century. The analytical invention this study introduces is the simultaneous consideration of the two theoretical positions through the optic of the sociology of art; for, in Bulgarian art, the problem of the world of art and institutionalism are scarcely addressed, translated literature is almost nonexistent, and the analytical view of art history through the ideas of Danto and Dickie is still at an experimental stage. That is why comparative art history finds invaluable application in this theoretical clash, projecting in parallel the narrative and normative factors in the European civilization of the recent past. [ABSTRACT FROM AUTHOR]

This paper explores the biography of Edwin Bissell Holt (1873–1946), an American psychologist and philosopher. Although today Holt is almost completely forgotten, he was one of the leading figures in early twentieth century American science. In my work I am going to show that Holt's impact was remarkable and long-lasting both in psychology and in philosophy. In psychology, Holt was a pioneer of behaviorism (plausibly preceding John Watson), academic psychoanalysis and so–called ecological psychology. In philosophy, he arguably influenced the late philosophy of his teacher and cordial friend, William James. Holt was also one of the founders of the New Realism, a tradition that—although short-lived—transferred to American soil many ideas of British analytic movement and paved the way for American analytic philosophy. Unfortunately, due to Holt's early withdrawal from academic life, some of his achievements were adopted by his students (e.g., by Edward Chase Tolman and James Gibson), while other fell into oblivion. By following Holt's biography, I try to give him a proper place in the history of American science and—at the same time—to offer a kind of a prolegomena to more detailed studies on his thought that are certainly needed. [ABSTRACT FROM AUTHOR]

Copyright of Logos: Anales del Seminario de Metafísica (1575-6866) is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper, first published in German in Le foucaldien 4, no. 1 (2018), explores Bruno Latour's critique of contemporary critical theory. According to Latour, poststructuralist conceptions of critical inquiry are becoming increasingly outdated. In our "post-factual" era, attempting to expose facts as results of power-laden processes of social construction plays into the hands of anti-scientific obscurantists. This is not to say, however, that one ought to opt for some reductionist notion of objectivity. Instead, Latour proposes a new form of critical realism. While we agree with Latour about the necessity of widening our epistemological paradigm, we deem his critique of poststructuralism unfair and exaggerated. Moreover, we argue that he fails to account for the relationship between epistemology, power, and subjectivity. Since Foucault, on the other hand, succeeds where Latour falls short and probes into this very relationship, his is a form of critique that remains crucial to tackling the current crisis of truth.

Contemporary art fits into the neo-Marxist concept of the systematic dispute and destruction of all Western civilization's moral, religious, economic, and political values, attempting to build on the ruins of a new world conceived and designed by Marx, Lenin, and all the great Marxist philosophers. The Good, the Beautiful, and the Truth have no relevance to the artists of this movement. On the contrary, the rudeness, the offense felt by the public, the blasphemy that brings humiliation, and the vain sexuality that revolts all are the aim of the message of the work that the contemporary artist promotes, claiming that in this way, he succeeds in bringing out of lethargy the man in a trance and death sleep that the historical sins of the West keep away from the light of the liberating world revolution. [ABSTRACT FROM AUTHOR]

The generational narrative in criticism of New Realism In the late 20th century, New Realism emerged as a counterpoint to postmodern literature. The representatives of this school defined themselves in their manifestoes and critical writings as a generation with the same aesthetic and ideological principles. The anthology of New Russian Criticism, edited by Roman Senchin, is a demonstration of this common action. This study aims to present how and what elements of this generational consciousness and cultural identity are created, i.e. how thinking about literature has changed. [ABSTRACT FROM AUTHOR]

Constructivism is a very complex and ambiguous concept, whereas the constructivist approach is mostly presented in three main aspects: ontological and epistemological (conditions and capabilities of reality existence and cognition), psychological (mental processes of knowledge constructing) and pedagogical (processes of learning and creating concepts). In this article I am searching the answer to two basic questions, the first one reading: What are the potential results of the constructivist approach in connection with diversity pedagogy and inclusion learning for education and the functioning of schools? The posthuman critique of social constructivism formulates the second of the questions I want to answer in the text: how can the constructivist approach cooperate with some new contemporary social theories, especially the new realism (materialism) and pedagogy of things? Employing the Piagetian concept of decentration, I take a critical look at how and in what sense constructivism could influence the change of meanings ascribed to categories like norm(s), learning difficulties or special educational needs, as well as reformulate the general philosophy of education and eventually affect the functioning of schools as accessible learning environments. [ABSTRACT FROM AUTHOR]

This article presents the views of Maurizio Ferraris, one of today's best-known Italian middle-generation philosophers. Since the end of the 1990s, he has been constructing a concept he calls new realism. It is a critique of postmodernism defined in the broad sense, which, in Ferraris' view, is characterised by the primacy of interpretation over facts, epistemology over ontology, conceptual schemes over reality. Ferraris assumes the possibility of strictly separating the two cognitive activities: the primary determination of facts and their secondary interpretation. Ferraris' realist views are also expressed in his aesthetics and the concept of social document, founded on the notion of trace understood in the material sense. The author also attempts to critique Ferraris' views on his understanding of realism and interpretation. [ABSTRACT FROM AUTHOR]

Copyright of Porównania / Comparisons. A Journal on Comparative Literature & Interdisciplinary Studies is the property of Adam Mickiewicz University Poznao, Press of "Poznanskie Studia Polonistyczne" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Article is dedicated to a characteristic and typology of literary characters in prosaic text by Zakhar Prilepin. The Literary characters are first of all defined generally from point of various Literary-Scientific approaches. The Analysis of Prilepin’s characters is focused on understanding a picture of literary hero in context of new realism that as new way of recent Russian literature brings entirely new view on by Author presented reality and as well changes a character definition like one of the most important and essential category of an art text. [ABSTRACT FROM AUTHOR]

In this essay I argue that Irele's critical discourse is a construct of double entendre, the introvert and the extrovert, crystallized in his concept of the African Imagination. I critically chronicle the development of this discourse from his engagement with early African diasporic writings, through the Négritude movement, to contemporary African literature while foregrounding his critical legacy. [ABSTRACT FROM AUTHOR]

L’articolo ipotizza e delinea la ricostruzione di una morfologia del genere family novel, considerato non solo come un particolare tipo di romanzo con un argomento ben definito ma come un tipo di romanzo con una particolare declinazione formale, in un arco cronologico che va dalla fine del postmoderno al Post-Millennium. Le caratteristiche di questa specifica forma del romanzo nella contemporaneità occidentale, americana ed europea, sono messe in relazione e rilette attraverso il prisma di alcune categorie critiche nate nella fase di passaggio dalla postmodern fiction ai connotati del New Realism. Lo studio descrive infine in quali termini alcune esigenze formali e simboliche del New Realism abbiano trovato nella forma del family novel una struttura capace di riceverle in una reciproca riconfigurazione di senso. The article considers and outlines the reconstruction of a morphology of the ‘family novel’ genre, from a thematic but especially formal point of view, over a period that goes from the end of postmodernism to the Post-Millennium. The features of this specific form of novel in the western contemporary world, both American and European, are compared and reinterpreted through the lens of critical frameworks developed between postmodern fiction and New Realism. Finally, the study describes how certain formal and symbolic necessities of the New Realism have found in the form of the family novel a structure capable of receiving them in a mutual reconfiguration of sense.

Paolo Bozzi developed his «experimental phenomenology» from the Gestalt psychology tradition, particularly from Gaetano Kanizsa’s method. The distinction between «phenomenal description» and «causal explanation» of the «perception» springs up from the analysis of Bozzi’s «S-D psychophysical scheme». What Frege, who was well-known by Bozzi, deals with in paragraph 71 of The Thought theoretically mirrors what is outlined in the Scheme and could also be intended as its source. The juxtaposition between a «science of observable things» or «experimental phenomenology» – conceived as a science which is autonomous from what happens in the brain – and logics, which is set up autonomously from the thinking processes, is a programmatic element that is openly indicated by the author. Frege’s anti-psychologism and realism are both widely shared by Bozzi. The realism and the «naïve physics» Bozzi was a pioneer of lie at the basis of the so-called «New Realism». The following essay aims to localize and highlight some theoretical implications – up to their phenomenological origins – which can be detected particularly in paragraph 71 of The Thought. The present work tries to sketch out the boundaries and the autonomy of the «first person» perceptive experience and to define the scientific explanation that we can give of it. The distinction between science and experience, and the autonomy of experience from science and of the immediate experience of the content of consciousness from neuroscience, entail the impossibility of a naturalization of the phenomenological experience. In the examples taken from Frege can be found a theoretical bridge which connects the Gestalt perceptological tradition, Wittgenstein’s investigations of the philosophy of psychology, and the so called «New Realism».

This article explains the founding of the ELT Period, also called the Transition Era, 1880-1920. The many "minor" authors discussed here, whom Samuel Butler referred to as the "hewers of wood and tillers of the soil," played an important role in preparing the ground for Yeats, Eliot, James Joyce and other moderns. The period from 1880 until about 1920 seems like Walter Pater's late twelfth and early thirteenth centuries, "a brilliant but in part abortive effort" to revitalize Art and Life, a "little renaissance" but a renaissance nevertheless. The article directs its attention to the energy in quest for newness, a new life in the arts and a new artistic temperament in life, concentrating on two kinds of evidence: that which bears on the language and form of art; that which bears on the content of art. [137 words] [ABSTRACT FROM AUTHOR]

Copyright of Estudios Filosóficos is the property of Estudios Filosoficos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The upcoming book by Zuzana Bartošová explores French-Slovak and Slovak-French relations in the area of visual arts in the latter half of the twentieth century. The paper "Between Paris and Bratislava I" is a segment of the upcoming book. It focuses on events in the period of 1960 - 1968 during which a crucial role has been played by Alex Mlynárčik's initiatives directed towards a French art critic, Pierre Restany, a key figure of Parisian New Realism. The paper highlights Restany's contribution to Slovak art scene, for instance during the preparation of international exhibition Danuvius '68. It also deals with the AICA (Association internationale des critiques d'art) congress held in 1966 in Prague and Bratislava and with its resonance in Slovak environment. [ABSTRACT FROM AUTHOR]

Copyright of Slavica Litteraria is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)