The new realism: coöperative studies in philosophy by Edwin B. Holt,

Introduction.--The emancipation of metaphysics from epistemology, by W. T. Marvin.--A realistic theory of independence, by R. B. Perry.--A defense of analysis, by E. G. Spaulding.--A realistic theory of truth and error, by W. P. Montague.--The place of illusory experience in a realistic world, by E. B. Holt.--Some realistic implications of biology, by W. B. Pitkin.--Appendix: Program and first platform of six realists (reprinted from the J. of phil., psychol., etc., 1910, 7, 393) Montague on Holt; Holt on Montague; Pitkin on Montague and Holt.

Lives of the necromancers. Or, An account of the most eminent persons in successive ages, who have claimed for themselves, or to whom has been imputed by others, the exercise of magical power.

The English edition was published in 1834.

The magic of Oz; a faithful record of the remarkable adventures of Dorothy and Trot and the Wizard of Oz, together with the Cowardly Lion, the Hungry Tiger and Cap'n Bill, in their successful search for a magical and beautiful birthday present for Princess Ozma of Oz,

A young citizen of Oz who learns an important magic word falls prey to the wickedness of the Nomes' ex-king who wants to destroy Dorothy, the Wizard, and Princess Ozma.

Berkeley and spiritual realism /

"A short list of books bearing on the subject": p. 85.

Bergson and Personal realism,

Mode of access: Internet.

Cracking capitalist realism: the new student movement and its post-capitalist politics

There is much talk of =the crisis‘ in higher education, often expressed in fatalistic narratives about the (im)possibility of critical resistance or alternatives to the deepening domination of neoliberal rationality and capitalist power throughout social life. But how precisely are we to make sense of this situation? In what ways is it experienced? And what knowledges and practices may help us to respond? These questions form the basis for a series of explorations of the history and character of this crisis, the particular historical conjuncture that we occupy today, and the different types of theoretical analysis and political response it seems to be engendering. Our talk will explore the tensions between readings of the situation as a paralyzing experience of domination, loss and impossibility, on the one hand, and radical transformation and the opening of future possibilities, on the other. We will finally consider what implications new forms of political theory being created in the new student movements have for reconceptualising praxis in higher education today, and perhaps for a wider imagination of post-capitalist politics.

Realism and national identity in 'Y Tu Mamá También': an audience perspective

When referring to cinema and its emancipatory potential, realism, like Plato’s pharmakon, has signified both illness and cure, poison and medicine. On the one hand, realism is regarded as the main feature of so-called classical cinema, inherently conservative and thoroughly ideological, its main raison d’être being to reify and make a particular version of the status quo believable and to pass it out as ‘reality’ (Burch, 1990; MacCabe, 1974). On the other, realism has also been interpreted as a quest for truth and social justice, as in the positivist ethos that informs documentary (Zavattini, 1953). Even in the latter sense, however, the extent to which realism has served colonizing ends when used to investigate the ‘truth’ of the Other has also been noted, rendering the form profoundly suspicious (Chow, 2007, p. 150). For realism has been a Western form of representation, one that can be traced back to the invention of perspective in painting and that peaked with the secular worldview brought about by the Enlightenment. And like realism, the nation state too is a product of the Enlightenment, nationalism being, as it were, a secular replacement for the religious - that is enchanted or fantastic - worldview. In this way, realism, cinema and nation are inextricably linked, and equally strained under the current decline of the Enlightenment paradigm. This chapter looks at Y tu Mamá También by Alfonso Cuarón (2001), a highly successful road movie with documentary features, to explore the ways in which realism, cinema and nation interact with each other in the present conditions of ‘globalization’ as experienced in Mexico. The chapter compares and contrasts various interpretations of the role of realism in this film put forward by critics and scholars and other discourses about it circulating in the media with actual ways of audience engagement with it.

Renouncing the Single Image: Photography and the Realism of Abstraction

This essay addresses the issue of the relationship between abstraction and realism that it argues is at stake in the rejection of any primacy accorded to the single image, in favour of a sequencing of photographs according to certain, often novelistic and epic ideas of narrative form. Setting out from the opening text of Allan Sekula’s Fish Story, the article explores the competing tendencies towards what Georg Lukács termed ‘narration’ and ‘description’ as these are traced throughout Sekula's project (in part through a comparison with the contrasting works of Andreas Gursky). The essay concludes by suggesting the ways in which it is the irreducible actuality of abstraction within the concrete everydayness of capitalism's social world that means that all photographic ‘realism’ is intrinsically ‘haunted’ by a certain spectre of that ‘self-moving substance in the ‘shape of money’, as Marx calls it, or of the abstract form of capital itself.