Realism

This essay focuses on the salient place given to staging both the modern regime of translation and the institution of literature alongside a dramatization of anthropological difference in Liu Cixin's acclaimed science fiction trilogy, Remembrance of Earth's Past (also known as The Three Body Problem). These are concerns that are, I would argue, not only historically central to twentieth-century Chinese literature, but also place twentieth-century Chinese literature squarely at the crux of some of the most fundamental questions about aesthetic modernity. These questions revolve around the way in which the type or the figure plays a crucial role in the construction of the nation-state. As quintessentially modern social institutions, both the regime of translation and the institution of literature converge around aesthetic ideology, in which the figure and the type play a paramount role. This is not just any figure, but rather the figure of the human, configured through the logical economy of genus, species, and individual. As a kind of abstraction that is intimately woven into the fabric of everyday life (or what Marx calls a "real abstraction"), this "logical economy" is most evident in that experience of identity peculiar to modernity: being an individual who belongs to a national community within that community's membership in a larger, single species among other species. Together, these two institutions form an inherently comparative biopolitical infrastructure that I call the apparatus of area and anthropological difference.

This thesis studies new forms of realism in Spanish prose in the 2000s, from a corpus of four novels. It contemplates what makes the contemporary reality aesthetic, what its epistemology is, and what links it bears to other forms of knowledge. What roles do realist narrations play in the configuration of social imaginaries, when the heritage of the democratic transition and the narration of Spanish modernisation are called into question?
We first examine the conditions of historical, socio-economic and cultural possibilities of a renewal of realism, which is mapped throughout the literary field of the last twenty years. The central hypothesis is that realism springs back up from the fact that debates around historical memory in the 2000s, and since 2008, the economic, social and political crisis prompt the revision of the transition myth and the project of modernity which had been structuring Spain’s social imaginaries since the 1960s.
Three parts offer different studies of realist poetics, diachronically and synchronically, to highlight the evolution of the modes of realist referentiality between the start of the 2000s and the beginning of the 2010s, the crisis of 2008 and its beginning as an inflexion point. The first part tackles two novels (Antonio Muñoz Molina, Sefarad, 2001 and Ignacio Martínez de Pisón, Enterrar a los muertos, 2005), which discuss the social fabrication of documents and historiography to reinterpret the 1936 war, the dictatorship and the transition. The second and third parts (Rafael Chirbes, Crematorio, 2007, and Isaac Rosa, La mano invisible, 2011) analyse the elaboration of a collective narrative of developmental Spain, at the dawn of the crisis, through novels which interact with the economic theory of liberalism and historic sociology.
At the crossroads of literary studies, social discourse, history and the contemporary sociology of Spain, this thesis argues that the appropriation of realism in the 2000s questions a national identity that is democratic, modern, and takes part in the reappearance of a problematic reality after the meta narration of a model transition collapsed. If the novels all try to tackle the social reality according to its representations, they differ through what « reality » means to them, through the nature of its historic and material causes, and through the ways they describe it.

The United States pursuing the realist prescription during the cold war helped maintain the balance of power and thus 'peace' among the competing great powers. In the post-cold war era it divorced some of realist assumptions-most importantly the prudential consideration-and pursued hegemonic policies which not only alienated its allies but also created apprehensions among other great powers about US ambitious grand designs. By pursuing such policies it has challenged not only the legitimacy of certain institutions established since Second World War (like United Nations), but also the institutions being established since Treaty of Westphalia (like state sovereignty). The study postulates that struggle for power and great power politics that had gone to the back-benches for some time during 1990s is very much alive and back in the post 9/11 era generally, and in the past decade specifically, establishing the prominence of enduring legacy of Realism.

We live in an age of movement. More than at any other time in history , people and things move longer distances, more frequently, and faster than ever before. All that was solid melted into air long ago and is now in full circulation around the world like dandelion seeds adrift on turbulent winds. We find ourselves, in the early twenty-first century, in a world where every major domain of human activity has become increasingly defined by motion. 1 We have entered a new historical era defined in large part by movement and mobility and are now in need of a new historical on-tology appropriate to our time. The observation that the end of the twentieth century and the beginning of the twenty-first was marked by an increasingly " liquid " and " mobile modernity " is now something widely recognized in the scholarly literature at the turn of the century. 2 Today, however, our orientation to this event is quite different. Almost twenty years into the twenty-first century we now find ourselves situated on the other side of this heralded transition. The question that confronts us today is thus a new one: how to fold all that has melted back up into new solids. 3

Donald Hoffman, Gerçekliğe Karşı kitabına "Kırmızı hapı sunuyorum." diyerek başlıyor. Evrim, gerçekliğin hakikatini bizim yararımıza olacak şekilde değiştirir diyor ve arayüz argümanını sunuyor. İnsanlığın tür olarak hayatta kalma kabiliyetlerinde, evrimsel süreçlerin izini sürüyor.

Donald Hoffman'a kitabının önsözünü çevirmeme izin verdiği için teşekkür ederim

How life is not a singularity, how you can truly be free, and how the conservative ideology is indeed illogical and antihuman. A thesis By: Shin-Ae Ahn Dedicated to: Steven Hawking (RIP) and those open minded enough to open up a book (that isn't a bible or some conservative hogwash), and read, instead of bullying someone to the brink of suicide (which is what conservatives do on a daily bases).

S’il est vrai, comme plusieurs études on essayé de le montrer, que la production narrative (romanesque et filmique) du postmoderne italien est caractérisée par un retour à l’impegno, même d’une manière différente par rapport au concept d’ « engagement » de l’après-guerre, il faudra placer les romans de Giorgio Vasta dans ce même domaine, en reconnaissant pourtant toute leur spécificité. Dans Il tempo materiale (2008), le retour aux années Soixante-dix, et spécifiquement à l’ « affaire Moro », permet de récupérer métaphoriquement la dernière leçon de l’engagement intellectuel (surtout celui d’Arbasino et Sciascia), pour la projeter sur la condition du temps présent. Cependant, si les autres narrations contemporaines  qui se sont confronté sur le thème des «année de plomb» et du terrorisme (Ballestra, 2009 ; Giordana, 2003 et 2012) en ont relevé un caractère de quelque sorte énigmatique et irrésoluble, Vasta y trouve au contraire la première, épatante manifestation d’une maladie qui affecte encore le temps présent et qu’on pourrait définir, avec Arbasino, «afasia del Pratico». Il s’agit d’une maladie qui concerne en premier lieu le langage : celui qui les enfants-terroristes de Il tempo materiale essayent naïvement de révolutionner en parodiant les expressions typiques de la nouvelle civilisation médiatique, mais aussi celui que le « moi » autofictif protagoniste de Spaesamento (2011) retrouve inscrit dans toutes les manifestations de la société contemporaine, spectaculaire et « ironique ».
La langue définit la forme du monde où l’homme habite. C’est pour ça que l’impegno se doit caractériser par un travail de « re-alphabétisation » de l’homme, commençant au niveau de l’invention des histoires pour arriver jusqu’à la modification du langage de la vie quotidienne, autant privée que publique. De cette manière, Vasta propose un parcours pour retrouver un contact avec la réalité demeurant muette derrière les mots stéréotypés et vides qui la racontent au présent ; mais aussi pour sortir de ce paradigme postmoderne dans lequel, tout d’abord, sa narration semblait s’insérer.

Correspondance [Document électronique] / Gustave Flaubert : nouvelle éd. augmentée. 2e série. 1847-1852 1848 T 2 p79 à la même. entièrement inédite. (Croisset, mars 1848.) je vous remercie de la sollicitude que vous avez prise de moi durant ces événements derniers et, cette fois-ci, comme les précédentes, je vous demande pardon de l' inquiétude et du chagrin que je vous ai causés. p80 Votre lettre ne m' est arrivée qu' après sept jours de retard. La faute a été aux postes qui ont été, comme vous pouvez vous le figurer, fort mal servies pendant toute la semaine dernière. Vous me demandez mon avis sur tout ce qui vient de s' accomplir. Eh bien ! Tout cela est fort drôle. Il y a des mines de déconfits bien réjouissantes à voir. Je me délecte profondément dans la contemplation de toutes les ambitions aplaties. Je ne sais si la forme nouvelle du gouvernement et l' état social qui en résultera sera favorable à l' art. C' est une question. On ne pourra pas être plus bourgeois ni plus nul. Quant à plus bête, est-ce possible ? Je suis bien aise que votre drame y gagne. Un beau drame vaut bien un roi. J' irai l' applaudir à la première représentation. Comme je vous l' ai dit déjà, je serai là. Vous me verrez, je le soignerai bien et de tout coeur.

The article examines the origins and conceptual analysis capabilities of international relations in the framework of a realistic paradigm. We research political conditions and preconditions of the creation of realism’s theory and axiological features of realism’s practice in international relations. We also analyze the basic concepts and schools of realism: Realpolitik, political realism, neorealism, neoclassical realism. It is shown that based on the balance of power in the Realpolitik Prussian and Austrian cases, this understanding of politics within the systematics of the XIX century; the adaptation of the bourgeois
liberal and national ideas to the foreign-policy specifics Germany middle of the XIX century. It is shown that political realism is targeting an international actor on the desire to subjugate the
greatest possible political space. In the case of political weakness (absolute or relative) political realism indicates a way of adapting to circumstances in order to achieve the most desirable of the possible. The article discusses the concept A. Rochau, H. Morgenthau, H. Kissinger, K. Waltz, showing differences and instrumentality realistic theories and concludes that the main provisions of the concept as a whole.

Perceived realism is considered a key concept in explaining the mental processing of media messages and the societal impact of media. Despite its importance, little is known about its conceptualization and dimensional structure, especially with regard to digital games. The aim of this study was to test a six-factors model of perceived game realism comprised of simulational realism, freedom of choice, perceptual pervasiveness, social realism, authenticity and character involvement and to assess it against an alternative single- and five-factors model. Data were collected from 380 male digital game users who judged the realism of the first-person shooter Half-Life 2 based upon their previous experience with the game. Confirmatory factor analysis was applied to investigate which model fits the data best. The results support the six-factors model over the single- and five-factors solutions. The study contributes to our knowledge of perceived game realism by further developing its conceptualization and measurement.

André Bazin, un grand ami des bêtes, attire notre attention sur des films où l’animal figure en tant qu’« autre » ontologique le plus remarquable de l’homme. Dans ces films de fiction, l’animal apparaît comme une métonymie pour la minorité sociale qu’une communité devrait accepter ou abandonner. Cette socio-ontologie de l’animal diégétique s’étend à l’esthétique bazinienne du ‘montage interdit,’ quand il aborde l’énonciation filmique semi-documentaire où la différence ou l’altérité de l’animal doit être préservée à travers la continuité transparente. Bazin y voit une série de chiasmes entre le réel et l’imaginaire, entre le savoir de l’artifice et la croyance en l’illusion, en transférant son intérêt ontologique de l’image photographique vers le découpage cinématographique. En outre, il envisage la question radicalisée dans des documentaires d’aventure pure : le metteur en scène se situant dans l’environnement peuplé d’animaux souvent invisibles, un témoinage objectif du danger peut devenir inséparable d’une participation subjective au même danger, qui rend ce reportage si difficile que des images finales ne montrent presque rien. Donc, le cinéma ne peut pas être un index de la présence d’un objet ; cet échec même prouve toutefois son essence en tant que ‘para-indexicalité,’ indiquant le réel inreprésentable, la jouissance, la mort. L’animal, alors, ne se distingue pas de l’environement, comme un ‘phasme’ dont l’apparence n’est qu’apparition fantôme, avec le potentiel d’attaquer l’homme et de l’incorporer à l’abîme ontologique. Pour Bazin, les films d’aventure poursuivent cet animal entre le néant et la subjectivité humaine.

Fenomena hubungan internasional semakin lama semakin mendekat ke persoalan sehari-hari penduduk di berbagai belahan dunia, termasuk Indonesia. Cara kita menjalani kehidupan sehari-hari sangat jelas dipengaruhi oleh kejadian-kejadian di arena internasional. Keberhasilan kita untuk memenuhi kebutuhan fisik, seperti pangan, sangat ditentukan oleh fenomena internasional. Upaya kita untuk menjadi pintar, juga sangat terkendala oleh banyak hal yang terjadi di luar wilayah kita. Itu berarti bahwa kita mesti belajar untuk memahami apa yang sebenarnya terjadi di luar sana. Kita mesti belajar mendiskripsikan apa yang terjadi. Mencoba mengerti mengapa itu terjadi dan bagaimana mengatasi dampaknya terhadap kehidupan kita. Karena itulah saya menyambut dengan gembira penerbitan karya-karya seperti yang terhimpun dalam buku ini: Refleksi Teori Hubungan Internasional: dari Tradisional ke Kontemporer. Buku yang tidak hanya menyajikan analisis ilmiah, tetapi juga menyajikan perspektif nilai mengenai apa yang mesti dilakukan sehingga kehidupan di arena internasional itu bisa relevan dan bermanfaat bagi upaya manusia menyelesaikan masalah keseharian mereka.

Prof. Dr. Mohtar Mas’oed

Metropolis  and  Our  Uncanny  Reality
Both Crary and Burch discuss the varying degrees and progression of different cinematic techniques and their effects on entertainment itself and the viewer. The progression of monocular and one-dimensional film into a more uncanny and three-dimensional experience creates disorientation between the subject and the viewer as experienced in Lang’s 1927 version of the acclaimed film Metropolis .

The origins of modern photojournalism in Germany, during the yeas 1925-1933, is the central object of this dissertation. Checking popular illustrated magazines, such as Berlliner Illustrirte Zeitung, and their contemporary critics, one seeks to know if could understand them with a notion of “aesthetic of transparency”. In order to arrive at the empirical research, some notions about the modern and modernity were delineated, hoping to understand the cultural processes and regimes of visuality of the beginning of 1920s as its unfolding, as well as starting from some reflections of Charles Baudelaire to think the aesthetic experience of modernity and its relation with photography. In addition, it was tried to understand if a dialogue between realism and modernisms could be possible, within the German context. The Weimar Republic was thought of as a democratic space for political, economic and social rearticulation, in which photography would have been articulated by the artistic field such as Neues Sehen (New Vision), by Lászlo Moholy-Nagy, and Neue Sachlichkeit Objectivity), by Albert Renger-Patzsch, exerting on the photographic production in journalism some of its conditions for its modernization. Finally, it was reflected on the modernization of the photojournalism in the Weimar Republic from the illustrated magazines study, based on the use of the photographic series potentially narrating journalistic facts, mainly from some photographs of Erich Salomon and Felix H. Man. This study allowed us to verify that the ripening of photojournalism met a demand of the German reading public for facts, reinforcing a certain professional ideology of objectivity. Having been possible by the coincidence of relations, as photographers willing to produce many images of various aesthetic forms under a diversity of conditions, allied to the freedom of editorial power and its experimentation, besides the rising of photographic agencies that began to order photographic work with the written report.

The main issue of the Dutch 17th century painting as visual material is the correlation between the pictorial content and the verbal interpretation of plots and motives. The consolidation of the category of realism for Dutch painting occurred quite early. In spite of different evaluative and descriptive meanings of realism as a concept, a realistic interpretation led to ignoring the subtexts of mundane plots and motives. A realistic interpretation went not only along the way of canonizing of the category of realism as it was in Soviet art criticism, but also towards the discovery of visual culture, the “view of the epoch” as a specific social phenomenon. Another well-established trend in the study of Dutch painting is related to the presence of hidden meanings in the images of everyday life. Unlike the sophisticated pictorial programs of the Italian humanists of the Renaissance, Dutch subjects were much simpler and referred to well-known biblical stories, proverbs, moral and didactic examples. The article explores a number of parallels between pictorial and verbal images that allow you to see the previously unnoticed meanings of several visual motifs – ham, salt in still-lifes, rivers and streams in landscapes, playing musical instruments or a sleeping woman among a festive scene. But the question remains whether owners of such paintings really needed to interpret the picture or whether they were nevertheless motivated by pure aesthetic taste or a sense of national pride, which nurtured the pleasure of contemplating familiar and native objects or landscapes on their own. The article offers a compromise answer subtended by the religious context of Dutch painting. The comprehension of secular pictures as a new type of religious environment is posed, first of all, with the amount of art production, as well as with its standardization (sustainable subject-thematic repertoire, subdivided artists’ specializations). According to various estimates and testimonies, from 10 to 200 pictures of different quality, including inexpensive engravings, were on display even in lowly houses. Such practice is comparable with the existential necessity of traditional religious images in the Orthodox or Catholic cultures. Although genre paintings were not cult objects and did not carry a mystical charge, they acted as a kind of “substitute” for religious images and served their owners as a visual support in the drama of the struggle between good and evil in which a person is immersed from birth to death. The article notes that John Calvin in his “Institutes of the Christian Religion” wrote about the prohibition on depicting God but did not deny the right to exist for the visual arts. The paintings at home, according to Calvin, should serve as a “warning and reminder” and could be called a visual sermon. Both visual sermons and verbal sermons could be more or less skillful, but without them a believer could not live.

Главная интрига голландской жанровой живописи XVII века как визуального материала для рационального анализа заключается в соотношении собственно живописной материи и возможностей вербальной интерпретации сюжетов и мотивов. Закрепление категории реализма за голландской живописью произошло довольно рано. И хотя в это понятие вкладывался разный оценочный и дескриптивный смысл, реалистическая трактовка вела к игнорированию подтекстов бытовых сюжетов. Реалистическая трактовка шла не только по пути канонизации категории реализма, как это было в советском искусствознании, но и в сторону открытия визуальной культуры, «взгляда эпохи» как специфических социальных феноменов. Другая, не менее авторитетная тенденция в изучении голландских жанристов связана с наличием скрытого смысла в образах повседневности. В отличие от изощрённых живописных программ итальянских гуманистов эпохи Ренессанса голландские сюжеты были значительно проще и отсылали к хорошо известным библейским сюжетам, пословицам, морально-дидактическим примерам. В статье предложен ряд параллелей между живописными и литературными образами, позволяющих увидеть не отмеченные прежде возможные значения отдельных визуальных мотивов – ветчины, соли в натюрмортах, рек и ручьёв в пейзажах, игры на музыкальном инструменте или уснувшей за столом в разгар веселья женщины. Но остаётся вопрос: действительно ли нуждался обладатель таких картин в истолковании или всё же был мотивирован эстетическим вкусом, чувством национальной гордости, питавшей удовольствие от созерцания знакомых и родных предметов или пейзажей самих по себе. В статье предложен компромиссный ответ, связанный с религиозным контекстом голландской жанровой живописи. Постановка вопроса о ней как новом типе религиозного окружения человека связана, прежде всего, с количеством художественной продукции, а также с её стандартизацией – устойчивым сюжетно-тематическим репертуаром картин, дробной специализацией художников. По разным подсчётам и свидетельствам, от 10 до 200 «картинок» разного качества, в том числе недорогих гравюр, находилось даже в скромных домах. Такое количество сопоставимо с экзистенциальной необходимостью в религиозных образах в православной или католической культурах. И хотя жанровые картины не были предметами культа и не несли мистического заряда, они выступили своего рода «заместителями» религиозных образов и служили своим владельцам визуальной опорой в той драме борьбы добра и зла, в которую человек погружён от рождения до смерти. Жан Кальвин в своих «Наставлениях в христианской вере» писал о непозволительности изображения Бога, но не отказывал изобразительному искусству в праве на существование. Картины в доме, которые, согласно Кальвину, должны служить «предупреждением и напоминанием», можно назвать визуальной проповедью. Она, как и словесное наставление верующему, могла быть более или менее искусной, но без неё человеческое существование было невозможно.

The core of D. Lewis' many con tribution to philosophy, including his work in philosophical ontolo gy, intensional logic and semantics, probability and decision theory, and topics within philosophy of science as well as a distinguished philosophy of mind, dan ve understood as the development of a philosophical postion that is centered around his conception of Humean supervenience. If we accept the thesis that i t is physical science and not philosophical reasoning that will eventually arrive at the basic constituents of all matter pertaining in our world will supervene on the class of physical truht in the following sense: there are no truth in any compartment of our world that cannot be accounted for in terms of differences and similarities among those properties and external space-time relationsthat are fundamental to our world accordint to physical science.
Together the published essays challenge  aspects of Lewis' philosophy, posing new questions  and opening up new points of view in one of contemporary philosophy's most  ingenious and independent authors.

Rowman & Littlefield, Lanham, Maryland.

https://rowman.com/ISBN/9780742512009/Reality-and-Humean-Supervenience-Essays-on-the-Philosophy-of-David-Lewis

Moral objectivism based on a metaphysical dualism is no longer tenable. In his "Expanding Circle" Peter Singer argued for a moral objectivism based on "reason', but perfectly rational agents disagree on morality all the time. There are at least 5 reason for a moral subjectivism. Nevertheless we can often discuss moral claims in a quasi-objective fashion, simply because they often refer to mutual or shared interests. Based on a conference paper presented in 1991 in Liblice before the European Sociobiological Society.

Since the end of the Cold War we witnessed a change in the nature on conflict: increasing number of civil conflicts over interstate wars, rising of PMCs and privatization, terrorism, new technologies, great influence of international actors. But are these trends  truly new? My answer is no. I argue that these transformations already started in a significant number during the Cold War period and that now what we are witnessing is a quantative rather than a qualitative change in conflict dynamics, also due to new and more sophisticated theoretical lenses.

O presente artigo visa refletir sobre os compromissos assumidos pelos textos que pretendem realizar uma representação (a partir de uma narrativa típica de uma obra ficcional) de um fato histórico. Para tanto, a análise ocupa-se do filme Maria Antonieta, da diretora Sofia Coppola, que ocasionou certa polêmica pela inserção de elementos anacrônicos em uma narrativa que propunha recontar um acontecimento da história da França (a ascensão e queda da delfina Maria Antonieta, no século XVII). Intenta-se, portanto, trazer considerações sobre os limites do realismo em textos compreendidos como
não-ficcionais.

This book bridges a gap between discussions about truth, human understanding, and epistemology in philosophical circles, and debates about objectivity, bias, and truth in journalism. It examines four major philosophical theories in easy to understand terms while maintaining a critical insight which is fundamental to the contemporary study of journalism. The book aims to move forward the discussion of truth in the news media by dissecting commonly used concepts such as bias, objectivity, balance, fairness, in a philosophically-grounded way, drawing on in depth interviews with journalists to explore how journalists talk about truth.

For the Routledge Research in Journalism Series.

In Adam Bede, George Eliot explores the way a society divides its members into categories and how these categories contribute to the formation of an individual’s identity. In the mid-nineteenth century authors in the naturalist tradition often discussed this dialogical relationship between individual and society, the specific roles for social gaze, the labeling and degrading. Eliot shows an acute of these labels that no one shapes identity without their influence. According to Nancy Anne Marck, Adam Bede introduces the theme of “emerging social consciousness” where the characters gain broader awareness of human interdependence through an experience of suffering (447). This is particularly evident when examining Eliot’s characters of “lesser fortune.” Once we’ve investigated how Eliot portrays these negative social forces throughout the novel, the labeling and the stigmatization, we will return to how Eliot addresses the larger question permeating her novel of education: how one judg...

Regionalism in a global perspective sets forth a win-win condition on all member states of regional blocs. Summing up the entire analysis, economic regionalism, political regionalism and security regionalism have got many dimensions, much beyond the age-old traditional view points. The neoliberal and neorealist interpretations of each kind of regionalism posses the potential to resolve major existing problems all around the world. Moreover, it sets forth a new level of analysis, neither state-level nor international-level, but essentially on a regional level. The interpretations can be implemented in reality to usher in a new era of supra-national cooperation, certainly not a utopian thought. The UN Sustainable Development Goals (SDGs) Agenda 2030 can be fulfilled on the lines of such interpretation, incorporating the ideas of holistic growth and development.

Duchamp’s interest in “idea’s – not merely visual products” challenges spectators to consider their reception of his art; seeing becomes both active and political. His ready-made Fountain (1917) -iconic of 20th century art- rather than surviving in the exoteric as much classical art before him, Duchamp’s work began in the esoteric, conveying specific idea’s that might be interpreted individually dependant on the socio-economic, emotional and intellectual locus of the spectator. In this sense, Duchamp births ideas from ideas. The Fountain is an anarchic critique of classical art, which works in a strange paradox; an exoteric exterior (depicting figures from well-known Greek myths or legends) and the esoteric given its audience- the higher echelons of society. Duchamp, simply attributes new meaning to a mundane object (a urinal) making it exquisite. The renaming of this urinal as a fountain lampoons the pretentions of higher art, satirizes it and queries all art that came before it. As the ‘father’ of conceptual art, of course, the idea behind Duchamp’s work was more important to him than the product. The visual product of a urinal doesn’t abide by mass conceptions of beauty but rather pragmatism. Yet, the beauty of the Fountain indeed lies in the concept (the idea) behind it, for Duchamp “Beauty is truth, truth beauty” (Keats), the honest human principle behind Fountain remains a symbol of the capacity of human artistry and wit.  While art critics now understand this image as a symbol of anarchic opposition to capitalist ideals, the image nonetheless remains subjective, at the mercy of the spectator for in the same way “Poetry is not written only by ‘poets’ but by everyone” (Lautreamont) art is not made only by artists but spectators.  Hence, while “Duchamp’s esoteric mind created  images which would open upon hidden perspectives beyond the merely visible” in the case of his Fountain his esoteric riddle of a urinal captioned “Fountain” and signed under the pseudonym of R. Mutt became exoteric due to its form; a urinal being a universally understood object.  This essay will consider the link between idea and meaning in modern art post-Duchamp. Considering the role of emotion and expression in the evolution of conceptual art, how visual products imbibe subjective meaning and emotion on to the spectator in order to convey an idea. Interrogating how the idea in the artist’s mind can be interpreted dependant on the context of the piece and the negotiated reading of its audience no matter the quality or form of the visual product.  To do so three pieces of modern art will be discussed – Francis Bacon’s Dying on the Toilet Triptych (1973), Keith Haring’s Untitled (1985) sculpture of an elephant and Tracey Emin’s My Bed (1999.)

"Siempre vertiginosos, siempre implacables en la voluntad de llevar a sus personajes al abismo o dejarlos colgados del borde, los relatos de este volumen (nueve, por cierto, como aquellos muy memorables de Salinger) son pequeñas ratoneras exactas y temibles. Pletórica de referencias pop y también de observaciones agudas sobre la realidad, la prosa de Josué Sánchez traza una serie de tramas crispadas alrededor de un puñado de obsesiones irrenunciables: la comida como escondite, diálogo o lucha, pero también el divorcio, el abandono, la maldita soledad.

No se trata del hambre es un libro memorable que abre el apetito para leer más". Antonio Ortuño

Lässt sich die politische Problemlage unserer Zeit literarisch erfassen? Was ist die Rolle von Literatur im globalen Kapitalismus? Lässt sich ein dauerhafter Arbeitszusammenhang von Autorinnen und Autoren organisieren? Diesen Fragen widmete sich im April 2015 eine Schriftstellertagung unter dem Titel „Richtige Literatur im Falschen?“, die im Literaturforum im Brecht-Haus stattfand. In Zentrum stand die Frage nach dem Verhältnis zwischen Literatur, Engagement und kapitalistischer Gesellschaft. Der Band „Richtige Literatur im Falschen?“ zeichnet die Tagung dokumentarisch nach und präsentiert darüber hinaus aktuelle Statements der Beteiligten. Mit Beiträgen von Ann Cotten, Annett Gröschner, Joachim Helfer, Jan Loheit, Thomas Meinecke, Norbert Niemann, Helmut Peitsch, Monika Rinck, Kathrin Röggla, David Salomon, Stefan Schmitzer, Erasmus Schöfer, Ingo Schulze, Ingar Solty, Enno Stahl, Thomas Wagner, Michael Wildenhain und Raul Zelik.

Neorealism is one of the most influential theories of international relations, and its first theorist, Kenneth Waltz, a giant of the discipline. But why did Waltz move from a rather traditional form of classical realist political theory in the 1950s to neorealism in the 1970s? A possible answer is that Waltz's Theory of International Politics was his attempt to reconceive classical realism in a liberal form. Classical realism paid a great deal of attention to decisionmaking and statesmanship, and concomitantly asserted a nostalgic, anti-liberal political ideology. Neorealism, by contrast, dismissed the issue of foreign policymaking and decisionmaking. This shift reflected Waltz's desire to reconcile his acceptance of classical realism's tenets with his political commitment to liberalism. To do so, Waltz incorporated cybernetics and systems theory into Theory of International Politics, which allowed him to develop a theory of international relations no longer burdened with the problem of decisionmaking.