In this paper we (1) define and describe the practice of narrative medicine, (2) reveal the need for narrative medicine by exposing the presuppositions that give rise to its discounting, including a reductive empiricism and a strict dichotomy between scientific fact and narrative value, (3) show evidence of the effects of education in narrative competence in the medical clinic, and (4) present Peircean realism as the proper conceptual model for our argument that the medical school (...) curriculum committees should give space to the employment of the scientific and literary knowledge in medical practice. On account of our argument, we contend that the medical community should tend to latitude and openness with regard to the tools we use to resolve medical problems. These tools include both biomedical and narrative knowledge. (shrink)

Historical Narrative: A Dispute Between Constructionism and Scientific Realism An intense discussion about the issue of historical narrative arose during the time when the naïve realism of classical historiography was being critiqued and led to a dispute, in the last century, between constructionism and critical or scientific realism. We can distinguish between constructionism and noetic constructivism. According to ontological constructionism all facts are human constructions; according to noetic constructivism, our notions and theories are constructs with (...) objective meaning (sense and reference); they refer to objective reality. Scientific realism recognizes the existence of noetic construction but does not regard facts as our constructions, as pure fictions. The point of contention is the question over whether historical narrative is merely a discursive construction or whether it is also a scientific reconstruction of the past. Resolving the dispute over whether historical narrative can be objectively true, or whether it is subject to empirical control or not, is dependent on finding the answer to this question. (shrink)

In this paper, my aim is to show that in Anglo-American analytic aesthetics, the conception of narrative fiction is in general realistic and that it derives from philosophical theories of fiction-making, the act of producing works of literary narrative fiction. I shall firstly broadly show the origins of the problem and illustrate how the so-called realistic fallacy – the view which maintains that fictions consist of propositions which represent the fictional world “as it is” – is committed through (...) the history of philosophical approaches to literature in the analytic tradition. Secondly, I shall show how the fallacy that derives from the 20th Century philosophy of language manifests itself in contemporary analytic aesthetics, using Peter Lamarque and Stein Haugom Olsen’s influential and well-known Gricean make-believe theory of fiction as an example. Finally, I shall sketch how the prevailing Gricean make-believe theories should be modified in order to reach the literary-fictive use of language and to cover fictions broader than Doyle’s stories and works alike. (shrink)

This book describes the shape of a Christian ethic that arises from a conversation between contemporary accounts of natural law theory, and virtue ethics. The ethic that emerges from this conversation seeks to resolve the tensions in Christian ethics between creation and eschatology, narrative and natural law, and objectivity and relativity. Black moves from this analytic foundation to conclude that worship lies at the heart of a theologically grounded ethic whose central concern is the flourishing of the whole human (...) person in community with both one another and God. (shrink)

This study investigates the relations between narrative experiences and film enjoyment, and explores the possibility that transportability and perceived realism facilitate narrative experience and indirectly influence enjoyment. The study measured narrative experience and realism in three films from different genres. Results demonstrate that transportability, and both external realism and narrative realism positively influence at least one aspect of narrative experience, and that narrative experience in turn is a significant predictor for (...) enjoyment. (shrink)

Since the early 1990s, high-resolution satellite imagery and imagery data, made by a vast system of architectures that were formally developed and monopolized by the U.S. military—industrial command economy, have become more widely available to the civilian public through a combination of declassified data sets, commercial satellite operators and imagery vendors, and value-added resellers of imagery data. In the various discourses surrounding imagery and the systems that collect, interpret, and construct them, this wider availability is associated with an increasing ‘‘global (...) transparency.’’ This article suggests that, specific to fields like nuclear non-proliferation, these techno-discursive discourses have a common narrative theme associated with mechanically augmented visual systems, that of the transparent window on the world. First, the author considers an epistemological problem of satellite imagery that has been contemplated for both the map and the photographic image, which is, does the image/map constitute a window or a text? Next, through a historical comparison between map making, photography, and satellite imagery interpretation, the author briefly explores different articulations of transparency, with a contemporary focus on the use of satellite imagery in the discourses surrounding nuclear non-proliferation. Finally, the author suggests that the discourses of satellite imagery, which include practices and what these practices are imagined to produce, are a crucial site where sociotechnical articulations of a modernist, positivist, or realist narrative are played out. These narratives account for the relation between subjective experience and the external ‘‘real’’ world and are associated with various and often contradictory concepts of transparency. (shrink)

Sheehan deals with relatively recent authors—Conrad, D. H. Lawrence, Virginia Woolf, Beckett. He is critical of humanism, by which he seems to understand a kind of anthropocentric and limitative image of human beings, imposed on the public by narrative, among other things. As against this, he is setting the animal, the mechanical, and the transcendental, but the definition of the latter is, to say the least, bizarre—“the ability to evade compromise and contingency”. Reformulating narrativity is, according to Sheehan, the (...) best attempt or search by the moderns to define a new kind of human. His whole project is, to put it bluntly, rather confused. There are some intelligent and original commentaries on Schopenhauer, for instance but Sheehan soon falls back under the spell of Michel Foucault, Edward Said, and Terry Eagleton and seems to contribute rather few original comments to the discussion. In a word, this is a good example of how the interface philosophy/literature ought not to be visited. (shrink)

Scientific realism has been advanced as an interpretation of the natural sciences but never the behavioral sciences. This book introduces a novel version of scientific realism, Measured Realism, that characterizes the kind of theoretical progress in the social and psychological sciences that is uneven but indisputable. It proposes a theory of measurement, Population-Guided Estimation, that connects natural, psychological, and social scientific inquiry. Presenting quantitative methods in the behavioral sciences as at once successful and regulated by the world, (...) the book will engage philosophers of science, historians of science, sociologists of science, and scientists interested in the foundations of their own disciplines. Part I introduces measured realism beginning with a novel realist theory of measurement (Population-Guided Estimation, or PGE). It examines two other versions of scientific realism — minimal (Hacking) and robust (Boyd, Putnam, and Newton-Smith) — and advances measured realism as best supported by the evidence in the behavioral sciences. It also critically evaluates the anti-realist arguments of van Fraassen, Laudan, and Fine. Part II formulates and develops a version of epistemological naturalism most appropriate to measured realism. Drawing upon the realist theory of measurement developed earlier, it favorably appraises a variety of statistical methods in the behavioral sciences against selected criticisms. It concludes that traditional, narrative methods in the behavioral and social sciences are unreliable by the measures of epistemological naturalism. (shrink)

The claim that selves are narratively constituted has attained considerable currency in both analytic and continental philosophy. However, a set of increasingly standard objections to narrative identity are also emerging. In this paper, I focus on metaphysically realist versions of narrative identity theory, showing how they both build on and differ from their neo-Lockean counterparts. But I also argue that narrative realism is implicitly committed to a four-dimensionalist, temporal-parts ontology of persons. That exposes narrative (...) class='Hi'>realism to the charge that the narratively constituted self, on the one hand, and the self that is the object of much of our everyday self-reference and self-experience, on the other, can't be the same thing. This conclusion may well force narrativists to abandon metaphysical realism about narrative selves—which, in turn, may leave the invocation of ‘narrativity’ as identity-constituting somewhat under-motivated. (shrink)

The claim that selves are narratively constituted has attained considerable currency in both analytic and continental philosophy. However, a set of increasingly standard objections to narrative identity are also emerging. In this paper, I focus on metaphysically realist versions of narrative identity theory, showing how they both build on and differ from their neo‐Lockean counterparts. But I also argue that narrative realism is implicitly committed to a four‐dimensionalist, temporal‐parts ontology of persons. That exposes narrative (...) class='Hi'>realism to the charge that the narratively constituted self, on the one hand, and the self that is the object of much of our everyday self‐reference and self‐experience, on the other, can't be the same thing. This conclusion may well force narrativists to abandon metaphysical realism about narrative selves—which, in turn, may leave the invocation of ‘narrativity’ as identity‐constituting somewhat under‐motivated. (shrink)

The claim that selves are narratively constituted has attained considerable currency in both analytic and continental philosophy. However, a set of increasingly standard objections to narrative identity are also emerging. In this paper, I focus on metaphysically realist versions of narrative identity theory, showing how they both build on and differ from their neo‐Lockean counterparts. But I also argue that narrative realism is implicitly committed to a four‐dimensionalist, temporal‐parts ontology of persons. That exposes narrative (...) class='Hi'>realism to the charge that the narratively constituted self, on the one hand, and the self that is the object of much of our everyday self‐reference and self‐experience, on the other, can't be the same thing. This conclusion may well force narrativists to abandon metaphysical realism about narrative selves—which, in turn, may leave the invocation of ‘narrativity’ as identity‐constituting somewhat under‐motivated. (shrink)

The question of realism - that is, whether God exists independently of human beings - is central to much contemporary theology and church life. It is also an important topic in the philosophy of religion. This book discusses the relationship between realism and Christian faith in a thorough and systematic way and uses the resources of both philosophy and theology to argue for a Christocentric narrative realism. Many previous defences of realism have attempted to model (...) Christian belief on scientific theory but Moore argues that this comparison is misleading and inadequate on both theological and philosophical grounds. In dialogue with speech act theory and critiques of realism by both non-realists and Wittgensteinians, a new account of the meaningfulness of Christian language is proposed. Moore uses this to develop a regulative conception of realism according to which God's independent reality is shown principally in Christ and then through Christian practices and the lives of Christians. (shrink)

In 2016, the Five Stars Movement (5SM), one of the parties currently in power in Italy, launched the ‘Rousseau platform’. This is a platform meant to enhance direct democracy, transparency and the real participation of the people in the making of laws, policies and political proposals. Although ennobled with the name of Rousseau, the 5SM’s redemptive promise has been strongly criticised in the public sphere for being irresponsible and ideological. Political realism, I will argue, can perform both a diagnostic (...) and a corrective task, by providing some tools to unveil populist distortions and by offering more solid grounds for political opponents’ critique. Three aspects of realism, in particular, will be pointed out as remedies against populist drifts. First, anti-moralism, complemented by anti-utopianism and contextualism, criticises the populists’ moralistic picture of politics, its anti-pluralistic attitude and its rejection of the role of experts in politics. Second, the Weberian ethic of responsibility offers standards to assess politicians’ actions, instead of embracing the populist aversion towards any professional politician; besides, it contrasts the populist image of politics as a derogatory activity. Finally, realism as ideology critique unveils the distorting narratives underlying populist propaganda and fostering uncritical support. (shrink)

There is something amiss about post-Rawlsian efforts to bring political theory down to earth by insisting upon the political primacy of the question of legitimacy, peace, or order. The intuition driving much realism seems to be that we must first agree to get along, and only then can we get down to the business of pursuing justice. I argue that the ideological narratives of the powerful pose a political problem for this primacy of legitimacy thesis. To prioritize the achievement (...) of democratic legitimacy seems to make sense only to the extent that we already live in a world in which systematic domination—and its ideological baggage—has been stamped out. I draw on the social study of domination for the sake of combatting in political theory the temptation to focus on the static design of the constitutional state at the expense of ignoring or even condemning the social processes that motivate legal and constitutional changes. (shrink)

This series of interviews, conducted in the form of exchanges between Roy Bhaskar and Mervyn Hartwig, tells a riveting story of the formation and development of critical realism. Three intersecting and interweaving narratives unfold in the course of this unfinished story: the personal narrative of Roy Bhaskar, born of an Indian father and English mother, a child of post-war Britain and Indian partition and independence; the intellectual narrative of the emergence and growth of critical realism; and (...) a world-historical story, itself theorized by critical realism in its discussion of the development of modernity. This book gives an invaluable account of the development of critical realism, and its consolidation as a leading philosophy of our times. It takes us through the major moments of its formation, the principal objections to and controversies within critical realism, the establishment of its institutions, and considers its limits and future development. Special features of the book include discussion of the genesis of critical realism, and the origins and nature of the so-called dialectical and spiritual turns. The informal dialogical style of The Formation of Critical Realism makes it compelling reading and an invaluable source for students of critical realism as well as all those interested in the intellectual story of our times. (shrink)

Political realists exercise ideology critique to emancipate citizens from problematic beliefs concerning the legitimacy of their social order. They seek to unveil hidden conflict within apparent harmony. However, realists have so far neglected the opposite case in which erroneous beliefs delegitimise a social order, thus contributing to unrest and resentment. As a prototypical case for delegitimation, I will discuss the ‘big lie’ narrative that surrounds the 2020 presidential election in the United States. As I will argue, realist ideology critique (...) is currently underequipped to deal with these cases. To address this shortcoming, I propose a modification to the critical realist methodology. I will argue that realists should focus on unveiling self-serving, rather than merely self-justifying, political narratives. In line with a more practice-oriented approach to ideology critique, I will further sketch some implications for liberal democratic institutions that follow from taking delegitimation seriously. (shrink)

In this paper, we respond to a critique by Erik Thorstensen of the ‘Deepening Ethical Engagement and Participation in Emerging Nanotechnologies’ project concerning its ‘realist’ treatment of narrative, its restricted analytical framework and resources, its apparent confusion in focus and its unjustified contextualisation and overextension of its findings. We show that these criticisms are based on fairly serious misunderstandings of the DEEPEN project, its interdisciplinary approachand its conceptual context. Having responded to Thorstensen’s criticisms, we take the opportunity to clarify (...) and develop our approach to narrative. We articulate the need for novel, theoretically robust approaches to the formation of public attitudes which transcend the limitations of both survey-based approaches—which remain wedded to methodological individualism and which presume that individuals hold distinct and relatively stable attitudes and preferences—and interactionist approaches to public talk, which focus too strongly on individuals-in-interaction as reasoning agents and which ignore the constitutive role of culture and discourse in the formation of public opinion. We suggest that our use of narrative can help to better understand the process through which public attitudes to emerging technology develop out of interactive an engagement with wider cultural arguments and accounts of science and technology. We finish by pointing to parallel developments in social thought—from Charles Taylor’s treatment of social imaginaries to recent developments in post-Bourdieuian cultural sociology—as related projects in understanding the cultural resources and grammars that provide the conceptual infrastructure for modern social life. (shrink)

This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view of (...) the conditions under which realism is an artistic merit in perceptual narratives. I identify the two forms of realism at issue in debates about the artistic merits of non-traditional casting, and identify the artistic norms that determine the conditions under which each constitutes an artistic merit. I argue that, independently of the relation between moral merits and artistic merits, non-traditional casting violates these norms less often than is sometimes assumed. Moreover, in certain circumstances, non-traditional casting affects realism in artistically meritorious ways. I conclude by considering the implications of my view for the practice of whitewashing. (shrink)

Caravaggio and Rembrandt have often been considered together in light of their realism and use of chiaroscuro, as propounded in the 2006 exhibition “Caravaggio-Rembrandt”. This article explores another unifying characteristic of their paintings, ambiguity. By specifically considering the artists’ construction of narrative ambiguity in their first versions of The Supper at Emmaus, from their respective climates of Protestant Holland and Counter-Reformation Italy, it analyses the significance of the pictorial and temporal strategies employed for the exegesis of the Emmaus (...) narrative. It considers these paintings as intentionally aporetic artworks, relying on the spiritual awareness of the viewer to resolve their indeterminacy and to reactivate their Eucharistic meaning. (shrink)

Anti-realists like Paul Roth conceive of historical narratives as having no genuine explanatory power, because historical events are not ready-made and reveal themselves only to the retrospective gaze of the historian. For that reason, the categories with the help of which historians identify historical events do not map onto categories of general theories of the world required for a genuine explanation of them. While I agree with Paul Roth that the significance of a historical event is revealed only retrospectively, I (...) argue that this does not imply that historical narratives do not provide genuine explanations. In this context, it is however important to distinguish between the description used by historians to identify the event as being part of the narrative and the description under which the occurrence of the very same event could be causally explained within the narrative. Both types of descriptions possess a certain degree of conceptual independence from each other. I argue that historical narratives incorporate both dimensions: what I also call the view from and with the view from below. Historical narratives do explain, even though they differ from scientific theories. (shrink)

The rise of transrealism in the second half of the twentieth century embellished the literary landscape in America with a new mode of expression that offered new understanding of time, space, identity, and social values and norms. This study situates the American novelist Kurt Vonnegut’s Player Piano within this literary context to map out the qualities that distinguish it as a transrealistic fiction. We argue that through innovative coalescence of fantasy and realism, this postmodern novel provides a satirical commentary (...) against the incongruities of the contemporary American society. To analyse the novel, we employ Rudy Rucker’s theorisations of the movement that delineates the transrealist manifesto as a union of realism, fantasy, and science-fiction. The findings reveal that through a satirical representation of the current advancements in technology and their inevitably negative impact on human life and society, the novel provides a dystopian picture of modern life in America. This apocalyptic sentiment is reinforced through a creative convergence of the surreal features of science-fiction, the tropes of naturalistic realism, and the elements of satire that together help to accentuate the deficiencies and ironies of the modern American society as well as the rampant misuse of technology by both individuals and authorities. (shrink)

This chapter offers a narrative of the basic twists and turns of the realism debate after the realist turn. It starts with what preceded and initiated the turn, viz., instrumentalist construals of scientific theories. It then moves on to discuss the basic lines of development of the realist stance to science, focusing on one of its main challenges: the historical challenge.

Significant work in the philosophy of history has focused on the writing of historiographical narratives, isolated from the rest of what historians do. Taking my cue from the philosophy of science in practice, I suggest that understanding historical narratives as embedded within historical practice more generally is fruitful. I illustrate this by bringing a particular instance of historical practice, Natalie Lawrence’s explanation of the sad fate of Winston the platypus, into dialogue with some of Louis Mink’s arguments in favour of (...) anti-realism about historical events. Attending to how historians seek out and utilize archival resources puts serious pressure on these arguments, motivates realist positions, and re-focuses the philosophy of history towards making sense of historiography as a part of the diversity of historians’ interests. (shrink)

The aim of the present study is to evaluate the postmodern belief that selves are narrative constructions. Four theories, varying in degree of anti-realism, are presented and discussed. It is concluded that an attractive feature of the narrative approach is that it explains how we achieve a sense of unity. But the main idea, that selves are constituted or created by stories is problematic, like identifying footprints on the beach with the feet that made them.

What is narrative? Ridvan Askin brings together aesthetics, contemporary North American fiction, Gilles Deleuze, narrative theory, and the recent speculative turn to answer this question. Through this process, he develops a transcendental empiricist concept of narrative. Askin argues against the established consensus of narrative theory for an understanding of narrative as fundamentally nonhuman, unconscious, and expressive.

The concept of “magic realism” raises many problems, both theoretical and historical. I first encountered it in the context of American painting in the mid-1950s; at about the same time, Angle Flores published an influential article in which the term was applied to the work of Borges;1 but Alejo Carpentier’s conception of the real maravilloso at once seemed to offer a related or alternative conception, while his own work and that of Miguel Angel Asturias seemed to demand an enlargement (...) of its application.2 Finally, with the novels of Gabriel García Márquez in the 1960s, a whole new realm of magic realism opened up whose exact relations to preceding theory and novelistic practice remained undetermined. These conceptual problems emerge most clearly when one juxtaposes the notion of magic realism with competing or overlapping terms. In the beginning, for instance, it was not clear how it was to be distinguished from that vaster category generally simply called fantastic literature; at this point, what is presumably at issue is a certain type of narrative or representation to be distinguished from realism. Carpentier, however, explicitly staged his version as a more authentic Latin American realization of what in the more reified European context took the form of surrealism: his emphasis would seem to have been on a certain poetic transfiguration of the object world itself—not so much a fantastic narrative, then, as a metamorphosis in perception and in things perceived . In García Márquez, finally, these two tendencies seemed to achieve a new kind of synthesis—a transfigured object world in which fantastic events are also narrated. But at this point, the focus of the conception of magic realism would appear to have shifted to what must be called an anthropological perspective: magic realism now comes to be understood as a kind of narrative raw material derived essentially from peasant society, drawing in sophisticated ways on the world of village or even tribal myth. Recent debates, meanwhile, have complicated all this with yet a different kind of issue: namely, the problem of the political or mystificatory value, respectively, of such texts, many of which we owe to overtly left-wing revolutionary writers .3 In spite of these terminological complexities—which might be grounds for abandoning the concept altogether—it retains a strange seductiveness which I will try to explore further, adding to the confusion with reference points drawn from the work of Jacques Lacan and from Freud’s notion of the “uncanny,” and compounding it by an argument that magic realism is to be grasped as a possible alternative to the narrative logic of contemporary postmodernism.4 1. See Angel Flores, “Magical Realism in Spanish American Fiction,” Hispania 38 : 187-92.2. See Alejo Carpentier, “Prólogo” to his novel El Reino de este mundo ; the most useful survey of the debate remains Roberto Gonzalez Echeverria, “Carpentier y el realism magico,” in Otros Mundos, otros fuegos, ed. Donald Yates, Congreso International de Literature Iberoamericana 16 , pp. 221-31.3. See Angel Rama, La Novel en America Latina , and especially Carlos Blanco Aguinaga, De Mitólogos y novelistas , in particular the discussions of Gabriel García Márques and Alejo Carpentier.4. My own general frame of reference for “postmodernism” is outlined in my “Postmodernism; or, The Cultural Logic of Late Capitalism,” New Left Review 146 : 53-92. Frederic Jameson, William A. Lane Professor of Comparative Literature at Duke University, is the author of The Prison-House of Language and The Political Unconscious: Narrative as a Socially Symbolic Act. He is also a member of the editorial collective of Social Text. His previous contributions to Critical Inquiry are “The Symbolic Inference; or, Kenneth Burke and Ideological Analysis” and “Ideology and Symbolic Action”. (shrink)

In The Problem of Perception, A.D. Smith’s central aim is to defend the view that we can directly perceive ordinary objects, such as cups, keys and the like.1 The book is organized around the two arguments that Smith considers to be serious threats to the possibility of direct perception: the argument from illusion, and the argument from hallucination. The argument from illusion threatens this possibility because it concludes that indirect realism is true. Indirect realism is the view that (...) we perceive mind-independent ordinary objects, but can only do so indirectly, by perceiving mind-dependent objects: objects whose existence depends on being perceived or thought about. The argument from hallucination draws a similar conclusion: if we perceive mindindependent ordinary objects at all, then our perception of them is indirect in the same way. In responding to these arguments, Smith develops an account of percep- tual consciousness. Perceptual consciousness is a kind of experience, distinct from what Smith calls ‘mere sensory experiences’, or equivalently, ‘mere sensation’. Perceptual consciousness is experience that is properly percep- tual, in which one has the phenomenology of perceiving things in the external world (including one’s body) that exist independently of one’s mind. Perceptual consciousness on its own does not suffice for actually being in perceptual contact with mind-independent reality, although it suffices for it to seem as if one i s . It follows that perceptual consciousness does not suffice for direct perception of ordinary objects, or for direct realism. Nevertheless, Smith holds that the correct account of perceptual consciousness is a crucial element in blocking the arguments from illusion and hallucination, and therefore in supporting the possibility of direct perception. This is an extraordinarily engaging book. Within a single, unified narrative, one encounters the views of many philosophers—Husserl, Fine, Broad, Sextus Empiricus, Loar, Schopenhauer, Meinong, Burge, Dilthey, Russell, Dennett, Sartre, O’Shaughnessy, Evans, Berkeley, Craig, Brentano and many.... (shrink)

Introduction and initial thoughts -- Critical realism and empirical research methods in education -- Resolving the quantitative-qualitative divide -- Epistemic relativism, ontological realism, and the possibility of judgemental rationality -- Educational judgements : epistemic, parasitic and external criteria -- Judgemental rationality -- Empirical indicators and causal narratives -- Structure and agency : key ontological concepts -- Educational critique -- Arbitrary and non-arbitrary knowledge.

In contrast to earlier accounts of the epistemic significance of narrative, it is argued that narrative is important in natural scientific knowledge. To recognize this, we must understand narrative not as a literary form in which knowledge is written, but as the temporal organization of the understanding of practical activity. Scientific research is a social practice, whereby researchers structure the narrative context in which past work is interpreted and significant possibilities for further work are projected. This (...) narrative field displays a constant tension between a need for a coherent, shared understanding of the field and the incoherence threatened by divergent projects and interpretations. The account has three parts. First, a summary of the general account of the narrative intelligibility of action which underlies the proffered view of narrative in science. This account is then applied to understanding how scientific work acquires significance, and how the scientific literature is constructed and read. Finally, it is shown how this account should transform our understanding of the unity of science, and it is suggested how it can help undercut various realist and anti?realist interpretations of scientific knowledge, while also challenging the ironic stance which many recent sociologists adopt toward the global legitimation of science attempted by many philosophers. (shrink)

With the renaissance of political realism has come an insistence that the study of politics be historically located. While many political realists trace their conception of historical inquiry to Thucydides, this article shows how Herodotus can offer a more realist approach to political phenomena. Herodotus crafts a self-conscious form of historical inquiry that foregrounds the actual activity of the historian as intersubjective, reflective, and particular. Herodotus thus models a historical investigation that shows its own limits while demanding the evaluation (...) of its readers, offering a way to address criticisms of political realism’s singular and unacknowledged historical narratives. Moreover, Herodotus’s Histories exemplify a disposition toward open inquiry among others—what Herodotus calls wonder—that can invigorate responsive curiosity as part of the project of historical understanding essential to both political realism and contemporary democracies. (shrink)

Does political realism have anything to contribute to the debates about migration in normative political theory? Anything well-established ‘moralist’ theories do not already acknowledge, that is? Addressing Jaggar’s (_Aristotelian Soc Suppl_ Vol. XCIV, pp. 87–113, 2020) and Finlayson’s (_Aristotelian Soc Suppl_ Vol. XCIV, pp. 115–139, 2020) critical intercessions into contemporary discourse about migration I argue that a political realist approach to the theory of migration faces what I call the ‘surplus challenge’: realists supposedly have no normative surplus over (liberal) (...) cosmopolitan and nationalist moralist approaches. This nothing-more-to-add narrative is a common argument against the possibility and integrity of political realism (as seen in, _inter alia_, Leader-Maynard and Worsnip in _Ethics_ 128(4), pp. 756–787, 2018). I show how it misconstrues the realist agenda. Finlayson, on the other hand, paints the realist intervention as primarily about paying closer attention to colonialism’s long legacy. A properly radical intrusion, however, addresses the unchecked and unwarranted, overbearing normative power of moral principles. I will conclude that for the realist, shaking up the discipline will not come as easy as pointing at some overly historicised facts. However, and despite this, the realist intervention rightly problematises contemporary philosophy of migration for its moral normativism. A radical realist approach to issues of migration, which unmasks the unjustified ‘microphysics’ political power hiding behind normative veneers, is a properly cataclysmic intrusion and the right way forward. (shrink)

What Walker describes as the “epistemological” features of narratives are the very elements that open the door for the threat of the discrepancy. What I have tried to show is that even with some blurry boundaries, and some fallibilism, and some occasional indeterminacy, lots of [normals] will be living their lives in an acceptable fashion, telling self-narratives that misdescribe the causes not just of their casual behavior, but even some of their most moral or existentially important features. If this is (...) right, we need to reconsider just what role narratives play in our social lives—what we construct them for, and how we go about revising them and shaping our lives to conform to them. But what seems unlikely is that even having realistic and challenged psycholanalyzed useful, meaningful, fulfilling existential narratives gets us close to the actual sources of our behavior. This tension, though, can be resolved in myriad ways, but not very likely on the reporter model of self-narratives. (shrink)

This paper has three aims. The first is to subject to critical analysis the intractable debate between realists and anti-realists about the status of the so-called self, a debate that traverses various academic disciplines and discursive fields. Realism about selves has fallen on hard times of late, and the second aim of this paper is to get it back on track. Traditional substantive conceptions of the self contain ontological baggage that many moderns will be loath to carry. This paper (...) settles for a more moderate aim, a “softer” kind of self-realism derived from an unlikely source—Hume—and outlines the Humean moral self and its possible advantages. The third and subsidiary aim is to challenge the view that recent “narrative” conceptions of selfhood have made the old realism versus anti-realism debate redundant. “Narrativism” about selves turns out to do little more than recycle old arguments in fancy new packages. (shrink)

Could an "ideal theory" be false? metaphysical realism requires an affirmative answer. The question has usually been discussed in terms of physical theory. I argue that if we shift ground to historical narrative, We can be virtually certain that some "ideal stories" not only "can" be false, But "will" be false. If this argument is correct, Metaphysical realism is almost certainly true.

This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view of (...) the conditions under which realism is an artistic merit in perceptual narratives. I identify the two forms of realism at issue in debates about the artistic merits of non-traditional casting, and identify the artistic norms that determine the conditions under which each constitutes an artistic merit. I argue that, independently of the relation between moral merits and artistic merits, non-traditional casting violates these norms less often than is sometimes assumed. Moreover, in certain circumstances, non-traditional casting affects realism in artistically meritorious ways. I conclude by considering the implications of my view for the practice of whitewashing. (shrink)

This essay surveys the present position of postmodernism with respect to the effect of its ideas upon historiography. For this purpose it looks at a number of writings by historians that have been a response to postmodernism including the recently published collection of articles, The Postmodern History Reader. The essay argues that, in contrast to scholars in the field of literary studies, the American historical profession has been much more resistant to postmodernist doctrines and that the latters' influence upon the (...) thinking and practice of historians is not only fading but increasingly destined to fade. The essay also presents a critical discussion of the current philosophy of postmodernism in its bearing upon historiography, directed chiefly against its claim that the world has undergone an epochal transition from the modern to a postmodern age; its theory of language and linguistic idealism; its opposition to historical realism and denial of the actuality of the past as a possible object of reference; and its theory of historical narrative as unconstrained fictional construction. This discussion includes a consideration of the work of postmodernist thinkers such as J.-F. Lyotard, of the recent books by David Roberts and Robert F. Berkhofer, Jr. which espouse a postmodernist theory of history, and of the narrativist theory of Hayden White. The essay also notes some of the reasons for postmodernism's appeal; and while it does not deny that postmodernist philosophy may have served a useful purpose in provoking historians to be more self-critical and aware of their presuppositions and procedures, it maintains that its skeptical and politicized view of historical inquiry is deeply mistaken, out of accord with the way historians themselves think about their work, and incapable of providing an understanding of historiography as a form of thought engaged in the attainment of knowledge and understanding of the human past. (shrink)

This paper argues that we can acknowledge the existence of moral truths and moral progress without being committed to moral realism. Rather than defending this claim through the more familiar route of the attempted analysis of the ontological commitments of moral claims, I show how moral belief change for the better shares certain features with theoretical progress in the natural sciences. Proponents of the better theory are able to convince their peers that it is formally and empirically superior to (...) its rivals, and the better theory may be promoted to the status of the truth. Yet there is no 'decision-procedure' for ethics any more than there is for molecular biology. The betterness of true theories can be grasped through what I term 'undirectional narratives' of progress. And while there are true moral claims and perhaps numerous moral truths yet to be discovered, we should reject currently popular forms of moral realism with bivalence. Some moral claims lend themselves to the construction of fully reversible, bi-directional narratives and are likely neither true nor false. (shrink)

At a time when the analytic/continental split dominates contemporary philosophy, this ambitious work offers a careful and clear-minded way to bridge that divide. Combining conceptual rigor and clarity of prose with historical erudition, A Thing of This World shows how one of the standard issues of analytic philosophy—realism and anti-realism—has also been at the heart of continental philosophy. Using a framework derived from prominent analytic thinkers, Lee Braver traces the roots of anti-realism to Kant's idea that the (...) mind actively organizes experience. He then shows in depth and in detail how this idea evolves through the works of Hegel, Nietzsche, Heidegger, Foucault, and Derrida. This narrative presents an illuminating account of the history of continental philosophy by explaining how these thinkers build on each other's attempts to develop new concepts of reality and truth in the wake of the rejection of realism. Braver demonstrates that the analytic and continental traditions have been discussing the same issues, albeit with different vocabularies, interests, and approaches. By developing a commensurate vocabulary, his book promotes a dialogue between the two branches of philosophy in which each can begin to learn from the other. (shrink)

Contemporary philosophers of history and interpretation theorists very often deny the thesis of intentional realism, because they reject intentionalism or the thesis that an agent's or author's intentions are relevant for the interpretive practice of the human sciences. I will defend intentional realism by showing why it is wrong to whole-heartedly reject intentionalism and by clarifying the logical relation between intentionalism and intentional realism. I will do so by discussing the two central arguments against intentionalism; the argument (...) from the perspective of narrative anti-realism and the epistemic argument focusing on the fact that an agent's or author's intentions are not epistemically accessible in a direct manner. In particular, I will show that the fact that historians write narratives does add a level of complexity as far as the giving of explanations of individual actions are concerned. Yet it does not follow that the explanatory power of a full fledged historical narrative can be understood as being completely independent of our folk psychological account of individual agency. Accordingly, we should also be prepared to accept a methodological distinction between the human and the natural sciences as long as the human sciences use the folk psychological framework for explanatory purposes, since it is only in the former that empathy plays an epistemically central role. I however do not claim that empathy is the only method of the human sciences nor do I claim that all interpretive disputes can be settled merely in light of our empathic capacities. (shrink)

There are historical events which cannot easily be made sense of by reference to the actions of single individuals. I suggest that one way to understand such events is by building on the involved agents' joint experience, or reports thereof. The phenomenology of joint involvement, so my suggestion, is of use in a particular kind of sense making that combines hermeneutical and explanatory elements. Such sense making, I argue, is narrative in character. I suggest a particular conception of historical (...) narratives that aligns them with what I call, taking up an idea from Ian McEwan's novel Atonement , `psychological realism' — the idea that what renders stories accurate is a reality with both physical and mental characteristics. I end by illustrating my account with a historical example. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)