...What is the difference between Realism and Neorealism? Is the latter an advance on the former? In the words of a leading critic of Realism, “there is no single tradition of political realism, but rather a knot of historically constituted tensions, contradictions and evasions. The realist thought embraces a view that international system is anarchic and states are principal actors driven by currency of power and competing self-interest. Many exponents and critics, describe Realism as tradition of thought, which signifies an approach to international relations, describing the world as it is, and not as it ought to be. In this essay, I will highlight differences between two strands of Realism dominant in the 20th century i.e., classical realism and neo-realism and also assess if neo-realism is an advance on realism. While there are numerous denominations to the realist theory, there are no. of essential core elements which all Realists subscribe to. Prescribing to Hobbes view, all realists be it classical or neo-realist believe that international system is a state of nature where individual exist in an ungoverned environment, “without a common power to keep them all in awe”. Hobbes equates state of nature as state of war, which pits “every man, against every man”. To escape this intolerable condition, individuals agree to enter a civil society and install a sovereign power. Therefore, Realist theory operates in the assumption that domestically; the problem of order and security...
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...Magical realism in Chronicle of a Death Foretold Magical realism is a literary genre in which fantastical things are treated not just as possible, but also realistic. It tries to tell its stories from the perspective of people who live in our world and experience a different reality from the one we call objective. As a tool, magical realism can be used to explore the realities of characters or communities who are outside of the objective mainstream of our culture. It's not just South Americans, Indians, or African slaves who may offer these alternative views. Religious believers for whom the supernatural is always present and miracles are right around the corner, believers to whom angels really do appear and to whom God reveals Himself directly, they too inhabit magical realism in their world. García Márquez developed the style of magical realism, a genre of writing that incorporates magical elements into an otherwise realistic story. Chronicle of a Death Foretold, while not as typical an example of magical realism as García Márquez’s novel One Hundred Years of Solitude, does have some elements of the magical realist style. Chronicle of a Death Foretold is based on the true story of a murder that occurred in Sucre, Colombia, in 1951. The real names of García Márquez’s mother, Luisa Santiaga, his siblings, and his future wife Mercedes Barcha are used in the novel. The narrator, like García Márquez himself, is a journalist who interviews his subjects to gather the facts. Amid...
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...Essay Topic: “Critically Evaluate Post War Realist Explanation of International Politics with Particular Reference to Power” Introduction The tradition of political realism – realpolitik, power politics – has a long history that is typically traced back to the great Greek historian Thucydides in the fifth century BC. Although dominant attitudes towards realism have varied, realist arguments and orientations have been central to the Western theory and practice of international relations. “In particular, “modern” international society, whether dated from the era of Machiavelli at the turn of the sixteenth century or that of Hobbes in the mid-seventeenth century, has been closely linked to realist balance of power politics. The link between realism and international theory is especially strong in the twentieth century. International relations first emerged as an academic discipline before and immediately after World War I, largely in reaction against realist balance of power politics. The discipline was then reshaped immediately before and after World War II by self-identified realists such as E. H. Carr and Hans Morgenthau. Prominent scholar-practitioners, such as George Kennan and Henry Kissinger, have called themselves realists. For most of the post-World War II era realism has been the dominant paradigm in the Anglo-American study of international relations”[1]. Even in our post-Cold War era of globalization, realist theories, although much less dominant...
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...History and Politics Essay Topic: “Critically Evaluate Post War Realist Explanation of International Politics with Particular Reference to Power” Introduction The tradition of political realism – realpolitik, power politics – has a long history that is typically traced back to the great Greek historian Thucydides in the fifth century BC. Although dominant attitudes towards realism have varied, realist arguments and orientations have been central to the Western theory and practice of international relations. “In particular, “modern” international society, whether dated from the era of Machiavelli at the turn of the sixteenth century or that of Hobbes in the mid-seventeenth century, has been closely linked to realist balance of power politics. The link between realism and international theory is especially strong in the twentieth century. International relations first emerged as an academic discipline before and immediately after World War I, largely in reaction against realist balance of power politics. The discipline was then reshaped immediately before and after World War II by self-identified realists such as E. H. Carr and Hans Morgenthau. Prominent scholar-practitioners, such as George Kennan and Henry Kissinger, have called themselves realists. For most of the post-World War II era realism has been the dominant paradigm in the Anglo-American study of international relations”. Even in our post-Cold War era of globalization, realist theories, although much less dominant, still...
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...considered to be part of the realism art movement. Realism is the study of representation of a scene that stays as true to life as possible. They abandoned the ideals of romanticism, where the aesthetic was warped to fit their embellished emotionalism of preconceived ideas. Thus the realists focused on depicting scenes with authenticity. Many images of the workhouse arouse due to the Industrial revolution at the time. Realism began in France in the 1850s and flourished when photography was born. Edouard Manet was a character full of antithesis. On one hand he was a rebellious socialist yet he was also a dignified bourgeois. During his lifetime he became famous for breaking away from the traditional academic way of painting and was once hailed “the first modern painter” (A World History of Art, Hugh Honour & John Fleming pg 677) Yet he was heavily influenced by the masters of the past and their inspiration can clearly be seen “Le Déjeuner sur l’Herbe” (http://www.ibiblio.org/wm/paint/auth/manet/dejeuner/manet.dejeuner-sur-herbe.jpg) Manet wanted to make a statement with this peice of work, even more so than his controversial painting Olympia. But He was also desperate to be accepted by the Parisian salon because it was uneasy to artistically survive without that sort of status. However his wishes were denied, instead a small scale exhibition for the refused artists was held in an annex, that later became known as the Salon des Refusés. Both the critics and the public were outraged...
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...INTRODUCTION: Literary criticism is not an abstract, intellectual exercise; it is a natural human response to literature. If a friend informs you she is reading a book you have just finished, it would be odd indeed if you did not begin swapping opinions. It is inevitable that people will ponder, discuss, and analyze the works of art that interest them. The informal criticism of friends talking about literature tends to be casual, unorganized, and subjective. Since Aristotle, Plato and other prominent literary critics, philosophers, scholars, and writers have tried to create more precise and disciplined ways of discussing literature. This day, literary criticism provides some general guidelines to help us analyze, deconstruct, interpret and evaluate different literary works. Literary critics have borrowed concepts from other disciplines, like linguistics, psychology, and anthropology, to analyze imaginative literature more perceptively. Mass media critics, such as newspaper reviewers, usually spend their time evaluating works—telling us which books are worth reading, which movies not to bother seeing. We usually see literary criticism in a book review or critical essay; however, nowadays the Internet has made all forms of criticism readily available in everything from personal blogs to social media. In this discussion, we will take a look at the different Perspectives and Techniques in Literary Criticism and how they influenced literary works. CLASSICISM Classicism...
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...Characters in Realism Realism has a way of connecting with readers unlike any other type of literature prior with its honest and brutal interpretation on life. It not only focuses on only the truth and what is real but it looks at things in ways that had never been seen in a certain light before. Realism in American started to flourish in the following years after the civil war. This essay will briefly explain ways this takes place. Realism has a set of criteria that make it unique, and one of the critics doing so is William Cain. Morality, subjectivity, psychology, and the types of characters all help mold realism into what it is. Through the characters and how distant they are to the audience, it is easy to see how both Henry James’s “Daisy Miller: A Study” and Charlotte Perkins Gilman’s “The Yellow Wallpaper” fit well within Cain’s ideas on realism in Literary Realism in America. When reading “Daisy Miller: A Study” the main character and protagonist is Winterbourne, but the most intriguing character is Daisy Miller. Unlike Winterbourne, you do not have access to her thoughts, and it is up to you and Winterbourne’s thoughts to determine what to think of her. “He had never yet heard a young girl express herself in just this fashion; never, at least, save in cases where to say such things seemed a kind of demonstrative evidence of a certain laxity of deportment. And yet was he to accuse Miss Daisy Miller of actual or potential inconduite.” Cain says that in realism characters...
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...What are the main obstacles to international cooperation between states? Assess with reference to realism and liberalism. According to Kenneth Waltz, the way states behave is determined by the permanent state of anarchy in which the international system exists. The lack of an ordering sovereign authority to oversee relations between states dominates debate between scholars as to whether the world will ever be a peaceful, threat-free environment. In order to eliminate war and conflict, cooperation must characterize states’ behaviour towards one another, a system in which ‘the security of each [state] is perceived as the responsibility of all’ (Wendt, 1999). The question then becomes why, if cooperation leads to rewards for everyone, do states enter into conflict and war? International Relations theorists seek to explain this paradox by examining the obstacles to cooperation. For classical realists, the answer is simple; lust for power and a drive for conflict are rooted within human nature and, since humans are the operators of state actors, state behaviour mimics this nature in its approach to international relations. Neo-realists, by contrast, follow Waltz in his belief that the anarchic structure of the international system causes states to seek security and power, and therefore provides the ultimate obstacle to cooperation. While liberals disagree altogether, offering the counterargument that men are rational, and therefore states choose to engage in conflict in order to pursue...
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...Although the content within Joseph Conrad’s Heart of Darkness is universally commended for its deep thematic concepts and skillful literary techniques, there has been a spirited argument over whether the novel is itself a discriminatory work. Due to the many contradicting aspects of racism during the 17th century and the limited information known about the personality of Conrad, the question of racism versus realism is too complex to give a definitive answer. One of the passages that appears to be intuitively racist is included in Part I: “All their meager breasts panted together, the violently dilated nostrils quivered, the eyes stared stonily up-hill. They passed me within six inches, without a glance, with that complete, deathlike indifference...
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...Title Robert Frost was born in California; however, critics would collectively agree that he identified with New England more than his roots of California where he lived for eleven years till his father’s death. Frost was a farmer, which could explain his need to write poems that involved nature, but he was not necessarily a good farmer. He was a better writer than anything else which caused him to have great acclaim in England, where he had moved to in 1912 with his family. He would return back when critics praised his work in the United States. Frost would also lose two children to suicide and mental illness. Frosts tendency to write about nature was related to the land of New England, which many thought “was the heart of America” (Norton). Nature was a notable part of Frost’s poems; however, he did not see nature as this supreme being, rather he saw nature as “no expression, nothing to express” (Norton). Cleanth Brooks, an influential...
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...Form- Richard Middleton Pages 141-155 Lecture 1 * Form and contrast discussion of works of art * Form is the shape or structure of work * Content is it's substance, meaning, ideas or expressive effects * T.W Adorns argued popular music deficient because its forms predictable and schematic * In "serious music" the form of a piece is individual- worked out afresh so all details interrelate and cohere * This Process emphasizes the internal qualities and music flow * Schenkerian theory- Sees the surface events of musical foreground as a "composing out" of deeper sets of background relationship between pitches and chords * Genres defined by conventions governing musical process * Repetition important part of music * In "come home father" the two phrases are identical except the final two notes * In "embraceable you" the second phrase repeats the first exactly, but at a higher pitch * In James Brown "Superbad" there are 2 sections, "Verse" and "Bridge" which alternate * Bob Dylans "Subterry neon homesick blues" there is much reliance on miasmatic repetition * With this a sense of groove is created Why do songs have words?- Simon Frith (online readings) Lecture 2 * In the 50's and 60's sociologists concentrated on songs rather than singers and audience * It was possible to read the lyrics and figure out the social forces that produced them Content Analysis * All pop songs classified under 3 main headings...
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...Magical Realism Granville Scott Nelson Embry Riddle Aeronautical University Abstract Magical realism is a Latin American genre in which the author takes an ordinary storyline and inserts an unnatural character or sense of being. This paper will show the difference between magical realism and fantasy or science fiction. Magical Realism From my reading I now understand that magical realism is adding an unrealistic feature or character to an otherwise ordinary story. Magic realism is a term used to describe a mingling of the mundane with the fantastic. “Magical realism is not speculative and does not conduct thought experiments. Instead, it tells its stories from the perspective of people who live in our world and experience a different reality from the one we call objective.” (Rogers, 2002) If an author is telling a familiar story and he adds a twist such as a winged horse or an individual who has been alive for two hundred years, that is an example of magical realism. The difference in magical realism and fantasy is that the story is very natural and true with a surreal object and fantasy is just that, fantasy. The term is best described by Baker in her 1997 writing: While realism itself is a chronically unstable term, realist writing is usually understood to be that which draws on a set of narrative conventions designed to create the illusion that the story on the page is real or true and corresponds in some direct way to the ordinary world of day-to-day life...
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...What is Magic Realism? * Magical elements blend with the real world. * Taps into emotional reservoirs within all of us * Developed as an art movement in the years after World War I * A type of realism using contemporary subjects, often in cool detachment and sometimes injecting an eerie atmosphere * Explains these magical elements as real occurrences, presented in a straightforward manner that places the "real" and the "fantastic" in the same stream of thought * Happens when a highly detailed, realistic setting is invaded by something too strange to believe * ubiquitous term to describe various contemporary works, yet a certain ambiguity surrounds it * Aims to seize the paradox of the union of opposites * Differs from pure fantasy primarily because it is set in a normal, modern world with authentic descriptions of humans and society * First introduced by Franz Roh, a German art critic, who considered magical realism an art category. Magic Realism in Literature and Art * A kind of modern fiction in which fabulous and fantastical events are included in a narrative that otherwise maintains the 'reliable' tone of objective realistic report, designating a tendency of the modern novel to reach beyond the confines of realism and draw upon the energies of fable, folk tale, and myth while maintaining a strong contemporary social relevance * When a character in the story continues to be alive beyond the normal length of life and this...
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...evoked, the very first thing to come to one’s mind is probably ‘One Hundred Years of Solitude’ and – for some readers – the term of ‘magic realism’. Every other Marquez’s work must ‘take into an account’ such inevitable context. Then, the title also determines reader’s expectations. In the case of ‘Love in the Time of Cholera’ – the subject of this essay – all enormous tradition of love literature passes in the background, due to the novel’s title. To what degree these associations help in the understanding of Marquez’s famous book it is to be discovered. To begin with, obviously not all of the Colombian writer’s works have been created in the magic realist mode. In ‘In Evil Hour’ (1961) or ‘The General in His Labyrinth” (1989) there are hardly any magic realist elements. On the other hand, ‘One Hundred Years of Solitude’ still functions as the main and most eminent example of magic realism in the world literature, and the one best recognised by an average reader, too. As to ‘Love in the Time of Cholera’, it seems to lie somewhere in between a purely magic realist fiction and a realistic one, with some supernatural elements present in the text, but seeming not to be of fundamental importance. To interpret the novel in the context of magic realism, some definitions of that writing technique (or of that literary movement, as some critics prefer to call it) should be shortly presented hereon. The notion...
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...The True Essence of Magical Realism Amy Beals (14963137) ITT Technical Institute The True Essence of Magical Realism What comes to mind when you hear the word magic or magical? The average person typically thinks of witchcraft, spells, voodoo, and even disappearing bunny rabbits. The word realism, in the everyday use, is a word we are very familiar with. Join magical and realism together and they take on a whole new meaning. The marriage of these two words transforms their very individual definitions into one unique meaning. Magical realism has since developed into a literary genre; it represents more than just a definition. Magical realism has, in essence, become a philosophy, a real way of seeing things. It also represents much more than an attitude, or a window to view the world; it has become a philosophy of life. The very wording itself is an oxymoron (Rodgers, 2002). According to many critics, Magical Realism was thought to have originated, as a new art form, in the early twentieth century. Having been given credit for coining the term, Franz Roh, writes about this new art form in one of his articles. The 1925 article “Magical Realism,” Mr. Roh explains Magical Realism through the examination of artistic styles. He further explained that an artist may review the texture, the light, and the shape of an object to influence the portrayal of what is simply a caricature of reality; there isn’t any significant meaning other than the obvious real qualities of what is being...
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