Sandy Petrey here looks at the emergence of nineteenth-century French realism in the light of the concept of speech acts as defined by J. L. Austin and as exemplified by the history of the French Revolution. Through analysis of the techniques of representation in works by Balzac, Stendhal, and Zola, Petrey suggests that the expression of a truth depends on the same collective forces necessary to change a regime. According to Petrey, political legitimacy in the Revolution, the Empire, and the Restoration was established by means of a series of demonstrations that what words say cannot be interpreted without reference to the community to which they speak. Petrey first discusses the creation of France's National Assembly in 1789 as a foundational example of how speech acts can bring about historical transformation. He then challenges the most powerful twentieth-century assault on realist aesthetics, Roland Barthes's S/Z, and also considers the views of such contemporary critics as Jacques Derrida, Barbara Johnson, and Stanley Fish. During the Revolution, Petrey says, statements of truth were not descriptions of what was, but rather exhortations to produce what was not. Nineteenth-century French fiction represents in literary form a similar collectively authorized linguistic performance; the "real" in realism comes from representing facts not as they are in themselves but as they are produced and rejected in society. In the course of illuminating readings of three central realist works—Balzac's Pere Goriot, Stendhal's The Red and the Black, and Zola's Germinal—Petrey takes the position that the dilemmas of representation, far from being one of realism's blind spots, figure among its major narrative subjects.

This is a novel, transnational exploration of the major Chinese intellectual debates on radicalism in history, culture, and politics after 1989.

This book considers the theoretical lessons to be gleaned from a study of revolutionary conflict through case studies of the Iranian, French, Turkish, and Bolivian Revolutions, as well the Arab Spring, and offers some thoughts regarding its future.

Revolution within a state almost invariably leads to intense security competition between states, and often to war. In Revolution and War, Stephen M. Walt explains why this is so, and suggests how the risk of conflicts brought on by domestic upheaval might be reduced in the future. In doing so, he explores one of the basic questions of international relations: What are the connections between domestic politics and foreign policy? Walt begins by exposing the flaws in existing theories about the relationship between revolution and war. Drawing on the theoretical literature about revolution and the realist perspective on international politics, he argues that revolutions cause wars by altering the balance of threats between a revolutionary state and its rivals. Each state sees the other as both a looming danger and a vulnerable adversary, making war seem both necessary and attractive. Walt traces the dynamics of this argument through detailed studies of the French, Russian, and Iranian revolutions, and through briefer treatment of the American, Mexican, Turkish, and Chinese cases. He also considers the experience of the Soviet Union, whose revolutionary transformation led to conflict within the former Soviet empire but not with the outside world. An important refinement of realist approaches to international politics, this book unites the study of revolution with scholarship on the causes of war.

Cold Revolution. Central and Eastern European Societies in Times of Socialist Realism, 1948?1959' is the outcome of an international conference organized by the Zach?ta ? National Gallery of Art, Warsaw, in January 2020, and an exhibition project.0Both the conference and the show deal with Socialist Realism, a sensitive and problematic period in contemporary art history. The publication inquires about the relationship between the visual culture of the 1950s and the radical social revolution that took place in Central and Eastern Europe in the ?cold? climate of growing international tensions and the strengthening of communist dictatorships. Covering and linking together a wide range of areas of study?art history, but also social, political, and cultural history?thirty contributors explore deeply the 1950s? social transformations, presenting intersectional essays on cultural and art history, short key study texts and profound analysis examples from the fields of painting, architecture and urban planning, design, photography, film and graphic design, representative of different countries, such as Poland, GDR, Czechoslovakia, Bulgaria, Romania, and Hungary.00Exhibition: Zach?ta ? National Gallery of Art, Warsaw, Poland (23.04 ? 01.08.2021).

Chinese intellectuals of the early twentieth century were attracted to realism primarily as a tool for social regeneration. Realism encouraged writers to adopt the stance of the independent cultural critic and drew into the compass of serious literature the disenfranchised "others" of Chinese society. As historical pressures forced new ideological commitments in the late twenties and thirties, however, writers grew suspicious both of the "individualism" implicit in the realist model and of the often superficial nature of the sympathies that their fiction evoked in the middle class. Anderson argues that realism must be defined negatively as a "discourse of limitations" and is of minimal utility in the Chinese search for political and cultural empowerment. He shows how hesitations about the realist model affect the fiction of four representative authors, Lu Xun, Ye Shaojun, Mao Dun, and Zhang Tianyi. He also considers the demise of critical realism in the face of a new collectivist understanding of Chinese reality. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1990.