After the heroic nudes of the Renaissance and depictions of the tortured bodies of Christian saints, early seventeenth-century French artists turned their attention to their fellow humans, to nobles and beggars seen on the streets of Paris, to courtesans standing at their windows, to vendors advertising their wares, to peasants standing before their landlords. Realism and Role-Play draws on literature, social history, and affect theory in order to understand the way that figuration performed social positions.

Role play, or simulation, techniques are used as important tools in many contexts and disciplines, including research, psychotherapy, organizational change and education. Role play is generally characterized as a method to approximate real life' experiences in certain settings, yet the results can be disappointing due to lack of knowledge and understanding of the techniques involved. Amply illustrated through helpful and practical vignettes, this wide-ranging volume provides an explanation of role play theory and practice. Readers are shown how role play differs from other experimental or therapeutic techniques, and are introduced to the key requirements of good technique. The author does not offer a recipe book of solutions, but surveys the literature to offer a solid theoretical grasp of the subject.

Role-play as a Heritage Practice is the first book to examine physically performed role-enactments, such as live-action role-play (LARP), tabletop role-playing games (TRPG), and hobbyist historical reenactment (RH), from a combined game studies and heritage studies perspective. Demonstrating that non-digital role-plays, such as TRPG and LARP, share many features with RH, the book contends that all three may be considered as heritage practices. Studying these role-plays as three distinct genres of playful, participatory and performative forms of engagement with cultural heritage, Mochocki demonstrates how an exploration of the affordances of each genre can be valuable. Showing that a player’s engagement with history or heritage material is always multi-layered, the book clarifies that the layers may be conceptualised simultaneously as types of heritage authenticity and as types of in-game immersion. It is also made clear that RH, TRPG and LARP share commonalities with a multitude of other media, including video games, historical fiction and film. Existing within, and contributing to, the fiction and non-fiction mediasphere, these role-enactments are shaped by the same large-scale narratives and discourses that persons, families, communities, and nations use to build memory and identity. Role-play as a Heritage Practice will be of great interest to academics and students engaged in the study of heritage, memory, nostalgia, role-playing, historical games, performance, fans and transmedia narratology.

First published in 1990, this study focuses on the subversive techniques of British postmodernist fiction and examines its challenge to Realist traditions, and the liberal humanist ideology behind it. Exploring the concept of literary postmodernism, and the strategies and philosophies to which it has given rise, Alison Lee investigates how they are developed in a selection of contemporary British novels, including Midnight’s Children, Waterland, Flaubert’s Parrot, and Lanark. Postmodernism is considered in relation to history, the visual and performing arts, popular culture, including advertising, music videos, and popular fiction, notably Stephen King’s Misery. A detailed and comprehensive study, this reissue of Realism and Power will be essential reading for students of literary and cultural studies.

This collection of original essays aims to reinvigorate the debate surrounding philosophical realism in relation to philosophy of science, pragmatism, epistemology, and theory of perception. Questions concerning realism are as current and as ancient as philosophy itself; this volume explores relations between different positions designated as ‘realism’ by examining specific cases in point, drawn from a broad range of systematic problems and historical views, from ancient Greek philosophy through the present. The first section examines the context of the project; contributions systematically engage the historical background of philosophical realism, re-examining key works of Aristotle, Descartes, Quine, and others. The following two sections epitomize the central tension within current debates: scientific realism and pragmatism. These contributions address contemporary questions of scientific realism and the reality of the objects of science, and consider whether, how or the extent to which realism and pragmatism are compatible. With an editorial introduction by Kenneth R. Westphal, these fourteen original essays provide wide-ranging, salient insights into the status of realism today.

New forms of art, culture and theory have recently emerged through engagements with the realities of the social world and everyday life which are not primarily about representation but rather about participation and narration. These new forms are based on viewer responses and engagement, thus performatively creating open-ended situations rather than autonomous works with closure. Performative theory, drawing mostly on studies of speech acts, proves adequate to describe and analyse these new forms of art and culture and their engagement with the real. Performative Realism scrutinizes a range of contemporary works that experiment with audience participation and processuality within art and culture, as well as it takes issue with theories of performativity and performance. Performative Realism contains contributions from leading Danish scholars working within a broad range of academic fields such as Media Studies, Art History, Theatre Studies and Cultural Studies. The issues addressed covers Scandinavian as well as international installation art, performance art, theatre, photography, movies, literature and role-playing.

Stephen Ingram defends a robustly realistic metaethical theory, based on the concept of normative arbitrariness, of which he provides the first in-depth analysis. He argues that, in order to capture the normative non-arbitrariness of moral choice, we must commit to the existence of robustly stance-independent, categorical, irreducibly normative, non-natural moral facts. Specifically, he identifies five ways in which a metaethical theory might fail to capture the non-arbitrariness of moral choice. The first involves claims about the bruteness of moral attitudes or facts. The second involves claims about the privileging of some attitudes over others. The third involves the claim that some metaethical theories leave a normative deficit. The fourth involves a claim about our ownership over moral reality. And the fifth involves the claim that certain metaethical theories introduce a destabilising contingency into the moral domain. Ingram argues that robust realism is the theory that is best placed to avoid all five of these arbitrariness charges. He then goes on to show that, by exploring the nature of interpersonal moral dialogue, robust realists can defend epistemological and meta-semantic theories that are friendly to their view. Specifically, he defends a dualistic form of moral intuitionism on which some moral beliefs are justified on the basis of a priori intuitions, whilst others are justified on the basis of a posteriori moral experiences, and provides a theory of 'moral mental files' to explain how moral terms and concepts are able to refer to robust moral facts.