In the Logic of Being: Realism, Truth, and Time, the influential philosopher Paul M. Livingston explores and illuminates truth, time, and their relationship by employing methods from both Continental and analytic philosophy.

From climate change to nuclear war to the rise of demagogic populists, our world is shaped by doomsday expectations. In this path-breaking book, Alison McQueen shows why three of history's greatest political realists feared apocalyptic politics. Niccol- Machiavelli in the midst of Italy's vicious power struggles, Thomas Hobbes during England's bloody civil war, and Hans Morgenthau at the dawn of the thermonuclear age all saw the temptation to prophesy the end of days. Each engaged in subtle and surprising strategies to oppose apocalypticism, from using its own rhetoric to neutralize its worst effects to insisting on a clear-eyed, tragic acceptance of the human condition. Scholarly yet accessible, this book is at once an ambitious contribution to the history of political thought and a work that speaks to our times.

This acclaimed study explores how the common denominators of modernity, neutral time and neutral space, were constructed from the Renaissance to the late nineteenth century. Central to this development was the normalizing of a certain grammar of perspective evident across a range of practices from art to politics, from science to philosophy, from mathematics to cartography. In particular, it deals with the construction of historical time in narrative from the eighteenth and nineteenth centuries, with particular case studies of Defoe, Richardson, Austen, Dickens, George Eliot and Henry James.

The late 1870s and early 1880s were watershed years in the history of French painting. As outgoing economic and social structures were being replaced by a capitalist, measured time, Impressionist artists sought to create works that could be perceived in an instant, capturing the sensations of rapidly transforming modern life. Yet a generation of artists pushed back against these changes, spearheading a short-lived revival of the Realist practices that had dominated at mid-century and advocating slowness in practice, subject matter, and beholding. In this illuminating book, Marnin Young looks closely at five works by Jules Bastien-Lepage, Gustave Caillebotte, Alfred-Philippe Roll, Jean-Franocois Raffaeelli, and James Ensor, artists who shared a concern with painting and temporality that is all but forgotten today, having been eclipsed by the ideals of Impressionism. Young's highly original study situates later Realism for the first time within the larger social, political, and economic framework and argues for its centrality in understanding the development of modern art.

In assessing the current state of feminism and gender studies, whether on a theoretical or a practical level, it has become increasingly challenging to avoid the conclusion that these fields are in a state of disarray. Indeed, feminist and gender studies discussions are beset with persistent splits and disagreements. This reader suggests that returning to, and placing centre-stage, the role of philosophy, especially critical realist philosophy of science, is invaluable for efforts that seek to overcome or mitigate the uncertainty and acrimony that have resulted from this situation. In particular, it claims that the dialectical logic that runs through critical realist philosophy is ideally suited to advancing feminist and gender studies discussions about broad ontological and epistemological questions and considerations, intersectionality, and methodology, methods, and empirical research. By bringing together four new and eight existing writings this reader provides both a focal point for renewed discussions about the potential and actual contributions of critical realist philosophy to feminism and gender studies and a timely contribution to these discussions.

A examination of time-tested methods used by artists since the Renaissance to make realistic pictures of imagined things.