Realism

In philosophy, one of several metaphysical theories, many of which are not mutually compatible. Straight metaphysical realism is the view, roughly, that there exist mind-independent objects. It is often associated with a correspondence theory of truth, that is, that there is a correspondence between pieces of knowledge and their objects.

This theory is opposed by Hilary Putnam's internal realism, which has undergone revision several times (or at least been variously presented by Putnam), and is the view that no correspondence theory is required for a sound epistemology (or is even possible).

In addition to these two, there is also the so-called "common-sense" realism. According to this theory, the things we see, such as tables, chairs, and elephants, are just real. This isn't all just a dream. The questions the first two theories attempt to answer are considered pointless under this view.

All three realisms are in opposition to various antirealistic theories, including several which together are labeled relativism.

The French proponents of realism rejected the artificiality of both the Classicism and Romanticism of the academies, insisting the necessity for contemporaneity in an effective work of art:

" They attempted to portray the lives, appearances, problems, customs, and mores of the middle and lower classes, of the unexceptional, the ordinary, the humble, and the unadorned. Indeed, they conscientiously set themselves to reproducing all the hitherto-ignored aspects of contemporary life and society--its mental attitudes, physical settings, and material conditions."

Encyclopædia Britannica

Some artistc examples from that era:

Jean-François Millet, The Gleaners, 1857.

Honoré Daumier, Third-class Carriage, c. 1862.

Gaspard-Félix Tournachon (Nadar), Sarah Bernhardt, c. 1864.

Edouard Manet, Le Déjeuner sur l'Herbe, 1863.

In art a clearly defined realist school never evolved, but manefested itself at various times simply meant that "ugly" ogjects are represented as opposed to those considered "beautiful." Art used to descibe the humble life, the term was implied as a socila critism of social conditions.

Later versions of realism in art include surrealism and magic realism. Today, the term realist is applied in the most general sense, to any nonabstract work of art.

Justus, Kevin. "Art and Culture II." Tucson , Arizona.
1992. (Lecture presented at Pima Community College.)

De La Croix, Horst, Richard D. Tansey, and Diane Kirkpatrick.
Art Through the Ages. University of Michigan: Harcourt Brace Jovanovich.
1991.

Realism treats the state as the primary unit of analysis. States are presumed to act coherently and rationally---that is, in their own best interests. The arena of international relations is assumed in Realpolitik to be anarchical: states have only other states to answer to for their actions. According to realism, the driving force behind international politics is power---the ability to cause another actor to act for one's own, instead of its, best interest. Power comes in many forms: military, economic, technological, etc.

Realism is seen by many as an extension of Ayn Rand's objectivism into the sphere of international politics.

Re"al*ism (?), n. [Cf. F. r'ealisme.]

1. Philos. (a)

An opposed to nominalism, the doctrine that genera and species are real things or entities, existing independently of our conceptions. According to realism the Universal exists ante rem (Plato), or in re (Aristotle).

As opposed to idealism, the doctrine that in sense perception there is an immediate cognition of the external object, and our knowledge of it is not mediate and representative.

2. Art & Lit.

Fidelity to nature or to real life; representation without idealization, and making no appeal to the imagination; adherence to the actual fact.

© Webster 1913.