Otto Ludwig, nineteenth-century German novelist and critic, originated the term poetic realism. In this excellent study, Ludwig's prose is sympathetically and thoroughly examined and a clear account of the evolution of German fiction after Romanticism is presented. Taking Ludwig's narrative works together with his literary criticism, McClain shows how the author attempted to blend the real and the ideal to reach the goal of poetic realism as he envisioned it.

By focusing the various difficulties encountered in applying theory to practical concerns, this book explores the reasons for the absence of a radical politics in Habermas's work. In doing so, it shows that certain political implications of the theory remain unexplored. The book articulates a unique application of Habermasian theory, the actual functioning of decision-making groups, the nature of deliberative interaction, and the kinds of judgments participants must make if they are to preserve their democratic process.

Begins by explaining and arguing for certain criteria for assessing normative moral theories. Then argues that these criteria lead to a rule-consequentialist moral theory.

Between the Ideal and the Real describes why Iraq state-building and democratic transformation failed by offering a very new, and unusual, perspective, away from the usual blame assigned to the US that has become part of the “conventional wisdom” about Iraq and the Middle East. Although the book acknowledges US failings in Iraq, the main argument it presents is that the main causes of failure lie in a problematic alliance between Iraqi Shiite Islamist parties and the clerical establishment in Najaf, led by Ayatollah Sistani. To appreciate this new perspective, the book takes you into the history of Iraqi Shiism both as a set of doctrinal and theological beliefs about the world and a lived experience by ordinary Iraqi Shias. The book argues that this understanding hindered Shias from embracing many products of modernity such as nationalism, individualism, humanism, and democratic rule, by consolidating a primordial group identity that ties people to the past, a particular kind of past based on doctrinal supremacy and historical victimhood. Combined, the two have the negative effect of depriving ordinary Iraqi Shias of a personal sense of agency and contributing to a general spirit skeptical of difference. The book also documents people’s push back against this restrictive approach to reality in a variety of contexts. Based on extensive historical and doctrinal research into the distant past of Shiism, the book links the past to the present by examining the unfortunate consequences that grow out of the insistence to allow pre-modern values determine the modern experience of life.

This book examines the Accademia degli Arcadi in its heyday, a little known phenomenon in Italian history in the first part of the eighteenth century. The Roman academy aimed for a peninsula-wide cultural renewal induced by literary reform. Operating within a papal-court society, it eschewed extant patronage systems and social hierarchies and introduced enlightened ideas to its members. By about 1730, the Arcadi was on the wane, the reform largely unmet. It was an easy target for critics, both its proponents and opponents, in part because of the visible role it assigned to women. By attending to the institution's policies, this book provides a rich understanding of the Arcadi's goals. It locates the organization's interest in theater, including the physical environment of the theatrical drama, as central to its operations.

In the years following the announcement of the invention of photography in 1839, practitioners in France gave shape to this intriguing new medium through experimental printing techniques and innovative compositions. The rich body of work they developed proved foundational to the establishment of early photography, from the introduction of the paper negative in the late 1840s to the proliferation of more standardized equipment and photomechanical technology in the 1860s. The essays in this elegant volume investigate the early history of the medium when the ambiguities inherent in the photograph were ardently debated. Focusing on the French photographers who worked with paper negatives, especially the key figures Édouard Baldus, Gustave Le Gray, Henri Le Secq, and Charles Nègre, Real/Ideal explores photography’s status as either fine art or industrial product (or both), its repertoire of subject matter, its ideological functions, and even the ever-experimental photographic process itself.