Varieties of Realism argues that it is not possible to represent the layout of objects and surfaces in space outside the dictates of formal visual geometry, the geometry of natural perspective. The book examines most of the world's coherent representational art styles, both in terms of the geometry of their creation and in terms of their perceptual effects on the viewer. A lucid exposition of modern geometrical principles and relations, accessible to the nonmathematical reader, is followed by an analysis of all known styles as variants of natural perspective, as true varieties of realism. Delineating the physical and mechanical constraints that determine the act of visual representation in painting and drawing, the author traces the intimate relations among seemingly distant styles and considers the kind of perceptual information about the world each can carry. Margaret Hagen is a perceptual psychologist with an ecological point of view. Her rigorous but readable presentation of visual theory and research offers provocative new insights into the connections among vision, geometry, and art.

A Collection of Essays for college courses such as: Magical Realism in Latin America. Spanish-American Fiction: XXth Century; Special Topics: Jorge Luis Borges and Sex and Magic in Latin American Literature. The term "magic realism" or "magical realism" has been bruited about with great frequency in the last half of the twentieth century, especially in reference to contemporary Latin American literature, yet it is not always clear exactly what is meant by this designation. In his introduction to this outstanding collection of essays, Dr. Clark Zlotchew attempts to elucidate the meaning and scope of the term by providing a historical overview of it, defining the literary modes often confused with it and offering some current opinions on what a definition of "magic realism" should or might be. The ten essays that follow present an analysis of works by writers such as Jorge Luis Borges, Carlos Fuentes, Julio Ricci, Antonio Brailovsky and Enrique Jaramillo Levi, in an attempt to illustrate the manner in which some Latin American authors create their own brand of "magic realism".

Roughly, instrumentalism is the view that science is primarily, and should primarily be, an instrument for furthering our practical ends. It has fallen out of favour because historically influential variants of the view, such as logical positivism, suffered from serious defects. In this book, however, Darrell P. Rowbottom develops a new form of instrumentalism, which is more sophisticated and resilient than its predecessors. This position—‘cognitive instrumentalism’—involves three core theses. First, science makes theoretical progress primarily when it furnishes us with more predictive power or understanding concerning observable things. Second, scientific discourse concerning unobservable things should only be taken literally in so far as it involves observable properties or analogies with observable things. Third, scientific claims about unobservable things are probably neither approximately true nor liable to change in such a way as to increase in truthlikeness. There are examples from science throughout the book, and Rowbottom demonstrates at length how cognitive instrumentalism fits with the development of late nineteenth- and early twentieth-century chemistry and physics, and especially atomic theory. Drawing upon this history, Rowbottom also argues that there is a kind of understanding, empirical understanding, which we can achieve without having true, or even approximately true, representations of unobservable things. In closing the book, he sets forth his view on how the distinction between the observable and unobservable may be drawn, and compares cognitive instrumentalism with key contemporary alternatives such as structural realism, constructive empiricism, and semirealism. Overall, this book offers a strong defence of instrumentalism that will be of interest to scholars and students working on the debate about realism in philosophy of science.

"An original exploration of the work of writer Richard Ford in the context of its place within contemporary debates about the possible role, meaning of, and value of literary realism in a postmodern age"--

Owen Flanagan argues in this book for a more psychologically realistic ethical reflection and spells out the ways in which psychology can enrich moral philosophy. Beginning with a discussion of such “moral saints” as Gandhi, Mother Teresa, and Oskar Schindler, Flanagan charts a middle course between an ethics that is too realistic and socially parochial and one that is too idealistic, giving no weight to our natures.

Ilkka Niiniluoto comes to the rescue of scientific realism, showing that reports of its death have been greatly exaggerated. Philosophical realism holds that the aim of a particular discourse is to make true statements about its subject-matter. Niiniluoto surveys the different varieties of realism in ontology, semantics, epistemology, theory construction, and methodology. He then sets out his own original version, and defends it against competing theories in the philosophy of science. Niiniluoto's critical scientific realism is founded upon the notion of truth as correspondence between language and reality, and characterizes scientific progress in terms of increasing truthlikeness. This makes it possible not only to take seriously, but also to make precise, the troublesome idea that scientific theories typically are false but nevertheless close to the truth.