In their assessments of
, two distinguished scholars of World Politics engage in a spirited contestation about the role of classical realism in International Relations (IR) theory. Richard Ned Lebow ...aspires to defend the paradigm from what he suggests are barbarians at the gate. In this response I offer rejoinders to his treatment of E. H. Carr and Robert Gilpin, and his characterization of the ways in which we each engage Thucydides’
as an inspirational text. Stephen Krasner raises a number of thoughtful and savvy constructive criticisms of
, some of which ring true. Yet he and I continue to markedly disagree about the importance of analytical uncertainty for understanding IR, and also with regard to the role of history in explaining behavior in world politics. And in an otherwise sophisticated critique, Krasner ultimately reduces classical realism to a caricature. In my response I clarify why in fact it is his preferred approach, structural realism, which, on its own, is irretrievably indeterminate and leaves scholars needing much more that its minimalist disposition can possibly hope to provide. I conclude with a short elaboration of why classical realism offers a more productive way forward.
Neoclassical realism is an important new approach to international relations. Focusing on the interaction of the international system and the internal dynamics of states, neoclassical realism seeks ...to explain the grand strategies of individual states as opposed to recurrent patterns of international outcomes. This book offers the first systematic survey of the neoclassical realist approach. The editors lead a group of senior and emerging scholars in presenting a variety of neoclassical realist approaches to states' grand strategies. They examine the central role of the 'state' and seek to explain why, how, and under what conditions the internal characteristics of states intervene between their leaders' assessments of international threats and opportunities, and the actual diplomatic, military, and foreign economic policies those leaders are likely to pursue.
Various interaction techniques have been developed for interactive 3D environments. This paper presents an up‐to‐date and comprehensive review of the state of the art of non‐immersive interaction ...techniques for Navigation, Selection & Manipulation, and System Control, including a basic introduction to the topic, the challenges and an examination of a number of popular approaches. We also introduce 3D Interaction Testbed (3DIT) to firstly allow a ‘hands‐on' understanding of 3D interaction principles, and secondly to create an open platform for defining evaluation methods, stimuli as well as representative tasks akin to those found in other disciplines of science. We hope that this survey can aid both researchers and developers of interactive 3D applications in having a clearer overview of the topic and in particular can be useful for practitioners and researchers that are new to the field of interactive 3D graphics.
Various interaction techniques have been developed for interactive 3D environments. This paper presents an up‐to‐date and comprehensive review of the state of the art of non‐immersive interaction techniques for Navigation, Selection & Manipulation, and System Control, including a basic introduction to the topic, the challenges and an examination of a number of popular approaches. We also introduce 3D Interaction Testbed (3DIT) to firstly allow a ‘hands‐on' understanding of 3D interaction principles, and secondly to create an open platform for defining evaluation methods, stimuli as well as representative tasks akin to those found in other disciplines of science.
Lauren Berlant has famously problematised the sense of communal belonging wrought by sentimental humanism, yet in so doing has presumed a binary between optimism and realism, and tendered new ...strictures on acceptable affect. In suburban ensemble cinema we find an alternate view: sentimentality as a place of transition, and a more complex taxonomy of human relationality.
Este artlculo expone una serie de tacticas de guerra hibrida que Rusia ejecuto entre 2014 y 2022 contra Ucrania; ademas pretende clasificarlas entre las teorias del realismo ofensivo y/o defensive. ...En particular, se justifica mediante fuentes secundarias como bibliografia especializada y entrevistas a expertos academicos en el tema de estudio. La hipotesis conllevaria a que las tacticas empleadas por Rusia contra Ucrania entre los anos mencionados corresponderian al realismo ofensivo y defensive, pues la variabilidad de estas conllevaria a difuminarse entre lo ilegal y lo no regulado aun por el derecho internacional.
Durkheim and realism Meadwell, Hudson
Journal for the theory of social behaviour,
December 2023, 20231201, Letnik:
53, Številka:
4
Journal Article
Recenzirano
Odprti dostop
This article examines Durkheim's relationship to realism. I argue that there is enough prima facie evidence of realist commitments in his work that our task should be to consider what kind of realist ...Durkheim was. I discuss, first of all, Durkheim's epistemics and follow that analysis with a discussion of metaphysical realism in his texts. The first part of the paper covers a wide range of his work; the second part focuses primarily on The Elementary Forms of Religious Life. In a final concluding section, I go on to consider how his epistemic arguments and his philosophical realism might work together to support important parts of his general sociology. Realism is not often brought to bear on Durkheim's work. When it has been, Durkheim has been identified as a naïve realist. These interpretations of Durkheim do not recognize the sophistication of contemporary realism, which does not reduce to naïve representationalism. This paper will sort out Durkheim's realist commitments in his texts, and in light of the variety of realisms consistent with “sophisticated” (that is, non‐naïve) realism.
Among the great ironies of quantum mechanics is not only that its conceptual foundations seem strange even to the physicists who use it, but that philosophers have largely ignored it. Here, Bernard ...d'Espagnat argues that quantum physics--by casting doubts on once hallowed concepts such as space, material objects, and causality-demands serious reconsideration of most of traditional philosophy. On Physics and Philosophy is an accessible, mathematics-free reflection on the philosophical meaning of the quantum revolution, by one of the world's leading authorities on the subject. D'Espagnat presents an objective account of the main guiding principles of contemporary physics-in particular, quantum mechanics-followed by a look at just what consequences these should imply for philosophical thinking. The author begins by describing recent discoveries in quantum physics such as nonseparability, and explicating the significance of contemporary developments such as decoherence. Then he proceeds to set various philosophical theories of knowledge--such as materialism, realism, Kantism, and neo-Kantism--against the conceptual problems quantum theory raises. His overall conclusion is that while the physical implications of quantum theory suggest that scientific knowledge will never truly describe mind-independent reality, the notion of such an ultimate reality--one we can never access directly or rationally and which he calls "veiled reality"--remains conceptually necessary nonetheless.
Na mladega Lermontova so imeli vpliv trije ucitelji: Francoz, ki je ze po tradiciji ruske plemiske vzgoje ucil Mihaila francosko, nemska vzgojiteljica, ki ga je poleg jezika ucila vsakdanjih opravil ...ter angleski ucitelj, ki ga je spodbujal k branju tedaj vse popularnejse angleske literature. Mladenic, ki mu je babica zelela omogociti najboljso izobrazbo, a ga je hkrati drzala na kratko, je tako ze zgodaj znal francosko, nemsko in anglesko, kar mu je omogocilo stik z nerusko govorecimi obiskovalci zdravilisca Pjatigorsk na Kavkazu, kamor ga je babica spremljala, ko je bolehal za rahitisom. Zdi se, da je njegovo drugo potovanje na Kavkaz pustilo se posebej pomembno sled. Sredi eksoticne narave z mineralnimi vrelci, gorami, blizina vojaskih spopadov z gorskimi plemeni, je vzplamtela Lermontovova domisljija: postavil se je na stran svobodoljubnih gorcev, ki so branili svoje ozemlje pred ruskimi napadi.4 Babica se je z vnukom 1827 preselila v Moskvo, ga vpisala v eno tedanjih najboljsih zasebnih sol (obiskovali so jo tudi Zukovski, Gribojedov in Tjutcev), kjer je Lermontov sistematicno zacel pridobivati humanisticno izobrazbo. Tradicionalisticno in antiromanticno usmerjena sola ne odvrne mladenica od zavzetega poglabljanja v dela Puskina do prebiranja Moskovskega vestnika , ki je seznanjal Ruse z nemskim romanticnim gibanjem in Byronovo ustvarjalnostjo (poemo), ki Lermontova povsem prevzame. Zaradi dobrega znanja jezikov bere tuje pesnike v originalu in kaj kmalu se mu postavi kot izziv napisati poemo v byronisticnem stilu. Leta 1828-29 nastajajo prvi tovrstni poskusi: Oleg, Dva brata, Prestopnik, kjer upodablja t. i. 'Weltschmertz' (sinonim za t. i. mal de siècle), izraz, s katerim ponazarjajo vsesplosno 'bolezen casa' in tedanje miselnosti, ki je vzniknila po razpadu razsvetljenske miselnosti in francoske revolucije (prim. Monolog iz 1829). Idejno sorodna obtozba je pesem Molitev, retoricen nagovor Boga, ki se mu je pesnik izneveril: »Ne sodi me zato, mogocni, in ne kaznuj me prestrogó, ... ker lava vecnega navdiha vre v mojih prsih in gori; ker v meni vse nenehno niha, kali pogled, mraci oci; ker mi je ta nas svet pretesen in najti tebe se bojim, pogosto pojem gresno pesem, s katero, Bog, te ne slavim.« Tri leta kasneje se Lermontov (1840) ponovno vrne k ljudski tematiki s pesmijo Kozaska uspavanka, ko mati napoveduje svojemu sinku usodo ter ga svari pred trpljenjem, ki ga caka, ko zrase ter mu v spomin podari sveto podobico - amulet, ki naj bi ga varoval. Pesem je izrazito muzikalicna, podobna ljudskemu napevu in tudi sam Lermontov, ki je veckrat rad uglasbil svoja dela, je za uspavanko zlozil (zal izgubljeno) melodijo. Glasbena spremljava (Cajkovski) spremlja tudi nedokoncano poemo Pravljica za otroke, ki obljublja 'lahkotno poemo iz 40 kitic', s cudodelno-hudobnim zapletom, polnim usodnih skrivnosti preteklih let, v kateri se druzijo prozaizmi vsakdana, kjer ne manjka igrivo - smesne intonacije, ki se spleta z visoko (pateticno) liricnostjo, ko je govor o osrednjem liku demona. Pesem je dober primer, kako misel o demonicnem posamezniku, ki ostaja sam brez upa in ljubezni, tudi v zreli ustvarjalno- sti zelo zanima Lermontova, vendar jo zdaj ze zna razviti v smesnem oz. parodicnem modusu. Sporocilo je jasno: v Pravljici je skusal s prvoosebno pripovedjo, v katero je vkljucen monolog 'malega besa' Mefista, na posmehljiv nacin prikazati razvoj naivne duse, ki niha pod vplivom druzbenega okolja med dobrotljivostjo in demonicnostjo. Podoba demona iz Pravljice se vpenja v isti niz smesnih demonicnih likov, ki tvorijo par demonu kot grozljivemu tvorcu zla in izgrajujejo Lermontovovo ambivalentnost. Da se je cas korenito spremenil, zveni tudi iz programske pesmi Urednik, bralec in pesnik iz 1840, ki je vec kot podobna Puskinovemu programskemu besedilu Pogovor zaloznika s pesnikom. Dramatursko oznaceno prizorisce pesnikove sobe je prostor za polemiko o usodi pesnika in njegove poezije. Kompozicijsko je pesem razdeljena na dva dela: v prvem Bralec negoduje nad sodobno literaturo in romanticno plehkostjo ter se mrsci nad tiskarskimi napakami, ki so jih polne naslovnice casopisov, ter naravnost vprasa Urednika: »Kdaj v ruski pusci misel nasa / odvrze lazni vnanji sij / ter najde zlahtni glas strasti / in jasen jezik, to se vprasa!« Bralec ima jasno razdelano gledisce: ce ugotavlja, da na eni strani kraljuje brezplodna pusca literatov, na drugi primanjkuje jasnega (tj. preprostega) jezika. Zanimivo, da se v drugem delu z Bralcem strinja Pesnik, ki ugotavlja, da so blagodejne besede, »kjer rima rimo dohiteva, ko da potocek zubori« le cudaske stvaritve, ki jih »doma prebira pesnik sam, / nato zazene v pec pesnitve / in ni mu zal in ni ga sram.« Retoricno vprasanje »O cem naj pisem?« z zacetka Pesnikovega monologa pomeni tako kritiko ocitno prezivelega romanticnega izraza, ne pa tudi konec ustvarjalnega zanosa, ki ima zdaj nalogo, da razgalja tudi grehe tuje, »naj kdo jih skriva, olepsuje, / vse jih sramoti izrocim. / Usmiljenja v tem ne trpim.« Tako kot Pesnik pa kaze, da tudi Lermontov v tem razgaljevanju druzbenih anomalij ostaja na pol poti, saj »tega bridkega pisanja / zaupal ne bi niti v sanjah / nikdar neizkusenim ocem ... /« V dvomu, kaj narediti, se ne kaze le spopad prezivetega romantizma in napovedujocega se realizma, temvec tudi reakcija na tedanjo (iz tridesetih let) diskusijo o tem, ali je mogoce in estetsko sprejemljivo v javnosti bicati druzbene napake ...
